If it's going to bug you that through about two thirds of Boom, Woolly Mammoth's crazy new comedy, you still have no idea who that wacky woman in the headset is who's literally pulling the strings of the players below, you're probably at the wrong show. But if as an audience member, you kind of like to run with absurdity, you're in for a fun (and eventful) 90 minutes.

Boom is the kind of nonsensical play where the unusual movements of a few fish in a goldfish tank have apocalyptic consequences. Peter Sinn Nachtrieb's style is that of intelligent zaniness, with witty lines that throw you off kilter (even if some threads, such as the source of Jo's frequent bouts of unconsciousness, tie up a bit too neatly at the end). It's also a work that makes you think about life's bigger questions without realizing your mind's heading in that direction.

Director John Vreeke has put together a show where, despite the chaos in the script, the elements come together neatly - the very physical performances of the couple in jeopardy take place below the more "backstage" setting of levers and pulleys. The pair is overseen by the meandering narrator figure played by Sarah Marshall, whose face looms above the action on a large, imposing screen. Familiar orchestral phrases punctuate key moments in a winking fashion.

After making an over-the-top entrance, Kimberly Gilbert settles impressively into her role as the reluctant companion chosen by Jules (Aubrey Deeker) to help him rebuild civilization. Whether ferociously rebelling against her surroundings or experiencing a rare moment of vulnerability, Gilbert's a riveting presence, who is nicely balanced by Deeker, who gives his Jules enough academic arrogance to not render him wholly sympathetic, even if he's ultimately endearing. The twittering Marshall, meanwhile, is an ideal guide for such a quirky, unpredictable ride.

Boom runs through Dec 7 at Wolly Mammoth Theater. Tickets are available online.