On a bustling and balmy night in West Hollywood, Calif., feminism poked its controversial head in the current production of “Five Women Wearing the Same Dress.” Staged at the intimate Anthony Meindl’s Meta Theater by the Infinite Jest Theater Company on Sat. May 16, the almost entirely female cast takes the audience through five different narratives of what a woman’s experience can be.

The set design conjures the idyllic representation of a teenage Midwest girl’s bedroom. Dated and faded yellow floral wallpaper adorn the mock walls, framing a heavily draped twin-sized bed. On the far-right corner of the room, there is a seated bay window facing the front yard, which is used throughout the play to connect the characters to the events outside. Sprinkled around the room is sitting furniture mainly placed for the actors to inhabit, but dare say I have never seen that many chaise lounges in a girl’s bedroom. A peculiarly out-of -place Malcolm X poster hangs on the closest wall to the audience. The stage has surprising depth considering it is perhaps the size of an apartment living room. The space is used wisely and practically seats the audience into the boudoir.

On this cleverly staged set, a comedy of Steel-Magnolian proportions occurs during a gaudy Southern wedding reception. On a summer day in an affluent home in Knoxville, Tenne., five bridesmaids escape the oppression of social conforms of weddings to the room of the bride’s sister, Meredith played by Mamie Wilhelm. The four other estranged bridesmaids are played by Gail Friedland, Julianne Dowler, Robyn Okrant, and Collette Rutherford. The maids make their way in and out of the bedroom through the festivities, finding that they are more similar to each other than the bride that brings them together. The bride, Tracy is never seen in the play but is the most-mentioned subject throughout.

Each actor is worth noting, but standouts include Robyn Okrant as the lesbian sister of the groom Mindy and Julianne Dowler as the “Samantha” of the group and old college friend of the bride, Trisha. The comedic timing of each is impeccable, and their acting chops are undeniable.

Director Branda Lock has put together an amazing show with smooth scene changes, a clear focus, and a cohesiveness that is both impressive and comedic. No actor pulls focus when they should not, and even the slightest of expressions of disgust and waving of an overloaded platter of hors d’oeuvres is orchestrated with skilled direction.

In addition, the lighting design by Bruce Starrett and the costume design of Victoria Elizabeth Chediak enhance the show in their own ways. Playful lighting illuminated the stage with whimsy, dance hall lights and cheesy strobe lights normally seen at a disco tech. This blaring reminder takes the focus back to the wedding. The bridesmaid’s horrifying costumes of flowing purple taffeta and chiffon are framed by unique touches of each character — pearls and a tiara for the virginal Frances, a leather jacket for Meredith, etc. — with high-heeled shoes for everyone to bitch about.

The most notable and essential part of the play is the writing. Screenwriting extraordinaire Alan Ball pushes this potential daisy-trimmed melodrama into an audacious and irreverent platform for women in multiple demographics. This is to be expected from Oscar-winner and creator of great familial dramas like “Six Feet Under” and “True Blood.” Ball showcases how differently we can conceive what our perceptions of lesbians and conservative females interact. It’s not all hair braiding and secret cigarettes. The women dive into serious issues like promiscuity, abortions and child abuse in a way that is genuine without pretense. This piece, written in 1992, was trailblazing and way ahead of its time.

This production is not to be missed. At this time of year, hundreds of theaters are putting up some Shakespeare play with tired themes, it’s guaranteed audiences won’t leave this production feeling irrelevant. If escape into a room on self-reflection and laughs peak interest, head on to We-Ho and support this progressive troupe!

“Five Women Wearing the Same Dress” runs Fridays and Saturdays at 8 p.m. and Sundays at 3 p.m. through May 31 at Meta Theater, 7801 Melrose Ave. Los Angeles. Tickets are $25 and recommended 18 years or older. For more information visit www.theatreinla.com or the box office at 1 (323)-445–6632.