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Film, theater, music and dance collaboratively collide for five delicious acts in which the allegoric tale of an organic potted lily’s desire to marry a human is told.

“Lily’s Revenge” is an epic journey; gorgeously designed, emphatically played and oddly disarming. What I came away with was that Taylor Mac is an extraordinarily talented and generous artist willing to share his vision with his cast and his audience. At its final curtain, the tiny Oberon stage bursts with a garishly made-up lunatic crew in garish colors, sequins, leather, spandex, feathers, petticoats, top hats, headdresses and bridal attire, all celebrating the much-maligned and over-used term, diversity. This was one wedding party I was thrilled to attend.

Epic in length and campy, surrealistic, surprisingly clever and entertaining in content may be one way to describe Taylor Mac’s The Lily’s Revenge at the American Repertory Theatre’s Oberon Theatre. Another way would be to describe it as and Opus Magnus bouillabaisse of witty vaudeville schtick, English Music Hall audience participation and Weimar decadence literally flowered with bigger than life drag queens, preposterous flower girls, vignettes and dance numbers and sprinkled heavily with poetry, philosophy, brides and grooms, dieties, musical flowers and other seemingly real but fantasy stock figures. There is even a murderous Pope.

A five-act phantasmagoria written and conceived by Taylor Mac and directed with finesse by Shira Milikowsky, “The Lily’s Revenge’’ blends satire, music, dance, verse, film, fable, and vaudevillian hijinks into a tale of an intrepid, pure-hearted flower named Lily (Mac), battling the forces of history, culture, and social convention in its bid to marry a human.

BOSTON GLOBE – The performers in T-shirts and sweats in the drab basement rehearsal space off Harvard Square could be limbering up for any show. It’s only when you eye the costume drawings lining one wall that you realize something unusual is afoot. Giant flowers, Day-Glo colors, outrageous patterns — it’s Dr. Seuss meets Studio 54, a fabulous hothouse.

NEW YORK TIMES  – “The Lily’s Revenge” offers so many incidental pleasures that theatrical time — always a curiously malleable element — seems to contract.

The one-act play, which clocks in at 70 minutes, was first produced in traditional theaters, but the troupe has since performed it in rock clubs and bars. “As soon as we put it in a bar, where people were drinking and hooting and hollering, it really came to life,’’ says Malloy.