From the land of the dead, a.k.a. Colma, comes this lively, licentious lovefest by gay indie H. P. Mendoza (Colma: The Musical). Where some Gen XYers go for numbly nuanced studies of speechless twentysomethings, Mendoza embraces an eloquence you might call mumblechoral. Here, profuse verbiage at once poetic and profane conjures a world of articulated dreams, held aloft by sissy-boy synth music. The subject of this serenade is Bethesda (L. A. Renigen), recent arrival from Maryland via Manila, who wants to make it in San Francisco's performance art scene. Her roommates, aspiring artists all, introduce her to the demimonde, where she's branded a “fag hag” in a beat-boosted blur of gay slurs, none of which match Bethesda's unsettled identity. The principal compositions in Mendoza's randy suite are songs of self-definition, whether it's “We Have So Much In Common,” a tribute to sexual versatility; “Speechless,” a mute angst anthem; or “Work in Progress,“ recognizing that identity is provisional. Infectious and unstoppable, Fruit Fly is all a buzz.