Achtung! Citizens, step away from the Calderwood Pavilion if you’re easily offended by campy Nazi accents, transvestite kinder, and tacky Marlene Dietrich numbers!

A tireless and multitalented Ashmont theater artist, author, and star of outrageous underground spoofs has taken Fritz Lang’s 1931 film noir “M” (about a manhunt for a serial child murderer in Berlin) and revamped it as a delirious dramedy on the legitimate stage.

The world premiere of “Ryan Landry’s M” marks the first time a work by a Dorchester playwright has been given a main stage production by Boston’s most prestigious theater organization, the Huntington Theatre Company.

But this latest form of notoriety didn’t tempt this darling of Boston theater critics to forget his roots with Charles “The Mystery of Irma Vep” Ludlam nor with his fans in the Hub and Provincetown who clamor for his raunchy, low-budget, cross-dressing extravaganzas.

Landry is the founder of the Dorchester-based troupe, The Gold Dust Orphans, several of whom live in his Ashmont Hill manse, Sherwood. Together since the mid-90s, they have been concocting an increasingly well-received series of gay-themed parodies of film classics like “Peter Pansy,” “All About Christmas Eve,” “Willy Wanker and the Hershey Highway,” and the Dot-set “A T-Stop Names Denial.”

However, “Ryan Landry’s M” is a different kettle of shticks from the shows the Orphans stage at The Machine in the Fenway and the Crown and Anchor on the Cape. According to the 52-year-old auteur, one of the first Huntington Playwriting Fellows, he facetiously remarked to HTC Artistic Director Peter DuBois that he was toying with doing a stage adaptation of Lang’s “M” with respected Hub actress Karen MacDonald in the Peter Lorre role. Much to his dismay, Dubois loved the idea, and Landry had to muster all his creativity and wit to rise to the ticklish task of turning a thriller on a very touchy subject into a work that would please both the scholarly critics and his desecration-hungry fans.

Landry tempers the horrors with M with a 1930s-style romantic comedy featuring Pirandellian characters rebelling against their ineffectual fuehrers: the playwright and director. The dialogue is peppered with fast-flying double entendres for the smutty-minded, and the production, helmed by Caitlin Lowans, features a barrage of retro cinematic effects, including Garrett Herzing’s projections and Deb Sullivan’s lights.

Though “M” was much more of a solo effort than his previous Orphans collaborations, Landry managed to include his husband Scott Martino as costume designer, and Orphans stars David Drake and Larry Coen, the latter turning in the show’s most deliciously demented characterizations.

Pity Karen MacDonald, saddled with a role that’s the antithesis of that of the drag queen who struts and coerces the audience’s attention: This strange title role requires skulking in shadows and shying away from attention, and hardly any dialogue.

This 90-minute intermission-less romp has an off-the-wall, violent-gear-shifting immediacy, and breathless pace that leave little time to ponder the ontological ironies the script raises.

Still “Ryan Landry’s M” earns an “A” for mind-blowing ingenuity, if a lesser grade for overall theatrical experience. While a visit to the loony spectacle at the Calderwood is well worth the trip, playgoers hankering for total-immersion Orphans phantasmagoria are advised to buy tickets – aber schnell! – for “Pornocchio,” which runs weekends April 26th through May 26th at The Machine.