If you’ve ever taken a Spanish class and been herded through stilted “Where is the park?” “The park? Why the park is here!” paces, you’ll appreciate the deliciously odd and disconnected dialogue of Eugene Ionesco’s absurdist masterpiece The Bald Soprano. After attempting to learn English in 1948, the French-Romanian playwright’s desire to communicate with the Anglos of the world morphed into a play with language so simple, yet chewy and complex, that it seems to be a separate character with a will of its own.

After ten minutes of wondering what precisely is going on, you might suddenly remember the play’s label. Understanding the absurdist theater bit is the linchpin that allows the Alice in Wonderland dimensions to regain their clarity and the world to click back into place, so you can sink happily into the well-crafted weird. The characters begin sedately but soon work themselves to a feverish pitch where words are thrown like darts and actors hurl themselves over couches and against the orange wall of the elegantly Spartan set with an exuberance that might be tempered by nightly bruises, were these folks not solid professionals.

For a delightfully strange evening and a push on the opaque boundaries of your world, hit Cutting Ball’s renovation of this classic.

Plays through December 12 at the Cutting Ball Theater at Exit on Taylor. 277 Taylor Street. For tickets ($15-30) and more information, visit cuttingball.com or call 800-838-3006.