A FEW weeks ago The New York Times reported that the sexually frank 1974 musical revue “Let My People Come” will be revived this winter for eight Fridays at the Underground, a bar just south of Columbia University. According to the producer, John Forslund, the original lyrics and sketches will be revised and updated, and while the revival will feature “far less nudity than the original,” there will still be ample opportunity to see cast members, both male and female, in the buff.

“My People” will turn 39 in January, and yet this will be the first time it has run in New York since the mid-1970s, when it was one of the hottest, most talked-about live entertainments you’ve never heard of. While the revue never took its place in the musical theater canon in quite the same way as “Oklahoma!” or “Cats,” it played to full houses at the Village Gate from 1974 to 1976.

I’m eager to find out how it will play to a city — and a culture — that is vastly different than the one its performers encountered four decades ago.

Bluntly subtitled “A Sexual Musical,” the show was conceived as a response to “Oh! Calcutta!,” which had opened to tepid reviews (and enormous commercial success) on Broadway in 1969. Earl Wilson Jr., the writer-composer, and Phil Oesterman, the director, believed that “Oh! Calcutta!” was horribly out of touch in its self-congratulatory smugness and its exclusively heterosexual approach to sexuality.