Kiki deLohr, left, as Siren, William A. Williams as Cary, and Justin Huertas as Trevor perform a musical number in Oregon Shakespeare Festival's "Lizard Boy."

In “Lizard Boy,” now playing at the Oregon Shakespeare Festival, a lot goes on in a very short period of time.

The production is described as a musical play. It’s actually a musical fable about learning to find one’s personal power and how to love oneself.

The play is brash, dark, loud, frenetic and challenging. It is odd, phantasmagorical and, at times, captivating. To be honest, it can also be repetitive and overly-demonstrative at times. But it is always interesting.

“Lizard Boy” is written as part of the “rite of passage” superhero genre; a young man facing down a monster, a memory, his fears.

The story began in the real life and mind of its creator: playwright, composer and actor Justin Huertas. Huertas grew up inspired by superheroes, and that inspiration exists in every molecule of his work: as the writer of the book, music and lyrics — and as its star.

“Lizard Boy” is experiential. You don’t participate necessarily; you feel it in your bones. If you have experienced trauma, if you have felt rejected or alone, if you have felt different, then this story and song play will probably resonate. It’s a story that suggests that feeling different, if approached from a place of strength rather than weakness, can become a superpower.

For some, this story will be difficult to take in. There are graphic descriptions of a dragon slaying and angry outbursts from a female character that might feel a little too real. Written for young adults — with most of it not that different from depictions one can find in most of today’s superhero movies — it does possess adult themes. There is a suggested lead-in to casual sex, and references to blood spilling, with the outlines of five children, in silhouette, who have witnessed and have been the victims of a dragon’s killing.

“Lizard Boy” could be described as the indie rock musical journey of a young gay man named Trevor who has developed the look of a green lizard, after a slain dragon’s blood has spilled on him, causing him to grow scales. In spite of feeling different, unwanted and totally alone, he decides to take a chance on meeting someone. He downloads the Grindr app, (a gay meet-up site) and within a few minutes is cued into meeting a guy named Cary in his Seattle neighborhood.

It is “Monsterfest” day in Seattle, a day that commemorates a terrifying incident 20 years earlier, when a dragon from Mount St. Helens attacked the area and was slain on the playground of his school, Point Defiance Elementary School. Everyone will be dressed in costume.

Trevor arrives at Cary’s place. The two are instantly attracted to one another and decide to spend time together, until Cary thinks Trevor is wearing a costume. Hurt and defiant, Trevor leaves, when, a woman named Siren, who works in a nightclub Trevor frequents, intervenes. She is like the Sirens described in Greek mythology, and her presence spells big trouble for Trevor.

Trevor has second thoughts about being with Cary, making attempts to reconnect with him on a more meaningful level, but Siren lures Trevor away. It has been 20 years since the last dragon was killed, and as predicted, more dragons will be returning to Seattle on this very day. She insists he has superpowers they will need to repel the dragons.

Trevor tries to ignore her and rejoin Cary. Exasperated, Siren takes Cary hostage. Ultimately, Trevor must fight Siren to save Cary — and fight the dragons to save himself.

There is a large, creative team of designers behind this mini-musical: Steven Tran, music director; L.B. Morse, original production design; Suzu Sakai, scenic designer; Erik Andor, costumes; Brian Tovar, lighting; Kevin Heard, sound; and Katherine Freer, projections designer, just to name a few.

They have created a really magical set that moves with Trevor, Siren and Cary through the neighborhood, past the eerie streetlights and neon signs to the surreal, shadow worlds they inhabit in their minds, where the real dragons dwell.

The three super-talented artists, actors and musicians who make this story come to life are: Justin Huertas as Trevor, Kiki deLohr as Siren, and William A. Williams as Cary.

This is a challenging piece with a running, musical narrative and new songs that are constantly being introduced. All three actors play instruments that include guitar, piano and cello.

Their singing is solid, harmonic and on target. Each song is connected musically to the one before it. There are actually 19 of them, with multiple stanzas and titles like “Another Part of Me” and “Things I Worry About.”

Each song reveals a little more about Trevor’s deep-seated hopes, fears and dreams. At times, it really is an amazing amalgamation of movement, singing, instrument playing, dialog and interpretive song.

You mean it’s not really about dragons?

Well sort of. It is about overcoming trauma — and dragons, with lots of singing in between.