Remember this one?

A man tells a woman he just lost a million dollars.

She asks, “How?”

He answers, “I asked a rich girl to marry me, and she said no.”

And just to make sure you get the punchline, the woman squeezes a taxi horn and winks at you.

That’s the type of one-liner you’ll hear at “The Gay Nineties Scrapbook,” this year’s spring hoopla of lively music and winsome wisecracks by the “Y” Players.

Led by good-spirited and vigilant musical director Arline Keith, the chorus of eight classy crooners pops the cork on an old-fashioned good time filled with jokes you already know and songs you can sing by heart, but with a warmth, willingness and sparkle that you can’t get just anywhere. Especially for a dollar donation.

Take the first act, for example. “Miss” Delphine O’Brien, a lady of high style, sings “Look for the Silver Lining,” while fancily dressed friends file into her parlor to put the finishing touches on their communal quilt. Gathering to gab as much as to sew, the group gams about matrimony, fashion, and romance, topics which are lead-ins to such popular tunes as “The Old Gray Mare,” “Strolling Through the Park,” and “Meet Me In St. Louis.”

Wearing black boots, a tattered outfit, and a floppy straw hat, and carrying an empty bottle of whiskey in a burlap bag, Angela Phillips recites “The Old Stage Queen,” a story about an aged star’s sweet delusion about lost fame and youth.

Marilyn Hodsdon rides an old Schwinn Racer onto the performing area for a vaudevillian comedy routine, “I Beg Your Pardon,” with Elizabeth Briggs. “Do you like ice skating?” Briggs asks Hodsdon. “I don’t know. I’ve never tried my hand at it,” she answers. Then there’s the punchline (which has to do with feet) and the horn again. Their hearty “jada-jada-jing-jing-jings” are followed by a sing-a-long of “A Bicycle Built for Two.”

The mighty Casey is revived when Phillips, Pam Martin, and Elenor Hinckley read “Casey at the Bat” and “Casey’s Revenge.”

During an “after-dinner romp with the ladies in the parlor,” the women (now in a new set of formal dresses) yuk about jokes and jabs at their husbands. Songs such as “My Last Cigar” and “I’m Afraid to Come Home in the Dark” support their secret discussions about the dubious usefulness of men.

But there’s more to these women than man trouble. “Who has clippings?” one of the ladies calls, and everyone pulls newspaper clippings from their pockets, purses, and corsettes. They discuss Lillian Russell, Grover Cleveland, land costs, and sales at Macy’s, before exploding with the raucous number “It’s the Syme the Whole World Over.” About the lives of women who work in the streets, the number is a hilarious show of humor and daring. Underneath those proper clothes, the women all are wearing bloomers with such terrific touches as black lace, polka dots, and toucans. Can-can clubs should be so lucky.

But before their shaming session ends, the romantic mood is restored with “Daisies Won’t Tell,” a song about the promises of tenderness and fidelity.

O’Brien sings a lovely version of “You Made Me Love You,” and Pam Martin, who’s a little like Mae West and a little like Betty Boop, vamps “Frankie and Johnny.” The solos are a highlight of the show.

The whole crew, including Julie Fish and Maxine Webb, wear mustaches for “The Tonsorial Quartette,” with cornball humor and barbershop harmonies. “Yes, We Have No Bananas,” “Hello Ma Baby,” “The Wang Wang Blues,” and “Bill Bailey” are the upbeat tunes of this act.

Tipping their hats to the old favorites of World War I, the ladies end their show with “A Long, Long Trail Awinding,” “Hinky Dinky,” and a booming rendition of “Over There.”