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When it comes to men behaving badly, American culture has evolved quite a bit in the last 20 years. Howard Korder's "Boys Life," about three college buddies who won't or can't grow up was rather novel when it debuted in 1988. It predated Neil LaBute's tales of nasty males; David Mamet and David Rabe were introducing their foul-mouthed louts, and "Entourage" was years away.

So, on one level, Second Stage's revival smacks of been-there-done-that. On the other hand, Michael Grief's excellent production is ample reason for a second look.

Staged in a series of sketches, Korder follows a restless trio of 20-something friends who are stuck in various stages of arrested development. Jack is their ringleader. The most outwardly conventional looking of the bunch, he is inwardly the least mature and most cynical. Phil, the nerdy one, is the oddball of the trio. And Don, an amiable stoner, reveals the most potential for enlightenment.

We've seen these types in various guises all over the pop culture map but thanks to some finely nuanced performances, the play is quite compelling. Every one in this capable cast molds a character rich with revealing traits. And they handle Korder's comedic and dramatic dialogue with equal flair.

Greif's staging features some clever scene changes with the entire company shuffling mobile trailers containing the various settings all over the stage. Mark Wendland's designs make for an amusing side show.

Korder understands that one measure of a man is his relationship with women. And while not as well developed, the women of "Boys Life" are given ample opportunities to shine. Korder handles the male/female dynamics with a keen eye though you're left yearning for deeper insights.

Jason Biggs expertly fills out the part of a guy who knows he's low in the pecking order. Peter Scanavino displays fine range as Don, the only one of the guys who finally graduates to adulthood, and Rhys Coiro nails Jack's shrewd manipulations, while leaving slight hints that he's not quite as bad as he seems.

"Boys Life" ends on a sobering note in a wedding hall, with Jack, alone, stuffing a piece of cake in his mouth. Symbolic, perhaps, for a play that offers lots of tasty morsels instead of a meal.