Emerson Collins plays a Barbra Streisand-mall employee in the hilarious “Buyer & Cellar.” (photo courtesy of Emerson Collins)

I’m not going to call myself a Barbra Streisand expert, but I have listened to (almost) her entire autobiography, I’ve seen most of the big movies and I own most of her albums. Also, I’m the captain of a (winning) bowling team called, “Barbra Strikesand.” So, at the very least, I’m a fan.

When I found out that Streisand-centric “Buyer & Cellar” was back with another production in Los Angeles, I had to go. Written by Jonathan Tolins, the one-man, off-Broadway show has amassed a cult following since its 2013 premiere, with Michael Urie performing. For the smaller-scale version this time around, Emerson Collins (no relation) has taken on the role.

It is a gargantuan task to perform the play, which requires its lead to move across a few sets and a number of characters, all while breathlessly reciting complex, punchline-filled dialogue. I’m here to say that this production is, in a word, hilarious.

At the intimate Whitefire Theatre on Ventura Boulevard, Collins manages to capture the audience with his infectious personality, waltzing onto the stage after the opening strains of “The Way We Were” set the scene.

He plays Alex, a down-on-his-luck actor who takes a job in Malibu at Streisand’s estate, serving as the manager of her home’s underground mall. You read that correctly, and this part is true. Streisand has an underground mall – or, at least, the basement of her house is arranged to look like an old-time shopping center, with “stores” filled with antique collections, doll collections, costume collections, etc., etc. It’s real. It’s amazing and insane. We love it. We love her. Google it.

In a single act, Alex relays to us the story of his tenure as Babs’ employee and, later, something of a “friend.” Through copious laughs, the audience is asked to ponder: is being a celebrity a lonely existence? How does someone hugely successful deal with, or even run from, their issues? Do we ever get over our insecurities?

Now, a fair warning, having some passing knowledge of Barbra is going to help you through this show. I’d recommend at least watching “Funny Girl.” There are also a ton of references to classic Hollywood and Broadway, many of which are deep cuts, and – being that the play was written in 2013 – Barbra, the character that is, is talking about Sen. Barbara Boxer (D-Calif.) and finally making a film adaptation of “Gypsy” with her as Mama Rose. Boxer has retired, and “Gypsy” isn’t going to happen – at least with Barbra.

Let me say this clearly and loudly: the work is fiction. This is simply Tolins’ imagination, conjuring up an image of what Streisand and her inner-workings might be like. But the core of the piece has an emotional honesty that makes it ring true – and as Barbra says, both as a character in the play and in the forward of her memoir – truth is of the upmost importance.

But this is a one-man show, and ultimately that – especially in a stripped back production – is how a show lives or dies. Collins knocks it out of the park. He measures his speed expertly, knowing just when to slow down to let the audience take something in, and when to accelerate to manipulate them into feeling as caught up as his character. While he doesn’t do impressions necessarily, he relates the Barbra dialogue in a way that, again, feels true. The side characters he describes get their own unique quirks that make the story Alex is relating feel real, lived-in.

The play closes Nov. 10, with shows on Nov. 8 at 8 p.m. and Nov. 10 at 7 p.m. Do yourself a favor and let these be memories that light the corner of your mind. Don’t let anything rain on your parade on the way. Enough is enough.

See what I did there?

Just go see it. Tickets and information are available at the6thact.com. The Whitefire Theatre is located at 13500 Venture Blvd.