You can find enough weird organ transplants, unscrupulous DNA editing and rogue science experiments in “Dog Man: The Musical” to keep medical ethics panels debating for decades. But I’d argue that in this context, these strange procedures are completely justified: They will also keep young audiences giggling for nearly 90 minutes.

This is, after all, the bizarro world of Dav Pilkey, the author and illustrator of such best-selling graphic novels for children as the Dog Man series and the Captain Underpants books. The producer TheaterWorksUSA and the musical’s writers — Kevin Del Aguila (book and lyrics) and Brad Alexander (score) — have adeptly transferred Mr. Pilkey’s inventive, irreverent and mildly vulgar sensibilities to the Lucille Lortel Theater’s stage. Like “Dog Man: A Tale of Two Kitties,” the book that is its chief inspiration, the show is based on the premise that it is actually the work of fifth-grade boys. And you know fifth-grade boys.

The two here are George ( Forest VanDyke ) and Harold (Dan Rosales), who set out to to turn one of the comic books they’ve written into a musical. The action, portrayed by a capable adult cast, centers on the boys’ hero, Dog Man, who has a human body and a dog’s head.

This odd anatomy is the result of surgeons’ attempts to make the best of an on-the-job disaster that gravely wounded a police officer and his canine companion. (Shades of “RoboCop,” but far less gruesome, though some parents may object that a bomb is involved.) Convincingly played by Brian Owen, Dog Man proves to be a dedicated cop, except for annoying habits like drinking from the toilet and sniffing his colleagues’ behinds.