“We’re so content it’s a cliché,” says schoolboy Wes Sidestory in “Commie Dearest,” the 162nd production of the Hasty Pudding Theatricals (HPT). Yet there’s nothing clichéd about this eccentric portrayal of a 1950s-era American town, where humans, aliens, robots, and potatoes abound.

The vibrantly colorful cast’s pursuit of the typical American dream—in the delightfully ironic form of a bowling trophy—is, of course, anything but standard. The Pudding’s characteristic whirlwind of big personalities, stunning costume and set design, cultural references, ludicrous jokes, and clever puns make “Commie Dearest” a wild ride that, while often an exhilaratingly hilarious experience, is also just as frequently dizzying and lackluster.

“Commie Dearest” is the second brainchild of Alexandra A. Petri ’10 and Megan L. Amram ’10, writers of last year’s hit HPT production “Acropolis Now.” Directed by Tony Parise, the new show will run at the New College Theatre until March 7th.

The show starts off with a rapid succession of witty allusions to 1950s-era racism and misogyny that, although funny and on-point, pile on top of each other so quickly it’s easy to miss a laugh. General Dwight Supremacy (Michael L. Blumenthal ’11) comically insists that his wife Sadie Magicword (Walter B. Klyce ’10) “overcame a lot of diversity,” while she exclaims that her only education is “home grammar,” from which she has learned that “the woman is always an object.”

General Dwight, Sadie, their daughter Bobbie Sox (Kyle J. Dancewicz ’11), and a slew of other colorful characters compete to win the American Dream contest presented by pitcher Doug Out (Adam M. Lathram ’10) and half-fish starlet Marlin Monroe (Clifford N. Murray ’10). Communist conspirators Sasha Frigidvich (Andrew F. Cone ’11) and Spud Nick (Ryan P. Halprin ’12) later burst onto the scene and try to steal the American Dream in an attempt to win the Cold War.

A subplot between Desi Speakenglish (Matthew I. Bohrer ’10) and his robot Betty Boopbeepboopboop (Daniel V. Kroop ’10) lacks the humor and energy of the main storyline. Set in a stereotypical 1950s restaurant, “Desi’s Diner,” the scene that introduces these two characters drags down the momentum of the show’s opening with uninteresting choreography, weak vocal performances, and consistently unfunny references to computer applications and the Internet that seem out of place. The character of Desi Speakenglish, while mildly amusing, is neither well developed nor particularly exciting, and Bohrer’s performance lacks the force that would give the role a stronger sense of purpose.

For every weaker moment or duller joke, however, there are a handful of stellar performances that make “Commie Dearest” a delight to watch. Murray delivers every joke so naturally that even some of the simplest ones end up standing out: “Life is like a cereal, it comes in a box and it’s called Life.” Cone’s performance is consistently strong, from his ridiculous Russian accent to his ludicrous facial expressions and gestures. Dancewicz and Klyce perform a duet, “Let the Men Handle It,” that is by far the show’s best musical moment; both voices are powerful and the entire scene is cohesive, energetic, and humorous.

While “Let the Men Handle It” stands out both for its lyrics and singing, other numbers lack the same exhilarating quality. Overall, however, the script is clever enough to keep the audience engaged and the play moving forward. The talented orchestra maintains the upbeat tempo in every number and the musical composition—by Alex B. Lipton ’11—suits the witty lyrics.

Even with occasional microphone issues that distract from the music, several actors—such as Klyce and Derek S. Mueller ’10—are professional enough to overcome the technical problems. As Olive Lucy, Mueller delivers one of the best-acted performances in the production. He fully engages with his character, and his range of expression is emphatic and appropriate without being overdone. His solo bowling alley scene is also one of the funniest and most cleverly written in the show, revealing that it is in fact boozing, not bowling, that is truly “the most American pastime.”

The choreography improves considerably toward the end of “Commie Dearest,” finishing off the play with a ludicrous, characteristically Pudding-style bang that leaves the audience wanting more.Three characters in gas masks perform a hilarious dance that starts off as militaristic marching and, in a matter of minutes, unravels into a raunchy strip tease. Vibrant, elaborate costumes enhance the outrageous acting and compliment the choreography, especially in the show’s final kickline. This kickline brings yet another unexpected twist to the motley crew of crazy characters who inhabit this unconventional town, ultimately revealing a side of the 1950s that, once familiar, is now transported into a new dimension.