In this edgy, post-modern world you may meet people who proclaim that they hate musicals. Musicals, they argue, are too campy or silly. These joyless individuals tend to take themselves too seriously, and should be avoided at all costs. They are also full of shit: you can't hate "musicals" any more than you can hate "fiction." The art form is too broad for such a blanket statement. "South Pacific" has very little in common with "Avenue Q." "Hello, Dolly" is a totally different kind of work than "Rent." "Starlight Express" bears no resemblance to, well, anything else ever conceived by the human mind (or whatever kind of benign alien overlord Andrew Lloyd Webber is).

Eric Rockwell and Joanne Bogart, the creators of "The Musical of Musicals: The Musical," understand the diversity of the musical, and have crafted a show that brilliantly demonstrates it. They take one simple story - a young woman who can't pay the rent (but you must pay the rent!) - and tell it five different ways, through the prism of five of the great musical theater masterminds of the 20th century. Seeing how the same four characters are completely transformed based on the setting, viewpoint, and musicality associated with each Broadway legend is fascinating. And very funny. And, as staged by Blackfriars' solid cast, a really entertaining night of theater.

If you're a theater neophyte, "Musical of Musicals" provides its fair share of chuckles. It's zippy and fairly witty, though it doesn't mind playing to the cheap seats every now and then. However, the show really rewards true fans of musical theater. Each section is bursting with little Easter eggs for people familiar with the theatrical legend's work, from obvious musical cues, to wink-wink, nudge-nudge dialogue references, to blatant criticism of some of the auteurs' trademark indulgences. Rockwell and Bogart obviously love the musicals and creators referenced in the show, but they gleefully take shots at the sacred cows they're milking.

The show opens with "Corn," the story told in the style of Rodgers & Hammerstein ("The King and I," "The Sound of Music," "Oklahoma!"). "Corn" is aptly named: it's steeped in old-fashioned storytelling devices that seem quaint at best to 21st-century audiences. The characters are practically coated in hayseed; the leads obviously like each other but refuse to admit it; the wise elder instructs the ing�nue to dream until she dies, although she doesn't know why. It's a stark contrast to "A Little Complex," the section devoted to Stephen Sondheim ("Sweeney Todd," "Company," "A Little Night Music"), where our quartet is cast as neurotic New York City apartment dwellers who communicate via discordant harmonies and complicated melodies, or "Speakeasy," the bit in honor of Kander & Ebb ("Chicago," "Cabaret"), where our penniless Depression-era damsel tries to solve her rent problem by turning to vice.

But my favorites by far were "Dear Abby," in the style of Jerry Herman ("Mame," "Hello, Dolly"), and "Aspects of Juanita," in "honor" of the aforementioned Lord Webber. While all five segments are strong, these two crackled with puckish energy. It's probably no coincidence that they both featured the cast breaking character to interject stage directions to the audience (in the Webber portion: "Scene change; the audience applauds out of habit"). Regardless, they're razor sharp, and make the best use of the overall cast.

That cast includes Ruth Bellavia as June, the hapless protagonist who apparently can't manage her money; Matt Tappon as Billy, the leading man to whom she runs for help; Sharon Bayer as Abby, the older confidante; and Steven Marsocci as Jitter, the cruel landlord who, depending on the story, either resorts to forced marriage, murder, or musical conscription to get his overdue payment. Marsocci is also the musical director, and spends a great deal of the show behind the piano (the show's sole instrumental accompaniment) while functioning as a fully interactive castmember. It's an impressive feat, and he's a ridiculously talented singer, actor, and musician.

His colleagues are also very strong. Bayer has an opera background and it shows; her pipes are powerful (the performance I attended was not mic'd, and while I sometimes had trouble hearing the other singers, I could almost always hear her booming voice), and she's very funny. In some ways Bellavia has the most thankless role in the show - how many times do people have to tell you to pay your damned rent, lady? - but she actually gets more engaged as the production goes on, and really lets loose by the Webber section. And Tappon is a joy to watch and listen to; his Billy is the most fluid character in the show, and he tackles each wildly different iteration with equal zeal.

Blackfriars Theatre's "The Musical of Musicals: The Musical"

Through August 23

Geva Theatre Nextstage, 75 Woodbury Blvd.

$16-$20 | 232-4382, blackfriars.org