It’s your everyday feel-good cowboy plot. Man falls in love with out-of-towner in the old west. Peaceful ranch is invaded by evil-doer. Courageous cowboy saves pregnant, punk-rock girlfriend from psychotic, Ukrainian motorcycle gangster.

Okay, so maybe this isn’t the typical John Wayne western.

This confusing premise will be explained when State West Theater Company performs “Flaming Guns of the Purple Sage” in the Civic Center’s Stoner Theater, 221 Walnut St., Des Moines.

Mark Maddy, who plays Rob Bob Silverado, the protagonist of the production, says it’s nearly impossible to explain what this play actually is, but the attitude and zaniness can certainly be anticipated.

“Nothing’s sacred,” Maddy says. “It’s entertainment for shock value.”

Maddy says the characters are intentionally stereotypical in respect for the mixed genres.

“It turns from shoot-out at the OK Corral to slash ’em up horror film,” Maddy says.

The story takes a turn off the trodden path when it exchanges the mundane for the absurd.

“Normally in the cowboy genre, you don’t really see people die, or it’s not a very violent death,” says Thomas Perrine, the show’s director. “Whereas in the slasher films, it is usually a graphic death, and they come back to life … several times. That’s where the story takes that huge turn.”

The transition from chivalrous cowboy entertainment to a ludicrous bloodbath is anything but smooth.

“The cowboys see everything as being very black and white,” says Christopher Young, who plays Memphis Donnie Pride. “Then in comes the wild, immoral punked-out girl.”

Ron Lambert, producer and artistic director, says “Flaming Guns of the Purple Sage” is not meant for a family audience.

“Not everything we do here is controversial or has adult language or nudity,” Lambert says. “But this is not a children’s theater.”

Lambert says “Flaming Guns of the Purple Sage” will kick off the theatrical season on a light-hearted note, instead of the serious nature many shows have.

“We’ve got all these discussions going on right now,” he says. “Prewar, postwar, recalls, elections — let’s just laugh about something once in awhile.”

“It’s escapist entertainment,” Maddy adds. “It doesn’t ask the audience any burning social questions.”

Although Lambert and Maddy say their play has absolutely no socially redeeming value, Perrine disagrees. A good example is the reactions Black Dog receives partially due to his ethnicity.

“Any time you have a man shooting at another man because he has an accent, that’s a social commentary.” Perrine says. “Through the laughter, people will see the seriousness of ‘shoot first, ask questions later.'”

Whether viewers contemplate its social implications or not, the audience is sure to have a unique experience.

“It’s hard to explain what it is,” Maddy says. “Other than — you’ll laugh, you’ll cry, you’ll get splattered with blood and walk out after an hour and a half saying to yourself, ‘I don’t know what I just saw, but I sure enjoyed it.'”