Silliness, in general, is not hard for me to come by: I have a toddler who is, as she declares often, a “silly person.” Still, the very pleasure I take in being silly with my child and her friends reveals to me its rarity in adult public life. Few social situations encourage or even allow unadulterated loopiness. In general, art made for adults tends to abide by this taboo. We get satire, scatological jokes, imitations, and absurdity, but rarely do we get silliness. A new play, Bocking, reminds us that this is a mistake. A wild, sometimes surreal, and ultimately tenderhearted farce that premiered last month at Baltimore Center Stage, Bocking does not suggest at the outset that it will be silly. It does, however, seem interested in provocation. It begins with a pair of glamorously behatted ladies moving through the crowd, thanking theatergoers for “coming to church.” When the show’s action begins, some of it is, indeed, a church service—but as a pastor delivers at the center of the stage a sermon that turns …