Things can get crazy for those who aspire to be in the limelight. “Ruthless! The Musical,” which just opened at the Hackmatack Playhouse, takes a farcical, over-the-top look at those infected with the need to be a star.

The 1992 show created by Marvin Laird and Joel Paley, which is enjoying a successful off-Broadway revival, takes aim at show-biz families at all levels and doesn’t let up until one such family has nearly reached a final curtain. Audiences may have become more savvy to the ins and outs of the theatrical life than they were in the pre-internet era. But the show still hits home as the characters hilariously elbow each other out in hopes of getting the all-important “lead.”

The story concerns an obsessively ambitious 8-year-old whose desire to get the top billing in her school musical leads her to take drastic measures. While her mother has doubts about her child’s ruthless ambition, the girl’s agent sees it as a win when she steps over her competition and into the starring role. Complications ensue when the mom, who was adopted, discovers that she also has “talent” in her veins. Various identity switches follow and the satire escalates as most aspects of the backstage theater world receive both corny and clever shots from the wacked-out ensemble of wannabes.

The mix of high and low humor works well in this show with theater and movie references, verbal misunderstandings, broad physical humor and intentionally missed cues adding to the fun.

Recent college grad Alison Schaufler plays young Tina, who was, as she sings, “Born to Entertain.” Having an adult in the child’s role adds an extra level of disbelief to the proceedings, but Schaufler handles the job well and realism isn’t an issue anyway. One of her best scenes has her auditioning for a coveted part and gamely running through spot-on parodies of various dance styles.

Linette Miles plays the mixed-up mom who evolves from “Tina’s Mother” to a grandiose diva. Both she and Schaufler revealed fine singing voices, if pushed intentionally a little to extremes. Miles also had some nice comic moments with both Jenn Batchelder, as the aggressively manipulative agent, and Hannah Perry, as the diva’s borderline psychotic assistant. Allie Wing impresses in a double role.

Jerard-James Craven plays the acerbic theater critic who declares “I Hate Musicals.” He also provided the set design which adds and subtracts just a few props and a curtain to effectively change scenes between upscale, downscale and theater settings. Costumes by Rhonda Verges enhance the larger-than-life characterizations, and the lighting by Michael Turner serves the action well, though the on-and-off lighting of the audience was distracting. On-stage musical accompaniment is provided by pianist Adam MacDougall, who also gets to do a bit of acting.

Director A. Nora Long, choreographers Amara Decker and Crystal Lisbon, and company may not themselves be ruthless but they’ve obviously worked hard to put together a winning show to close out the season at Hackmatack.wannabes.

The mix of high and low humor works well in this show with theater and movie references, verbal misunderstandings, broad physical humor and intentionally missed cues adding to the fun.

Recent college grad Alison Schaufler plays young Tina, who was, as she sings, “Born to Entertain.” Having an adult in the child’s role adds an extra level of disbelief to the proceedings, but Schaufler handles the job well and realism isn’t an issue anyway. One of her best scenes has her auditioning for a coveted part and gamely running through spot-on parodies of various dance styles.

Linette Miles plays the mixed-up mom who evolves from “Tina’s Mother” to a grandiose diva. Both she and Schaufler revealed fine singing voices, if pushed intentionally a little to extremes. Miles also had some nice comic moments with both Jenn Batchelder, as the aggressively manipulative agent, and Hannah Perry, as the diva’s borderline psychotic assistant. Allie Wing impresses in a double role.

Jerard-James Craven plays the acerbic theater critic who declares “I Hate Musicals.” He also provided the set design which adds and subtracts just a few props and a curtain to effectively change scenes between upscale, downscale and theater settings. Costumes by Rhonda Verges enhance the larger-than-life characterizations, and the lighting by Michael Turner serves the action well, though the on-and-off lighting of the audience was distracting. On-stage musical accompaniment is provided by pianist Adam MacDougall, who also gets to do a bit of acting.

Director A. Nora Long, choreographers Amara Decker and Crystal Lisbon, and company may not themselves be ruthless but they’ve obviously worked hard to put together a winning show to close out the season at Hackmatack.

Steve Feeney is a freelance writer who lives in Portland.

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