“Dogfight,” an adaptation of a 1991 film, is a memory play of sorts, framed by one Marine’s return to San Francisco four years after his first tour of duty in Vietnam. Though he’s shell-shocked from his experiences in Southeast Asia, it’s the days between bootcamp and deployment that occupy his mind–and provide the story for this bittersweet musical playing through June 21 at Farmers Alley Theatre.

Eddie Birdlace, played by a wide-eyed Matt Osvog, and his fellow “jarheads” put on the titular dogfight, a cruel competition between them to bring the ugliest date to a dance shortly before they ship out. They’re eager and ecstatic, high on testosterone and adrenaline, destroying anyone who gets in the way of their misguided ideas about masculinity and heroism.

Director Kathy Mulay has built a strong cast. The Marines, all strapping tenors, embody the exuberance and stupidity of youth as well as the unparalleled camaraderie of war buddies. Mulay’s blocking and choreography also enhance this effect. They’re absolutely believable.

As is the pain of the women who are brutalized by their behavior. In fact, it’s the women who give this show its depth. Erica Lustig creates the most complex and dynamic character on stage, albeit a secondary one, with Marcy, and her voice is astounding.

Leading lady Ashley Marie Lewis, also a powerhouse of a singer, plays a compassionate, self-effacing, and smart Rose. Her bourgeoning pacifism and self-possession provide for a convincing character arc. Lewis’s duets, with Lustig in “It’s a Dogfight” and with Osvog in “First Date, Last Night,” make for the loveliest numbers; and “Give Way,” sung, in part, with the ensemble, is the most memorable song of the show.

Lewis and Osvog develop a real relationship despite unavoidable weaknesses in the structure and pacing of Peter Duchan’s book. Their harmonies are a joy, and they create wonderfully awkward and touching moments together.

The music and lyrics by Ben Pasek and Justin Paul, inspired by both folk and surf rock, capture the era with subtlety and go a long way in building what the hasty climax and denouement destroy. And Music Director Catherine A. Walker makes the most of it with excellent singers.

The set, too, helps effectively recreate the feel of 1960s San Francisco while also expanding a small performance space into multiple worlds. Not only does Dave Nofsinger’s turntable stage easily shift from nightclub to ladies room to tattoo parlor, but it also provides creative opportunity for movement.

So much of Rose and Birdlace’s relationship evolves as they walk together through the city, which is created through projected images above the set as well as with lit-up signs. And Lighting Designer Lanford Potts and Sound Designer Les Batts make it all look and sound appealing and seamless.

Though this show lacks the goosebump-inducing quality of other Vietnam-era musicals such as “Hair” and “Miss Saigon,” it’s not for lack of professionalism or quality of performance at Farmers Alley. They do a superior job with this flawed script that raises interesting questions about gender roles, abuse of power, and what it means to look back personally and collectively while also telling a slightly different version of the terrible truth that war victimizes everyone.

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