In Stephen Stahl's play, with music, "Norma Doesmen," mad eccentric, "me-me-me"-centric Norma Desmond, that is, Norma Doesmen lives again, demented and delusional as ever, in a campy, kinky, over-the-top spoof-even campier, even more over-the-top-of Billy Wilder's classic film "Sunset Boulevard" (1950), starring Tommy Femia, giving face, for they had faces, and fabulous gown, thanks to Linda Bee Stockton; striking silent film poses; delivering melodramatic lines and groaners with queenly grandeur; and getting to sing a bit, as the manipulative, man-swallowing star, stuck in the past and still ready for her close-up (Mr. DeMille), but savvy enough to invest in, shall we say, adult businesses . In Stahl's comedy, which he also directed and which plays at the Abingdon Theatre Arts Complex through March 28, quotable quotes from "Sunset Boulevard" abut suggestive lines that leave not a pun unturned, about rods, loads, and so on. The action, in Norma's château, takes place on James Lyon's handsome set, adorned with Tiffany lamps, vintage sterling silver and stained glass windows from Lyons Antiques, in New Hope, Pennsylvania, and Lyons Productions is listed as producer.

Supporting Femia are Bryan R. Caine, as Norma's beefcake boy-toy and reluctant script doctor, Joe Dillis; Ken Shepard, as the faithful Max, appearing in diverse fetish wear and Norma's castoffs; and Christina Giordano, as Joe's neglected, narcoleptic, clueless but flashy sweetheart Betty ShaveHer.

In a departure, but not by very far, from his beloved, and deservedly famous Judy Garland, Femia-as-Norma serenades her Joe, or what he's packing in his swimsuit, with a takeoff on "Ballin' the Jack." Caine's gigolo Joe has set pieces, rattling off every selling point of his beloved car and cell phone-although the time is nominally that of the film, anachronisms abound-and attempting to tell Betty what he's been doing for a living. Shepard's Max flits about, tidying up for Norma with his trusty feather duster, as the "Clean Up Woman" and makes no attempt to hide his own feelings for Madame's comely kept boy. The quartet of cast members joins forces for "It's in His Kiss," as a major production number/confrontation scene, with choreography by Jill Kalfin. Names are dropped, past and present, from Mabel Normand, Rudolph Valentino and DW Griffith to Anita Bryant, Imelda Marcos and Sarah Palin.

So, to see Femia's grand gestures, Caine's pin-up made flesh, Shepard consistently doing the unexpected, and Giordano taking on her rival, and to find out the body count at the end, get yourself to the Abingdon, at 312 West 36th Street, 1st floor, before the end of the month, Tuesday through Saturday at 8 p.m., Saturday and Sunday at 3 p.m., and check www.normadoesmen.com for further details. Tickets are $45.