SCHENECTADY — If I were appointed Czar of Theater in the Capital District, I would insist every theater company’s schedule include a show like "Bat Boy — The Musical," which is at Schenectady Light Opera Company through Sunday.

It’s not because "Bat Boy" is a neglected masterpiece. No. It’s an exciting but flawed piece of theater.

I wouldn’t demand "Bat Boy-like" shows be produced because its themes are profound. The material is thought-provoking, but also overly complicated.

And I certainly wouldn’t want more "Bat Boys" produced because of its mass appeal and entertainment value. The musical is dark, edgy and limited in appeal.

What "Bat Boy — the Musical" offers is ambition. The work challenges the audience as it decries safety and pushes the comfort factor over the edge. You might not like "Bat Boy," but you’ll remember it.

To give some idea of the complexities of the show, it is nearly impossible to offer a detailed synopsis. On the surface, it is about a bat-like adolescent boy found in a cave who is brought to the home of the local veterinarian and raised as part of his family. He is rejected by the rest of the local community and, because cows are dying for no apparent reason, fear of the unknown makes Bat Boy an undesirable stranger in Hope Falls.

As preposterous as the plot sounds, a remarkable performance by Sean Patrick Fagin makes Bat Boy’s plight empathetic. We are warmed by the way he is accepted by the family and hurt by the manner in which he is betrayed and rejected. Not only does Fagin offer a sensitive creation, his physical dexterity makes his alien roots believable. He’s also a good singer and, when needed, he can exploit a comic line.

When "Bat Boy" stays on the issues of assimilation, rejection and the need to conform, the work is intriguing as it offers insight to cultural behavior. These familiar themes also make occasional sojourns into campy behavior acceptable and funny.

However, mid-way through the second act, the show begins to become overly ambitious; and, in an effort to make the Bat Boy a symbolic, quasi-religious figure, the show ventures into the realm of dark Greek mythology. It’s a weight this little musical cannot bear. What was dark-cute now becomes silly-pretentious as the creators attempt to explain the unexplainable.

The performances stabilize the proceedings and bring some continuity to the material that loses its focus. Laurie Larson offers a steadfast interpretation of the mother who is oddly attached to the Bat Boy. Molly McGrath is able to make the transition from a daughter who despises the Bat Boy to a person who loves him. Eric Shovah, a last minute replacement as the father, understandably plays the Jekyll and Hyde character mostly on the surface. The young ensemble vary in skill levels as individuals but are disciplined as a unit.

The music is intriguing as the score incorporates elements of rock, country, gospel, pop and Broadway without ever feeling derivative. The cast is filled with excellent voices and, except for some acoustical problems out of her control, music director Teresa Fitzmaurice does a good job with the complicated music.

Director Tom Heckert keeps the choppy structure of the play flowing until he too loses his way in the second act. However, throughout the show, he creates some indelible visual effects that will help you remember one of the oddest shows to play at SLOC.

The organization should be applauded for putting "Bat Boy" on its schedule. Unlike the residents of Hope Falls, they trust their audience to accept the unique and the different.