It takes a special kind of audacity to tear down preconceptions and lead the charge, however quixotic, to deep, uncomfortable truths. Undermain Theatre is up to this challenge in its intense, thought-provoking, and often hilarious production of Young Jean Lee’s The Shipment.

With the play, Lee, a Korean-American, sets out to create a “black identity-politics show” to deconstruct notions of race in popular culture. What she crafted is more a variety show of vignettes that are spine tingling, cerebral, funny bone tickling, and in your face performance art than a conventional play. This hard to pin down style makes her work in general, and this production in particular, simply brilliant.

Director Stan Wojewodski, Jr., Chair of SMU’s Theatre Division, favors a feverish pace for the show with quiet, contemplative moments of theatrical bliss for a lovely balance, and he elicits tour de force performances from his quintet of actors. In the first of the five parts of this 90-minute show Dancer 1 (Christopher Piper) and Dancer 2 (Adam A. Anderson in a physically gifted turn) deliver some striking dancin’ (choreographed by Millicent Johnnie), presumably to pay notice to the history of performance and entertainment as both survival and celebration in the community.

The second section is a Stand-Up Comedy act performed by Akron Watson with raw, grinning abandon. It’s an outrageous routine that drops the provocative line that “white folks be evil!”  The Comedian reveals that he would rather talk about funnier things (read: scatological) in his routine than tired black vs. white observational tropes. The story of aspiring rap star Omar (David Jeremiah who really can play any part in town) fulfills the third part of the show. The rags to riches tale chock full of racial clichés that run the gamut of basketball to drug dealing plays out as a series of stylized skits with the other actors. Piper’s pusher is particularly effective with his shouted, deadpan pronouncements, and audacious arm movements.

The penultimate movement is an a cappella song interlude performed by the whole cast with the strong-voiced Beverly Johnson in the lead. Their version of Modest Mouse’s “Dark Center of the Universe” is hauntingly beautiful.

The fifth and final section is a naturalistic take on a “drawing room farce.” Thomas the bachelor (Jeremiah) is an existential quandary surrounded by his “helpful” friends. Piper ‘s Desmond is wry, droll, and understated to the max, and Jeremiah leaves it all on the floor.  It’s the only slightly draggy part of the play, but an aha twist more than makes up for it.

The acting is right where it needs to be in the ensemble cast, and it is a delight to witness this fabulous and furious five of committed and passionate artists. Sound design by Bruce DuBose is clear, loud, and solid, and Rachel Finn’s costumes made up of sharp tuxes, elegant ball gowns, and preppy party attire are detailed and spot-on.

And while a genre and gut-busting exploration of black America from a playwright who is, in fact, not black may sound crazy, this absurd meta-take on a crucial theme feels right at home.