The folks at Theater Mitu did a lot of homework for their latest show, “House (or how to lose an orchard in 90 minutes or less)”: A “research bibliography” takes up three tightly spaced pages in the program.

As the title might suggest, the list includes various productions of Chekhov’s “The Cherry Orchard.” The other selections cover a decidedly diverse range, including Disney’s “Bambi”; the 1975 Martha Rosler video “Semiotics of the Kitchen”; Lydia Lunch’s 1980 jazz-punk album “Queen of Siam”; Rachel Whiteread’s Turner Prize-winning sculpture “House”; and a Thrillist article about drinking a gallon of water a day for 30 days. Also listed as a major source — though I could not spot it onstage — is the psychedelic Japanese horror film “House,” which Manohla Dargis, in her review in The New York Times, described as “delirious, deranged, gonzo or just gone, baby, gone.”

None of those words apply to this new “House,” a high-concept, low-reward aggregate of undigested references. Conceived by 11 people, including the 9 actors and the director Rubén Polendo, the show may have been exciting to create — but the experience is less rewarding for viewers.

The general idea is to evoke the changing ideas of house and home — a distinction the show does not make as evocatively, or succinctly, as Burt Bacharach and Hal David did in 1964. The ensemble wear snazzy matching outfits of black pants, mustard-yellow blazers and white rubber boots, and move around and inside of a house in the middle of the stage. The best idea of the evening is that the domestic and public spheres bleed in and out of one another: This particular abode is all frame and no walls. (The cast members Alex Hawthorn, Justin Nestor and Scott Spahr, as well as Mr. Polendo, are credited with “lead architectural install.”)