Zany ‘Margaritaville’ finds the joy of living in the moment

Beach balls rained from the rafters and were volleyed wildly by an audience that had already begun humming some of their favorite Jimmy Buffett songs even before the curtain rose. And were they not wearing puffer jackets and scarves, you might easily have mistaken Wednesday’s opening night crowd at the Oriental Theatre for the latest contingent of vacationers to disembark from a giant cruise ship and immediately head to a tiki bar for a margarita.

Welcome to “Escape to Margaritaville,” the feel-good musical that spins a Buffettesque tale of tropical island life with its familiar intersection of eccentric “escape artist” residents and flocks of temporary tourists in search of a brief respite from the mainland grind that will involve a good deal of drinking, the possibility of a brief sexual escapade, some sun-and-surf activity and a whole lot of booty shaking to the sound of a hotel band.

For the record: “Escape to Margaritaville” is not about to change the face of musical theater. But it might just turn out to be the perfect antidote to the current chaotic state of the universe as it deals with love, loss, ambition (or the lack of it), and some crucial lessons about “living in the now” while not entirely neglecting to build for the future. Think of it as a sort of “SpongeBob Square Pants” for adults (the latter show is now in previews on Broadway, while “Margaritaville” is slated to start performances there in February.)

Written by television veterans Greg Garcia and Mike O’Malley, the show’s book has a paint-by-number quality, but to their credit the pair has found a way to incorporate a good two dozen mood-shifting Buffett classics (“Son of a Son of a Sailor,” “We are the People Our Parents Warned Us About,” “Ragtop Day,” “Love and Luck,” “He Went to Paris,” “License to Chill”) in a way that seems wholly organic. In the process, much like Buffett’s songbook, they have juxtaposed a playful, saucy vibe with a heartfelt philosophy of life rooted in both romance and ruefulness. And Tony Award-winning director Christopher Ashley (“Come from Away”) has tapped into just the right tone — a mix of goofy whimsy and realistic life lessons.

Three stories unfold in “Margaritaville,” which features an easily likable cast. First and foremost is the unlikely relationship that develops between Tully (Paul Alexander Nolan ), a good-looking singer-songwriter with a habit of romancing the latest attractive young woman to arrive on the island (and then happily waving goodbye), and Rachel (Alison Luff), the intense workaholic from Cincinnati who has arrived for a bachelorette romp with her friend Tammy (Lisa Howard), who is engaged to marry a high school boyfriend who is definitely a Mr. Wrong.

Rachel is an ecological scientist whose primary interest in the volcanic island is to collect soil samples that might help her develop a fuel-generating potato. She is attractive and sharp-witted, and can change a car tire. And though she initially fends off Tully’s casual but practiced advances, the two have an opposites-attract chemistry.

The exuberant Tammy, who is trying to stick with the pre-wedding diet ordered by her lunky boyfriend back home, finds herself drawn to Brick (Eric Peterson), a kinder, gentler, pun-loving (often panicky) guy whose brain may be a bit jangled but whose heart is in the right place. Their relationship is sealed when he tells her she is beautiful just as she is, and “Cheeseburger in Paradise” has the audience erupting in applause.

The third relationship involves the business-minded hotel owner, Marley (Rema Webb), who has a lilting Jamaican accent, a tough veneer, and a soft spot in her heart for J.D. (Don Sparks), the 76-year-old widower and adventurer who bedded her 10 years earlier, hasn’t had much luck since, and claims to have buried treasure on the island. J.D. says he is writing his memoir, but mostly drinks beer he can’t pay for.

There is more, including Jamal (Andre Ward), the hotel worker with a reggae edge. There is a volcanic eruption. There are major career ups and downs for both Tully and Rachel. And yes, there is a wedding. There also is one crucial dramatic moment (when Tully surprises Rachel with a visit), that is far too matter-of-fact and needs fleshing out.

But mostly you’ve just got to hand it to Buffett whose songs continue to tap into something in our spirit that is just a little broken yet fixable.