Let’s face it: almost everything about the 1980s is better when we’re making fun of it.

The narrator of “Rock of Ages” describes the Reagan Era as “a sexier time” and L.A.’s infamous Sunset Strip as “a majestic acid-washed epicenter.” And that’s exactly where the delightfully silly show, currently at The Barn Theatre, takes us.

It’s a place where both men and women wear big hair, bold make up, glittery animal print clothes and high-waisted denim of all varieties. They drink wine- coolers and describe things as “rad” without irony.

It’s surprising how well the cheesy glam-rock radio hits work in this jukebox musical, in no small part because of the audience’s nostalgia for the songs. Even those of us who were too cool for Whitesnake, REO Speedwagon, and Quiet Riot can’t help but sing along to the anthem rock of our youth in the right context. (Just try not to be in awe of how Poison’s “Every Rose Has its Thorn” sounds as a big musical number with harmonizing coming from the house as well as the stage.)

And then, of course, there are the audience members who show up wearing mullets and pink leggings–Rocky Horror Show style. Don’t even try to tell them the music’s not great.

The point is that it doesn’t really matter. In this wonderful production, the music transports us, sounds better than we remember and is terrifically fun. The incredibly thin plot also doesn’t really matter. What matters is that this show is full of hilarious, dynamic characters performed by actors who are so committed, they utterly pull us into this ridiculous parody and leave us wanting more. (Bonus: there’s a cabaret show afterwards.)

“Rock of Ages” opened on Broadway in 2009, ran for more than five years, was nominated for five Tony Awards and adapted for a 2012 film. It tells the story of Drew, just a city boy born and raised in south Detroit, a busboy at a famous metal club who wants to rock and is waiting for a girl like Sherrie, oh Sherrie, an aspiring actress, just a small-town girl living in a lonely world. They both want to know what love is and, you guessed it, are on their way to finding it in each other, though it’s nearly thwarted by an egomaniacal rocker, some lap dances and a couple of German developers aiming to take down the Bourbon Room.

Michael Tuck plays an earnest Drew and has an excellent piercing rock voice that isn’t overly polished. He shines especially in “Waiting for a Girl Like You” and performs terrific duets with Julie Grisham as Sherrie. She has a sweet strong voice and palpable chemistry with Tuck. She also has electric chemistry with Jamey Grisham who just about brings down the house as megalomaniac Stacee Jaxx every time he appears on stage; his rendition of Bon Jovi’s “Wanted Dead or Alive,” though, is especially hilarious and oddly erotic. Penelope Alex rocks it as Justice, the Gentlemen’s Club owner and “mother to many a lost soul.”

Comedic highlights include Hans Friedrichs as Franz and Kasady Kwiatkowska as Regina in spandex leotards and leg warmers doing a very aerobic rendition of “Hit Me With Your Best Shot” and Eric Parker as Dennis, the Bourbon Room pothead owner, and Kevin Robert White as Puck-like narrator Lonny in “Can’t Fight This Feeling,” a homoerotic duel of mullets complete with ballet lifts.

The four-piece band led by musical director Matt Shabala, though mostly hidden beneath Shy Iverson’s wonderfully functional multi-tiered set with dozens of stairs, performs many of the familiar hits better than the originals. Hans Friedrichs’ costumes are perfectly wild and wonderful, and Jamey Grisham’s choreography has just the right amount of air-guitar. And credit must be given to Rowan Renstrom-Richards for the exceptionally big hair.

Director Brendan Ragotzy has done it again. With an ideal cast and crew and a clever sense of humor, he has shown that The Barn is the place for big, fun, excellent rock musicals.