Patrick Nathan Falk, Keri René Fuller, Luke Islam, and Milly Shapiro Photo by Monique Carboni

The premise of the musical, with its focus on amateur teen detectives solving a twisty and complicated case, is akin to an episode of "Scooby-Doo" without the supernatural elements and the Great Dane. The intrigue is set into motion when two geeky adolescents, who live in separate towns but are co-internet-broadcasters with practically no followers, stumble upon the three-bimbo photo. They are identified as Earworm (Luke Islam), who is proudly gay, and Bookworm (Patrick Nathan Falk), who is defiantly straight (maybe). To the two teens, the artifact represents a turning point in the cultural zeitgeist. "Have you ever wondered," Bookworm asks, "how this one photo from twenty years ago created the digital dystopia we live in today?"

Unexpectedly, their channel is visited by 19-year-old internet sensation Brainworm (Milly Shapiro), who goes by the name She/Her/Sherlock and who specializes in finding missing girls, particularly Caucasian women. As she proclaims, "I'm an intersectional feminist, but dead white girls are my crack." When she informs the two Worms that there is a fourth girl in the car as evident by a hand over Hilton's right shoulder in the cropped photo, the threesome begins investigating.

Their first clue is a bracelet with the name "Coco" printed on it, and the novice gumshoes are able to trace its owner to a flash-in-the-pan pop sensation of the same name (Keri René Fuller). Although Coco supposedly died shortly after the Bimbo photo was taken, the Worms track down possible relations, including Coco's mother, whom they call MOTHER! (Sara Gettelfinger) and who makes Mrs. White in Stephen King's Carrie seem like a mewing kitten in comparison. Finally, there is Kiki (Natalie Walker), an enigmatic figure but who is crucial to unlocking the secrets of Coco's life and the one-hit-wonder's sudden descent into obscurity.

In The Last Bimbo of the Apocalypse, creators Michael Breslin (book, music and lyrics) and Patrick Foley (book, additional music and lyrics) address important issues around teens using social media and live streaming platforms. On one hand, these can help build community and connect young people with likeminded individuals from across the digital universe. On the other hand, they can be very isolating. The three Worms are essentially shut-ins, only engaging with others online, and She/Her/Sherlock, a victim of cyberbullying, explains that a hurtful comment when she was 16 has kept her homebound for nearly four years. She uses filters to disguise her appearance while broadcasting. Unfortunately, the show's focus on the machinations of the mystery comes at the detriment of more deeply delving into the characters' insecurities.

Breslin and Foley's pop-inflected songs are generally buoyant and agile. Notably, they capture the Gen Z attitude without condescension, but they also lack distinction. Particularly effective, though, are songs that reflect teen-age angst, such as "Dig Deep" sung by She/Her/Sherlock and "While No One's Looking" sung by Earworm and Bookworm.

The design elements contribute to the aesthetic of a generation raised on the internet and social media. Stephanie Osin Cohen's scenic design and Amith Chandrashaker's lighting capture the hybrid virtual and physical realms. Cole McCarty's costumes and Matthew Armentrout's hair and wig design whimsically reflect the gaudiness of pop cultural trends. Megumi Katayama and Ben Truppin-Brown's sound design replicates rock concert ambiance without resorting to ear-splitting decibels.

Directed by Rory Pelsue (who also developed the show), the cast is often stronger than the material. The standout is Shapiro, who made an indelible impression as Matilda in the original production of the musical by the same name. She exudes supreme confidence as an exceptionally intelligent young woman while also poignantly revealing her vulnerabilities as she obsesses over how she will be perceived in world that privileges so-called bimbos over brainiacs. Gettelfinger ignites the production with her over-the-top, camp hijinks. It's a pleasure to see her back on stage.

The musical's feel-good ending comes with a twist (which will not be revealed here). Suffice it to say that bimbos aren't always what they seem and can come in all shapes and sizes.