However, their script and director Tom Quinn allow only for the broadest interpretation of pre-Internet heteromance, and by "broadest interpretation," I mean nagging mothers wearing early-'60s-era head scarves and a male golfer wearing an honest-to-goodness tam-o'-shanter with plaid pants.
And DiPietro and Roberts aren't even entirely successful at staying on topic.
Roberts' tunes, which adopt every musical style at his disposal, have an irritating tendency to meander without reason far from their starting point, rarely to return.
DiPietro's book follows the heaviest-trodden male/female stereotypes, except when it gets distracted, as in the song "Waiting Trio," during which men like watching sports (but women don't), women like shopping (but men don't), and also there's a long line for the ladies' room.
Even Justin Couchara's set gets it wrong, with platforms covered by black-lined, geometric Piet Mondrian-style designs filled in with tertiary rather than primary colors. Certainly, the bluntness of pure neoplasticism makes a better fit for this unnatural melange. But as a metaphor for the whole effort, it's honest enough.
I Love You, You're Perfect, Now Change! resembles human relationships only in that it is performed by human women and men. I don't need realism, but even the most basic humor theorist acknowledges that for comedy to work, mere recognition isn't enough; laughs require an element of surprise, and the only surprise here is that so many people have been duped for so long by this show and its ilk.
I Love You, You’re Perfect, Now Change!
Through April 28 at Montgomery Theater, 124 Main St., Souderton. Tickets: $34. 215-723-9984, www.montgomerytheater.org.