“Bread is Satan,” Eve Ensler declares definitively early on in the production of The Good Body, her one-woman show and follow-up to the wildly popular Vagina Monologues, now playing at the Lincoln Theatre. As she nevertheless waxes on about the joys of bread and dismisses such derivatives as flatbread as the mere “memory of bread,” Atkins aficionados, South Beach slaves, and whole-grain worshippers in the audience can’t help but grin with understanding.

The tension between the obsessive pleasures of food and the compulsive desire to stay thin is a main theme in Ensler’s show, for which she interviewed many women across the globe about their thoughts on beauty, body image and subjects beyond. But while Ensler devotes quite a bit of time to focusing on her stomach, her “most serious committed relationship” and the center for her womanly woes, the work touches on graver topics as well, ranging from mutilation to molestation.

Ensler is a commanding presence, and her irreverent, exaggerated and often self-deprecating words consistently amuse and frequently provoke reflection, whether she’s snappily asserting that she’s “working on an abortion” on the treadmill after a friend mistakes her for pregnant, or giving a staccato, beat poem-esque monologue on the topic of ice cream. Ensler transforms into a variety of characters throughout the show, from a gruff fat-camp participant to a proud Isabella Rossellini. Though the voices Ensler lends her various characters are often accented in a rather cliché manner, the characters themselves prove well-rounded constructions.