If you’re a regular attendee at Princeton Summer Theatre, you expect to see a modestly staged musical or two each season. But this time it’s different. In this summer of a stagnant economy, the gang at PST have thrown caution, and reason, to the wind. “Even in the face of this immense recession,” the group writes in the playbill for this show, “we have unanimously decided to embark on our most ambitious season ever.”

   Urinetown kicks it off with a bang as “by far the largest production in Princeton Summer Theatre history,” the playbill claims. Besides stuffing the stage with more performers than it has any right to, this riotous show wrings every ounce of stagecraft from its crew. It’s a fast-paced, irreverent, over-the-top mockery of everything on Broadway, while being a satirical poke-in-the eye for capitalists, power-grabbers, and politicians everywhere.

   Greg Kotis conceived the show after encountering pay toilets in Europe. Joining with Mark Hollmann to create the musical, he had trouble finding producers to back it. Who would want to see a musical with a title like this? Plenty of people, as it happens. After a debut at the New York Fringe Festival, Urinetown went on to smashing successes Off- and eventually on Broadway in September of 2001. Since then, the Tony-winning little musical that could has been a favorite on tour and in regional theaters across the country.

   Not only is it devilish fun, Urinetown also happens to have great music and dancing. If you’re unfamiliar with the plot, it’s about a parched town, which has so restricted water use that household bathrooms are outlawed. Citizens can only get relief at a few pay toilets. In fact, pay-to-pee is the region’s major economy, which is controlled by one Mr. Cladwell (Jon Feyer), who owns and operates Urine Good Company (UGC).

   The setting is the dirtiest pay-toilet in the system, where folks in kidney-distress line up with their tokens. When the stern gatekeeper, Penelope Pennywise (Abigail Sparrow), refuses to let Old Man Strong (Harrison Hill) take a leak on credit, he relieves himself on the wall. Down swoop Officers Lockstock (Billy Hepfinger) and Barrel (Kelvin Dinkins) to haul the old man off to Urinetown. Now, Urinetown is a metaphorical place from which no one ever returns. We know this because Lockstock, who acts as a sort of Our Town Stage Manager, explains every symbol and metaphor with a smirk. He’s often questioned by the precocious Little Sally (Hannah Barudin), who’s a bit of a smart aleck and a nosey Parker. Together, the two address the audience, commenting directly on the actions, or on musicals in general.

   Bobby Strong (Spencer Case), who has been helping Pennywise, is alarmed at the turn of events. He mounts a rebellion to break the UGC monopoly, so that people can be free to pee whenever, wherever, and with whomever they wish. Unfortunately, he also falls in love with Cladwell’s daughter, Hope (Rachel Wenitsky), who becomes the rebel group’s hostage as they pressure Cladwell to yield. In the struggle to reach that brighter tomorrow, there are plenty of terrific numbers to showcase the cast’s dancing and singing talent.

   Director Sara-Ashley Bischoff certainly produced some of the most complex and eye-catching choreography that PST has seen in years. Timing is everything. Not only do the dancers perform with precision and abandon, but the production crew coordinate perfectly with lighting design by Allen Grim. The set, consisting of many interconnected pipes and tubes, serves as a kind of jungle gym that actors climb up into at climactic moments.

   Brian Gurewitz on keyboards directs the tight pit orchestra of Jared Judge on drums, Gigi Gibilisco on reeds, Mark Nagy on trombone, and Zachary Hoos on bass, who get quite a workout. All the songs are great, many being takeoffs on standard Broadway fare or spirituals. Two of the best bits are “Look at the Sky,” and “Don’t Be the Bunny.” Several numbers feature soloists singing with a group. Some performers are vocally stronger than others; they know how to project above the mass. For example, Case and Wenitsky stand out in this regard. Others are harder to hear. Certainly, PST has had to economize, but I think they should seriously consider personal miking for cast members. This would be especially helpful in a musical.

   Urinetown opened to a sell-out crowd, and to judge by their enthusiasm, I should think word of mouth will generate ticket sales rapidly. If you don’t want to miss this outstanding show, and I urge you to see it. I suggest you call early.

Urinetown continues at the historical Hamilton Murray Theatre on the Princeton University campus through July 5. Performances: Thurs.-Fri. 8 p.m., Sat. 2, 8 p.m., Sun. 2 p.m.; 609-258-7062; www.princetonsummertheater.org