What’s that you’re asking, baby? Voulez-vous coucher avec moi, ce soir?

Sure I know what it means (for those who don’t, that’s what the Internet is for), but let’s wait till after seeing Baz: Star Crossed Love, which puts that sexy sentiment to music via “Lady Marmalade”—only one amid a treasure trove of classic pop tunes that populate this hyper-theatrical piece of hybrid musical theater.

An artistically ambitious mash-up, Baz plays out romances on parallel tracks from three of Baz Luhrmann’s signature films—millionaire Jay Gatsby and debutante Daisy Buchanan (Skye Scott and Joanna Jones) of The Great Gatsby; Christian, the lovelorn writer, and Satine, the dancer/courtesan from Moulin Rouge; and the title characters of Romeo + Juliet. Amid a party-size cast of backup dancers and singers are a violinist known as “The Green Fairy”, who pops up around the figure-eight stage with a runway extending into the audience; a ballroom-dancing tea, and a boisterous ringmaster/host known as “The Maestro."

Bustling with spectacle and energy, Baz is in perpetual overdrive, telling each of these stories within 80 minutes, the breakneck scenes propelled by an eclectic score of pop-rock classics, including the aforementioned “Lady Marmalade,” as well as “Smells Like Teen Spirit,” “Your Song,” “Like a Virgin,” “When Doves Cry,” “Love is Blindness,” “A Little Party Never Killed Nobody (All We Got),” “Over the Love,” “Roxanne,” “Love is the Drug,” “The Show Must Go On” and “Nature Boy,” among others.

Baz is an entertaining contradiction: originality born of synthesis, the three tales thematically dovetailing, and the contemporary tunes emphasizing how rejuvenating an anachronistic approach can be. Bracing and sometimes whiplash-inducing—though in fun fashion, as characters pop up in the aisles all around the specially designed, 1,600-seat theater at The Palazzo—it proudly wears its unorthodox style on its wildly flapping sleeve.

Unapologetic experimentation can be reinvigorating when you adjust expectations accordingly. Rather than dissecting and strictly following the trio of tragic-love narratives—a challenge given the rapid rotation of scenes between them (quick cuts being a hallmark of Luhrmann’s filmmaking, by the way)—instead aim to absorb the emotion of the whole.

Baz counts on engaging your senses, expecting that even if you’re not a connoisseur of Luhrmann’s oeuvre, your distant high school/college English class memories of the stories, combined with the speedy vignettes, will provide enough of a narrative touchstone to see you through. (While F. Scott Fitzgerald’s Gatsby and William Shakespeare’s Romeo and Juliet are classroom standards, Moulin Rouge is infused by the themes of Alexandre Dumas’ Camille, as Luhrmann has said.)

Perpetual motion, sound, fury and color are its foundation. Chockablock with opulent costumes and exuberant choreography, Baz fizzes like just-popped Champagne. Despite the CliffsNotes storytelling style, powerful emotional impact attends scenes such as Juliet’s funeral—set to a haunting, ensemble-wide version of Prince’s “When Doves Cry”—and the vibe is positively exultant (and hilarious) during a ribald take on Madonna’s “Like a Virgin” that winds through the aisles like a conga line. And in Baz’s climax, Jones as Daisy plays the heart like an instrument with the soaring tandem of “Love is Blindness” and “Over the Love.”

That an emotional resonance can rise and grab an audience in the midst of this hellzapoppin circus of the senses is indeed impressive. And this raucous, overstuffed potpourri equals an evening of Baz-matazz.

The Palazzo, 7 p.m. Tues.-Sat., starting at $59.50 plus tax and fee. 702.414.9000