The world premiere of “A Taste of Things to Come,” which opened Feb. 3 and continues through Feb. 21 at Bucks County Playhouse, New Hope, provides a look at the changing roles of women from the 1950s to 1960s, set to the beat of original songs reflecting the two decades.

The musical revolves around the Wednesday Winnetka (Illinois) Women’s Cooking Club, where recipes are tested for the Betty Crocker contest. They gather in the kitchen of the home of Joan Smith (Ariana Shore), an aspiring writer. The women prepare for Contest No. 17. They are nothing if not determined.

Recipes aren’t all that’s tested. The women’s egos, confidences and patience are tested. Dollops of humor are the ingredients to smooth things over.

“A Taste of Things to Come” is nostalgic fun, with a good bit of insight via cultural signposts revealed through high-energy songs. As stated in the show, the women go “from Betty Crocker to Betty Friedan.”

Lorin Latarro directed and choreographed the musical with generous portions of wit and frivolity (the women “sing” into rolling pins, for example, at one point). Through clever cinematic “freeze-frames,” with perfect lighting design by Nathan W. Scheuer, we are introduced to Joan’s kitchen mates in her asides to the audience.

Stopping by are Dottie O’Farrell (Allison Guinn), a happily-married mom; Connie Olsen (Erin Mackey), married and expecting her first child, and Agnes Crookshank (Gina Naomi Baez), single and an aspiring actor.

For the first act, the scenic design by Steven C. Kemp recreates a kitchen circa 1957 of aqua cabinets, with white refrigerator and range with a backdrop painting of front packages of 1950s’ consumer products, and for the second act, a kitchen circa 1967 with white “bucket-seat” dinette set, glimpse of space-age wallpaper, starburst wall displays, bean-bag chair and “hippie beads” adorning a doorway.

During the first act, the projections design by Stephen Stivo Arnoczy include snippets from 1950s’ TV shows and commercials, including Betty Crocker (“A perfect cake everytime you bake,” goes the ad).

The 14 songs (including “Cookin’!,” “Dear Abby,” “Somethin’s Burnin’”) are a pastiche of 1950s’ do-wop and 1960s’ rock ‘n’ roll in the musical with book, music and lyrics by Debra Barsha and Hollye Levin. Orchestrations are by Barsha and Lena Gabrielle. Vocal arrangements are by Barsha.

In the first act, the standout number is “Just In Case,” a jokey reference to overuse of prescription medicine, sung by Dottie (Guinn) with the over-the-top gusto she brings to her role throughout the show.

In the second act, ensemble vocals shine in “Blessing in Disguise” and “Food.”

The four female vocalists harmonize beautifully and each actor has created a distinctive character. In addition to Guinn’s cutesy gestures, there’s Shore’s consumate self-assuredness, Mackey’s winsomeness and Baez’s quirky charm.

The band, secluded during the first act and on view in the second act, is Gabrielle, keyboards, music director; Rosann Mattei, guitar; Cyndy Elliott, bass, and Beth Faulstick, drums, with sound design by Matthew Given, who also is production manager.

The costume design by Dana Burkart is true to each of the decades, down to the aprons for the 1950s and caftans with psychedelic patterns for 1960s.

“A Taste of Things to Come” is a musical on the order of a “chicks’ flick.” Females will love it. Their male counterparts should, too.