Ah, the golden days of yore for a contemplative millennial: A time when Blockbuster was the temple of cinematic treasures, Sarah Michelle Geller was the queen of our hearts, and that spine-chilling commercial of a human pancake against a musty couch was the ultimate deterrent to devil’s lettuce.

This advert was a master class in fear-mongering, painting a vivid picture of marijuana as the gateway to a life of sloth and sin, while simultaneously boosting Febreze sales.

The message was clear: Indulge in reefer, and you’ll become a flat-earthed shadow of your former self. Spooky, right?

Drawing from this well of fear, likely a mix of overplayed propaganda and echoes of the 1938 cult classic film, “Reefer Madness,” a new cautionary tale emerged.

This time, it’s s three-dimensional spectacle, fully-baked, and served up as a two-act musical of the absurd.

Picture this: the iconic “reefer madness, reefer madness” hook, symphonic and irresistibly catchy, playing as this review attempts to capture the same satirical flair that the play effortlessly exudes.

The challenge? There’s hardly a place to start, as “Reefer Madness: The Musical,” through June 29 at Civic Theatre of Allentown, is not built to make sense. What it does, and does brilliantly, is serve as a comedic timing clinic.

This film-turned-stage-play-turned-commercial-turned-musical is a cheeky R-rated ode to the overblown vilification of marijuana use. The music is by Dan Studney, with lyrics by Kevin Murphy and book by Kevin Murphy and Dan Studney.

The June 21 performance was seen for this review.

A wild ride is the most fitting description of this whirlwind experience, which leaves you craving more in its too-brief runtime.

This is a testament to the shared comedic genius of the eclectic and outrageously talented cast.

Kelcie Kosberg’s mission as a performer seems to be seamless transitions, and they nail it, effortlessly shifting from Lecturer to Various Roles.

Even from a distance, Kosberg’s commitment and booming confidence is palpable, making you believe they originated the role.

The same can be said for Asher Cooper as Jimmy, the show’s intentionally predictable protagonist. Jimmy, keeping the thematic imagery alive, is the embodiment of the kid from the commercial. A go-getter with a nerdy edge, he spirals into “madness” thanks to the evil green stuff: reefer. That’s the show’s plot.

Asher Cooper, who embodies the many facets of this straightforward character, turns what could have been a bland role into anything but.

As the finale approaches, around the hilariously heartfelt “Mary Jane/Mary Lane” track, it becomes clear that Cooper is destined to be an immediate audience favorite.

With a nod to today’s pop-rock Broadway catalogues and a dash of Ben Platt energy, Cooper delivers a performance worthy of a cast recording.

Echoing Cooper’s vocal prowess is Jimmy’s counterpart, Mary (Olivia Behr), a Juliet type who never knew the end. In their duet and memorable solos like “Lonely Pew,” Behr is truly in her own Mary Lane. Her character’s track is humorously filled with foreshadowing and theories about Mary’s fate as the girl-next-door.

With a role that could easily be understated and unapologetically ditzy, Behr makes the most of every moment, showcasing her versatility as a true vocalist.

The holy trinity of Kosberg, Cooper and Behr will leave you high on nothing but pure, unfiltered talent.

Hyperbole is a natural response when a show is as splendid as this one: Everything is just right.

For what might be considered a B-side classic, if it even is one, this adaptation delivers an A-game execution.

Frequent players of the Nineteenth Street Theatre stage, along with newcomers, contribute to what could be one of the strongest collectives of the season.

Mason McGowan as Jesus, a near-typecast, is worthy of a second draft of this review. The hilarity between Julie Massa (Mae), Cheryl Moritz (Sally) and Dylan Miller (Ralph) demands another look as well.

Rae Labadie, a more-than-competent director of this ambitious Civic season, knows her stuff without flinching.

Music Director is Steve Reisteter. Choreographer is William Sanders. Scenic Designer is Luke Blomstrom. Lighting Designer is Ellen Schmoyer. Costume Designer is Rigby Maiatico. Hair and Wigs are by Paige Sheridan.

“Reefer Madness” may be an explicit satire at its core, and that’s acknowledged, but what makes this piece special is its boundary-pushing nature.

Theater, especially in an oversaturated market, is most beautiful and impactful when it challenges the expected.

Embracing this mindset will leave you with the impression that this is a must-see show, and if we all stay open-minded enough, we might just get a few more raunchy and delightfully wonky seasons.

“Reefer Madness,” 7:30 p.m. June 26, 27; 10 p.m. June 28; 2 p.m. June 29, Civic Theatre of Allentown, 527 N. 19th St., Allentown. 610-433-8903, https://civictheatre.com/