Rachel Fitsimmons loves Christmas. But Christmas doesn’t love Rachel Fitsimmons. It’s the day her husband hired a hit man to kill her. It’s the day, a year later, that two of her loved ones get poisoned by champagne. December 25 is a bad time of year for Rachel. Bad, bad, bad.

Here’s the rub: It doesn’t mean to be bad. Sometimes life is just reckless with people — randomly, indifferently reckless. And that, in part, is the point of Craig Lucas’ dark comedy of errors, “Reckless,” which Maine Masque performs this weekend in the Cyrus Pavilion Theater at the University of Maine.

Lucas’ surreal script is the story of Rachel’s rebirth. She is literally pushed into the world by her husband, who hoists her out a window to save her life. From there, she goes on a fantastical journey. She finds refuge in the home of a kind-hearted but wacko couple also fleeing a past. She ends up on a Freudian TV game show called “Your Mother or Your Wife,” leaves a murder scene, moves into a homeless shelter and finally finds redemption — or at least the chance for redemption — in a career in Alaska.

Life has, indeed, been reckless with Rachel, and her struggle to make sense of her own experiences is a universal battle we’ve all fought in one way or another. Lucas’ play is a reminder of the value of self-love, of the quirky coincidences in life and of the necessity for a good sense of humor.

The UM production has been produced entirely without faculty. From director to designer, students have made this lively production come to life, and it shows in the feverish energy of the evening. The pavilion theater is a small space, but it was jam-packed opening night and many hopefuls were turned away.

Director Christopher Snipe, with assistant director Eric Mulligan, have clearly had some chuckles with this script, and you will, too. Often, while the main action takes place on the stage, a live camera is projecting the same events on a screen. At other times, the screen is used to project slide images. Since the action is episodic, there are many scene changes, which are accompanied by dynamite music — rock ‘n’ roll, jazz, Christmas tunes. Sometimes, the music is used in a very facile way, as when Rachel says she needs to get a job and the next moment we hear the oldies tune “Get A Job.”

Often, the directors take that type of obvious route, making their choices somewhat predictable. Indeed, this production has a youthful overlay to it, and it’s tempting to want to see all the actors reconvene in about 10 years when they’ve all matured a bit because they are definitely on the right track. But Lucas’ play is tricky, and really does require the insight of experience to keep it from sinking into sitcom caricature.

There are also minor distractions. In one scene, Rachel mimes using a phone. In another scene, she uses a cordless one. In other words, sometimes the directors’ choices are not entirely clear or consistent.

Kristen Williams plays Rachel as a high-strung housewife. She starts big, so there was no knowing how she might maintain the character for two hours. But she does it. She shows Rachel’s depth and fears, and comes out with a winning performance. Her breathy laughs and over-the-top delivery show her skill as a comedian, but you may find yourself wishing she’d tone down. Her talent is so certain that she doesn’t have to work as hard to prove herself.

Other terrific performances are given by Barrett Hammond and Misty Dawn Jordan as the couple that takes in Rachel after the debacle at home. Cameo appearances by Timothy Simons, Peter Paton and especially Dolora LaPenta show these performers to be both gifted and provocative. Many of the other actors overdo their jobs. More subtlety and less acting might have given this show a stronger rootedness in the script. Humor doesn’t have to be ostentatious.

Still, you can’t beat a student production when it comes to enthusiasm — both in the audience and on stage. Even the stage crew that so capably changes the sets and props has a jolting electricity. Ambitious scenic designer James Beer gives these kids a run for their money, but his surreal set works in a mysteriously impressive fashion — even if a few technical gaffes cause the occasional trip or bump.

You won’t find this type of raw delight in theater anyplace else in town. You also won’t get in the door if you don’t call ahead or show up very early. And you’ll be hard-pressed to find a better piece of writing staged live by total give-it-up theater folks.

Maine Masque will perform “Reckless” at 2 and 7:30 p.m. April 18, and 2 p.m. April 19 in the Cyrus Pavilion Theater at the University of Maine. For tickets, call 581-1755.