Everyone gives fabulously engaging performances, with stand-outs being Jody O’Neil as the Lecturer, the Greek chorus of the play, Brittany Rolfs as Mae, the reefer den matron with a heart of gold, Maranda Rossi as Mary Lane, the sweet and innocent all-American girl corrupted by the Devil’s cabbage, and Gabriel Graetz in multiple roles, including a hysterical, yet wonderfully disturbing turn as a baby neglected by his dope fiend mother. As a company, the entire cast brings their A-game.

This dusted off Reefer Madness turns out to be a timely show, and in the capable hands of WHAT, also a medical-grade escape into laughter. Comedy is an indispensable tool for confronting the incomprehensible and also for processing frustration and anger.

It’s not the plot that makes Reefer Madness so much fun, of course; it’s the lovely wackiness of it all. Eras come and go with some abandon and little logic—from dancing the Charleston to the evils of jazz, from bobby socks and soda jerks to slinky lingerie and bobbed coiffures, it’s hard to see exactly when it’s supposed to take place, which adds to the silliness of it all.

Definitely go to the show for the whole package – it’s well worth the ticket price at any amount - but Graetz’s moment is the pinnacle. I wanted him to sing it twice.