Nothing lends itself to parody quite like Wagner’s “Ring” cycle, rife as it is with craziness involving Rhine maidens, an ugly dwarf, head god Wotan, two giants, the singing Valkyrie sisters and a totally incomprehensible plot so dense it takes four operas to explain.

Now, much like Sister Mary Ignatius, the Theatre in Old Town distills the story down to one country western extravaganza called Das Barbecü, directed by Paula Kalustian and playing an open-ended run at the Theatre in Old Town.

“There’s a ring of gold in Texas,” they sing, and it’s “been bouncin’ from fool to crook and back again for centuries.” This is the same ring everybody’s chasing in the operas, moved to the Lone Star State, where much of the action takes place on Rancho Gibich.

The basic characters are here: handsome but dim hero Siegfried; Brünnhilde, his intended, who has spent the last 20 years sleeping on a fire-ringed rock (don’t ask); Gutrune, whose designs on Siegfried are sneaky and anything but subtle; Wotan, father of Brünnhilde and grandfather of Siegfried (but they don’t know they’re related).

Still with me?

Lyricist Jim Luigs and composer Scott Warrender have created a high-energy down-home score that is sometimes clever, often funny, with a combination of poignant ballads and foot-stompin’, upbeat songs, including even the Johnny Cash-like “River of Fire.”

Five talented actors/quick-change artists play 30 roles. Alison Bretches serves as narrator, periodically bringing the audience up to snuff on the plot. Bretches also plays Wotan’s wife, Frika, cluing us in that this is not a perfect marriage with, “When will I ever get the hang/of this man and woman thang?”

Steve Anthony, who spoiled us with his terrific dancing in Too Old for the Chorus, But Not Too Old to Be A Star, doesn’t dance enough to suit me, but does very well by Wotan and his other four roles.

Nick Spear has a great time playing both “square-headed, air-headed” hero Siegfried and evil dwarf Alberich (“he’s so infinitesimal/they have to use a decimal”), along with three other characters.

Rebecca Spear, who gets to wear an absurd short wedding dress and boots for most of the show, is a hoot as Gutrune (“I’m a fool in too much tulle”) and almost as much fun as the big-haired (and I do mean big) wedding guest Y-Vonne Duvall, a Rivermaiden, a Valkyrie and several other roles.

Jenn Grinels has only four roles, but one is bride-to-be Brünnhilde, who is Siegfried’s aunt. As such she’s onstage most of the time. She’s great, and gets to sing the best song – the lovely ballad “Country Fair.”

Das Barbecü makes use of nearly every available inch of space in the theater, with actors coming through the audience, across the back, down the side aisles, even serving chips and guacamole. Interactive theater, that’s what it is. It’s a silly show, but fun.

Sadly, Das Barbecü is Miracle Productions’ last show in this space. After 14 years, the state has put the theater out to bid, much like it did the Bazaar del Mundo. The state’s requirements are such that Miracle Productions did not submit a bid. So come out and say goodbye to an era.

Das Barbecü plays an open-ended run at the Theatre in Old Town. Shows Tuesday through Thursday at 7:30 p.m. and Friday and Saturday at 8:00 p.m., with matinees Wednesday at 2:00 p.m. and Saturday and Sunday at 3:00 p.m. For tickets, call (619) 688-2494 or visit www.theatreinoldtown.com.

Love, war, honor, responsibility and the oracle Calchas’ pronouncements lead Agamemnon (Ruff Yeager), king of Greece and commander of the Greek army, to undertake the most famous and horrific act in Greek mythology: the sacrifice of his young daughter, Iphigenia (Michelle Cabinian).

Euripides’ last play, Iphigenia at Aulis, is on the 6th@Penn Theatre stage through Aug. 6, directed by Douglas Lay.

Agamemnon has agreed to lead the rescue of his brother Menelaus’ wife, Helen, who was abducted (or seduced) and taken to Troy by Paris. The fleet is becalmed at Aulis, and Calchas has said all will go well if the king’s oldest daughter is sacrificed. Agamemnon has sent word to his wife, Clytemnestra (Robin Christ), to bring the girl to Aulis, under pretext that she will there wed the war hero Achilles (Giancarlo Ruiz).

Lay has set the play in modern dress – soldiers in fatigues, Clytemnestra in a crisp business suit and heels. And when Clytemnestra arrives, her entourage includes four suits in shades carrying four blood-red suitcases and a wedding dress.

But he also maintains the traditional Greek chorus. These five ladies, covered at first in black, later drop the drapes to reveal modern black clothing while they sing their lines in Andrews Sisters harmony written by Leigh Scarritt.

This story has drama to spare: Agamemnon’s agony at what is he about to do (and his futile attempt to stop it); Clytemnestra’s excitement at the prospect of Iphigenia’s wedding turning to fury when she learns of the plan; Achilles’ anger at being left out of the loop (“I’ve been insulted. That’s serious,” he says); and Iphigenia’s initial plea for her life, which turns into noble acceptance of her fate (“I am ready to die. I will no longer do anything that is not worthy of me”), inspiring Achilles’ admiration and the pledge to keep Agamemnon from performing the deed if she but gives the word.

Euripides may not have finished Iphigenia at Aulis (at any rate, it was first presented posthumously), and translator Marianne McDonald says actors through the ages have added lines. Somewhere along the way a spurious happy ending was tacked on as well; it is not used here. Instead, inexorable fate grinds to its bloody offstage fulfillment.

Set designer Vincent Sneddon contributes the most inclusive staging seen here. Every wall – even the lobby – is draped in jute mesh (landscaping material) laboriously painted rope color and fireproofed. The stage is evocative and wonderful – a seashore scene with Agamemnon’s lean-to on one side and rocks on the other.

Terrific performances bring this awful story to life. Yeager’s tortured Agamemnon plays well off Rhys Greene’s less emotional, greedier Menelaus, willing to sacrifice Agamemnon’s child to get Helen back. Christ’s Clytemnestra is the universal mother – bubbly ebullience turning to rage and later despair as she watches her husband carry out his betrayal.

Even Ruiz’ pretty-boy warrior Achilles (though less lovely in camouflage makeup) shows some humanity when he is moved by the young victim. Cabinian is an absolute heartbreaker as the sacrificial lamb.

Euripides wrote often about the futility of war and of the shame that those most hurt are women and children. Not much has changed since then.

Iphigenia at Aulis is one of the best productions I’ve seen at 6th@Penn. Don’t miss it.

Iphigenia at Aulis plays through Aug. 6 at 6th@Penn Theatre. Shows Thursday through Saturday at 8:00 p.m. and Sunday at 2:00 p.m. For tickets, call (619) 688-9210 or visit www.6thatpenn.com.