Taylor Mac and Mandy Patinkin

Or, should I say, from the water up. The conceit of The Last Two People is that a flood of biblical proportions has left two Beckett-like survivors who find each other in a decrepit theater. The younger one (Mac) arrives in an inflatable orange raft and encounters the older one (Patinkin) hiding inside a steamer trunk on the stage. Although at first distrustful of one another, they discover their common language is song and dance, and their common need is basic human companionship. With nary a spoken word, the odd couple sings and trips the light fantastic to share their memories and hopes about life on the now-ravaged planet. There is a political subtext that climate change caused the great flood, and a few of the songs are mildly polemical, but at its heart, this is a comedy that aims to entertain.

The major strengths of The Last Two People are the vocal and comedy chops of these two accomplished performers. The beauty, range and power of Patinkin's voice are no surprise, but this is my first rodeo with Mac and I fell in love with his instrument, as well. Together, they create a magical sound, whether crooning or belting, an impressive feat considering the eclectic array of musical numbers. The musical journey begins with Irving Berlin, followed by fellow Broadway composers including Jerry Herman, Rodgers & Hammerstein, Stephen Sondheim and Cy Coleman/Carolyn Leigh. Pop artists featured range from Freddie Mercury to The Pogues to Randy Newman, and folkies are well-represented by Patty Griffin, Gillian Welch and Paul Simon. Throw in a couple of originals by Mac, one by the uncategorizable Tom Waits, one from the Gilbert and Sullivan canon, and every grade school child's favorite patriotic tune ("My Country, 'Tis of Thee"), and most of the musical bases are covered.

Neither man is a dancer, but who wouldn't benefit from lessons from Stroman. Mac is endlessly energetic and has a joyous spring in his step, while Patinkin oozes panache, and they valiantly sell the choreographer's vaudeville combinations. There are flashes of Bill Irwin, Steve Martin and, perhaps due to the dusty bowler hats and tails they're wearing, even Judy Garland and Fred Astaire as a couple of swells in Easter Parade. In fact, one of the delights of this show is the number of mental flashbacks it evokes with its procession of hits; another is the ability of Ford's small band (Ford on piano, Grant Sturiale on keyboard, James Mack on drums) to provide accompaniment that feels quite large.

The design team is also a quartet of all-stars with countless awards to their credit. Beowulf Boritt's set features a worse-for-the-wear proscenium arch and a billowing backdrop. Lighting designer Ken Billington provides a masterful strobe display, and collaborates with sound designer Daniel J. Gerhard for a couple of powerful thunder and lightning events. Costumes by William Ivey Long look like classic vaudeville outfits, but feature a few surprises. Jason Brouillard is the production stage manager who keeps his head in the eye of the storm.

The Last Two People on Earth: An Apocalyptic Vaudeville is performed without intermission in approximately 80 minutes, and the length feels just about right, considering the flimsiness of the storyline. It is evident that the songs have been selected for their relationship to the underlying theme that it's the end of the world as we know it, and Mac and Patinkin are supremely able to convey with their singing and pantomime all of the emotions roiling inside their characters. Most importantly, their connection to each other is authentic and, in the end, achingly endearing. Perhaps there is hope for humankind after all.

The Last Two People on Earth: An Apocalyptic Vaudeville, performances through May 31, 2015, at American Repertory Theater, Loeb Drama Center, 64 Brattle Street, Cambridge, MA; Box Office 617-547-8300 or www.americanrepertorytheater.org.

Conceived by Paul Ford, Taylor Mac, Mandy Patinkin, Susan Stroman; Direction & Choreography by Susan Stroman; Music Direction, Arrangements & Orchestrations by Paul Ford; Scenic Design, Beowulf Boritt; Costume Design,William Ivey Long; Lighting Design, Ken Billington; Sound Design, Daniel J. Gerhard; Production Stage Manager, Jason Brouillard; Music & Lyrics by Peter Allen, Thomas Haynes Bayly, Irving Berlin, Gayle Caldwell, Cy Coleman/Carolyn Leigh, Vinicius De Moraes/Baden Powell, W.S. Gilbert/Arthur Sullivan, Patty Griffin, E.Y. Harburg/Burton Lane, Jerry Herman, Eddie Lawrence, Taylor Mac, Freddie Mercury, George W. Meyer/Sam Lewis/Joe Young, Randy Newman, The Pogues/Jem Finer/Shane McGowan, R.E.M., Richard Rodgers/Oscar Hammerstein II, Harry Ruby/Bert Kalmar, Paul Simon, Samuel Francis Smith, Stephen Sondheim, James Van Heusen/Sammy Cahn, Tom Waits, Gillian Welch

Photo: Gretjen Helene/A.R.T.