Chris Kelly, Micheala Greely and Gina Seghi contend with chaos in Troijka at the Climate Theatre. Photo by Vivian Johnson.

“We’re all in a cage,” a character states darkly, “And one cage only opens into another.” No Nude Men Productions presents Stuart Bousel’s heady new play set in a brothel during a violent local revolution. Or is it? Reality and illusion collide (with the latter winning) in this multi-layered, highly theatrical enigma, heavily inspired by Jean Genet’s The Balcony, and currently running at the intimate Climate Theatre.

It’s business as usual in the brothel, led by Madame Yvette (portrayed by Michaela Greeley), despite the bombings, shootings, and general mayhem in the surrounding environs. Three of the remaining few citizens (male and female) indulge in some sexual role-playing, imagining themselves as a bishop, a judge, and a general. The resilient sex workers continue sex-working, though with a nervous edginess. Dividing the ranks, one of the “girls” (Margery Fairchild) has left the brothel to join the rebel leader (Lee Marcotte). And one plot twist after another turns our perception of reality inside out, again and again. It might sound confusing, but it all makes a quirky, metaphor-for-life kind of sense.

The ensemble of twelve actors pulls off the slippery, serpentine constructs of reality. Best exemplifying the collective insanity, Christopher P. Kelly is larger than life — posing and primping like a pugilistic peacock — as the beleaguered police chief. Meghan Kane as the virtuous Bianca, The Madonna and Gina Seghi as The Politician ground the play in some identifiable reality. And itit’s always a pleasure to see the handsome Carlos Barrera, especially shirtless and handcuffed. But the show ultimately belongs to Greeley as the Madame. She moves the proceedings along with a captivating presence, instantaneously morphing into whatever the moment calls for, and keeping just enough honesty in her performance to maintain audience interest.

Playwright Bousel, inspired by Genet’s The Balcony, cleverly modernizes it. He keeps much of the original conceit, but puts it into a context that today’s audience will more readily grasp. The “happy” status quo is challenged by destruction, questionable politics, and inhumanity from both the rebels and the establishment. He counterpoints personal safety against the ubiquitous urge-to-merge and/or issues of dominance and/or the heart. He creates a complexity that is deceptively, superficially simple. And the play abounds with questions about all of our “roles” in Life.

John Dixon directs with an extreme theatricality that, we discover, is quintessentially appropriate. He garners over-the-top performances from some and more naturalistic from others. Though this mix of styles might be completely consistent, the “why” is not immediately accessible. But his stage pictures are always stunning and strong. And despite some odd moments of frozen time, the pacing is good. Chris Rader’s lighting design makes maximum use of just a few instruments, creating a variety of moods. The costumes, designed by Jess Kuper, colorfully complement the play’s insane world.

Warning: The intimate theatre was hot as blazes before the show started, and once the stage lighting and all the body heat kicked in, it was even hotter. Since clothing is mandatory (sigh), dress in layers with some lightweight, 100% cotton skimpies.

Troijka creates fascinating worlds within worlds. Recommended for those who prefer their “reality” up with a twist.

Troijka continues until Aug. 5 at the Climate Theater, 285 9th St., SF. Tix ($10-$15) call (415) 621-1503 or email at endymion82@aol.com