“Only ten years more,” sing those rebellious French kids who are still getting dizzy going around in circles eight times a week. And that weird Frenchman behind the mask (the octave-spanning James Donegan) is still whispering those high notes despite the legendary belter Ethel Merman’s (channeled to perfection by the formidably coiffed Valerie Fagan) attempt to help him with “Sing out Louise,” in the new edition of Forbidden Broadway: Rude Awakening? Yes, there is something about these French that keep bringing back customers year after year after year. The same can be said for creator-writer-director Gerard Allessandrini’s current Forbidden Broadway-ers, Jared Bradshaw, Janet Dickinson, James Donegan and Valerie Fagan, who are celebrating the satirical revue’s 25^th anniversary with this latest and possibly best edition.

Brace yourself for a fresh perspective on Spring Awakening, in which the versatile cast essentially decimates the award-winning musical’s plot, score, libretto, and choreography. It takes about the same amount of time for a klutzy David Hyde Pierce, as captured to perfection by Bradshaw, to get through “Slow People,” an hilariously unkind response to “Show People,” from Curtains . Of course, being unkind is the name of the game, even at the expense of a terrific performer Beth Leavel (Dickinson), who takes the brunt of the performers’ condescension as The Lousy Chaperone.

If Spring Awakening “sounds like a nice Easter Pageant,” they tell us the awful truth with their concerted opinion of it through a Cole Porter melody, “It’ s demented, its depressing, it’s disgusting, it’s delovely.” But if you think those rebellious German kids take it on the chin, poor English nanny Mary Poppins (Fagin) remains upbeat and stoic despite being demolished by being “ practically putrid in every way.” As cleverly observed by Allesandrini, all the musicals under fire are delightfully reduced to their fundamentals. The sparsely produced revival of Company gets the snub from Donegan as the hyper intense Raul Esparza, all the while a marching-singing trio blasts away discordantly on their brass instruments.

Perhaps the most on-target, but also most adoring assault on a diva is by Dickinson who, squeezed into a riotously red body-hugging garment, exactingly personifies Christine Ebersole as that eccentric Grey Gardens recluse. While every musical gets the one-two punch, the three-part epic The Coast of Utopia as represented by Donegan as Brian F. O’Byrne leads a spoof on the dumbing of Broadway, in which Spamalot, Grease, Mama Mia and Xanadu (Bradshaw on skates) get duly trashed.

The soon-to-open but drenched by the out-of-town critics The Little Mermaid has its fish-tailed star (Dickinson) trying to move without the use of her legs. Otherwise, there is constant movement, an invigorating momentum and a plenty of witty musical ditties. First class impersonating, singing, and comical prowess make this edition one not to miss. Even between the laughs generated by the performers and their written material, you will be sure to laugh at the creative use of all sorts of material as executed on the cheap by costume designer Alvin Colt.

Except for the shimmering Mylar curtain and Steve Saari at the on-stage piano, set designer Megan K. Halpern keeps the stage open for more rude awakenings than you can shake a baton at in a little under two hours. The lighting by Marc Janowitz keeps everyone, including the Jersey Boys (“Walk like a man, sing like a girl”) and Fagan, as Idina Menzel (“the loudest witch in town”) in the glow of the great white way.

Forbidden Broadway

The 47^th Street Theater, between 8 ^th & 9^th Avenue