Dylan Mulvaney has chosen an obviously ironic title for her extravagantly staged solo show about her viral life story as a targeted trans social media celebrity. But she also exudes an innate sincerity. Beneath all the campy scenes and quirky original songs, she lets us know that all she ever wanted was for everybody to like her; she certainly never meant to become so notorious.

 Having gained a massive following on TikTok with her “Days of Girlhood” series, a daily chronicle of her transgender transition over the course of a year,  Mulvaney became famous enough to interview President Biden in the White House and to promote several national products as a brand ambassador.  But like a social media Helen of Troy, her face on a can of Bud Light launched a thousand attacks. Although her single promotional video for the beer on Instagram is no longer than a minute, it provoked a sustained red state boycott that “single handedly collapsed a multibillion-dollar beer company,” as she puts it in her show. This is a bit of an exaggeration, but both sales and stock price did drop precipitously.

 “The Least Problematic Woman in the World” leans ironically into her newfound notoriety from the get-go, with Mulvaney appearing as an angel, complete with huge white wings, requesting in song that God give her a break for her next human incarnation, considering her past:

First off in Eden I was Eve and caused original sin
After that I got my head chopped off as Anne Boleyn
Spent the 30s with my husband Clyde on a heist
Then I was Head of Health and Safety at Chernobyl (Christ!)
I’ve been Bin Laden’s therapist, Hitler’s mom
I rejected Jeffrey Dahmer when he asked me to prom

That first song is one of the several written for the show by first-rate songwriters — composers and lyricists behind  the Broadway musicals “Six” and “The Notebook,” the movie  “K-pop Demon Hunters,” and the concept album “The Unofficial Bridgerton Musical.” There are also cameos on video by the likes of Rosie O’Donnell and such trans celebrities as Peppermint. It feels as if an entire community is on stage at the Lucille Lortel to show their solidarity.

But Mulvaney does the heavy lifting, portraying himself and herself, and many other characters in her life, some (in extensive makeup) on the video monitors placed around the busy set, but also in quick-change, often over-the-top costumes . The play is more or less a chronological narrative of her life, but most episodes are presented within a fanciful frame. We learn that little Dylan thought from the age of four that God had made a mistake  in putting her into a boy’s body, but she tells this to a doctor who works at Costco (portrayed by an unrecognizable Mulvaney on a video monitor), and he prescribes for the child “Twink” and “Catholic guilt.” Dylan’s arguments with his religious mother Debbie are framed as a literal wrestling match. Dylan’s journey from gay teenager to non-binary young adult to transgender woman is presented as a literal ride on the “Transatlantic Trainline.” She enlists different members of the audience to read the roles of, first a straight male classmate with whom Dylan had a dalliance when still in a male body, and then of a gay male stranger when Dylan has first transitioned who tells her (reading from the script supplied to him): “God, you’re hot, I wish I was straight! ” — which delights Dylan, because it means he’s one of the first to see her as a woman.

The account of the unwanted publicity and harassment that Mulvaney calls “Beergate” comes closest to straightforward, which is not very close at all, until we hear an (allegedly) actual phone call between Dylan and her mother Debbie in the aftermath. (At one moment, Debbie is supportive: “I’ve been worried sick watching the news.” At another: “you have been wildly vocal when it comes to pushing your agenda….I don’t think I speak just for myself when I say it’s a bit much.”)

There are some moments of genuine reflection in “The Least Problematic Woman in the World,” though not enough of them. The show was called “Faghag” when it originated last year at (where else?) the Edinburgh Festival Fringe, but the new title is a better fit, since Mulvaney mostly works hard to charm and amuse and entertain us. Much of it lands. It helps that she’s willing to make fun of herself, such as the final song of self-acceptance. It is supposed to be a stirring anthem with a refrain that the audience is asked to sing along with repeatedly. But it is almost impossible to sing, even when the words are projected on the screen with an old-fashioned sing-along dot riding along the top:

“I am a woman put into a gay mans body who was born a man but was actually supposed to be a woman even though she was a man who is gay but is still a woman who is straight but also sometimes gay I Am A Woman”

The Least Problematic Woman in the World
Lucille Lortel Theater through October 19
Running time: 90 minutes no intermission
Tickets: $38 – $68
Written by and starring Dylan Mulvaney
Directed by Tim Jackson
Scenic design by Tom Rogers, costume design by Enver Chakartash, lighting design by Cha See, sound design by Justin Chasiw, hair design Carole Hancock, production props Andrew Diaz, original songs by Abigail Barlow, Toby Marlow and Lucy Moss, Ingrid Michaelson, Mark Sonnenblick.