There are many routes to achieving the American dream, some perhaps less savory than others. Consider the case of Paul and Mary Bland, the hopeful young couple at the center of Minneapolis Musical Theatre's "Eating Raoul."

So determined are they to succeed, they'll take any steps, no matter how unscrupulous, to get their piece of the pie in this wry and outrageous black comedy.

Based on Paul Bartel's 1982 cult film, "Eating Raoul" is set in the Los Angeles of the swinging 1960s. Mary and Paul are a couple of wide-eyed "squares," shocked and appalled at the antics of the sex-crazed "swingers" who surround them. All they want is to pull together enough cash for a down payment on their idea of paradise: a restaurant in the country, far from the perversity of the big city.

Their improbable get-rich-quick scheme? Set up shop as Sexperts, then murder their lascivious clients for the contents of their wallets. When they join forces with small-time crook Raoul, however, their plan threatens to spin out of control. Piles of bodies, a love triangle and a really tasty stew all figure large as the plot unfolds.

"Eating Raoul" is as over-the-top silly as it sounds, and the music is mostly forgettable, but director Ryan McGuire Grimes and his actors bring enough contagious charm and dark humor to make it work. Jessica Holtan Breed gives an exuberantly stylized performance as Mary, combining a lovely singing voice and wide-eyed innocence with excellent comic timing. Indeed, it's her ability to sell the musical number "A Thought Occurs" that really brings this production to life midway through the first act.

She's ably matched by Gregory Adam, whose slippery, sleazy Raoul embodies the sultry Latin lover gone Hollywood. The overdone accent, swiveling hips and bedroom eyes he brings to the role make his wildly suggestive rendition of "Tool for You" one of the show's comic highlights. He's an extreme counterpoint to Anthony Sofie's portrayal of husband Paul as the blandest of sad sacks.

Surrounding these three are an ensemble of actors who create a revolving door of Sexperts clients and lend some life to the fairly pedestrian musical numbers.

The standout is perhaps Lamar Jefferson, flaunting a gauzy white dress and tapping with abandon through a sassy "Momma Said," in a showstopping drag-queen appearance as Ginger Rogers.

Minneapolis Musical Theatre deserves much credit here for overcoming many of "Eating Raoul's" shortcomings and infusing this completely silly and not very incisive work with so much energy and verve.

Lisa Brock writes about theater.