Two actors do all the work in play ’Love Child’

(AP) NEW YORK - Families of all kinds _ biological, theatrical and even ancient Greek _ are lovingly lampooned by two Broadway veterans in the zany farce "Love Child."

Still one of the funniest plays-about-a-play that you’ll see, "Love Child" has resurfaced at the off-Broadway New World Stages, following a successful New York premiere a year ago at Primary Stages.

Two gifted actors, Daniel Jenkins and Robert Stanton, who also co-wrote the script, portray a dozen male and female characters interacting in swift rotation. But their combined talent transcends gimmickry, as they create multiple believable personalities despite a hectic pace, often-riotous physical comedy and dialogue peppered with puns and zingers.

Neurotic, generally unsuccessful playwright Joel (Jenkins) deals with backstage opening night jitters for his latest play, an obscure Greek tragedy performing in a former sausage factory. Things go from nerve-racking to worse when Joel discovers his bossy mother, Ethel (Stanton), and outspoken Aunt Kay (Jenkins again), sitting in the front row.

Using six chairs lined up across the stage, as well as the audience area, the duo race around in madcap fashion, simulating flashbacks to past events as well as the current opening night. They often create the impression of many more people onstage simultaneously than just the two of them.

Jenkins and Stanton work wonders with their versatility, skill and timing. There are no costume changes or props to help keep the characters straight. The actors spin around to indicate a character change, providing unique accents and mannerisms for each. They gyrate madly from chair to chair in backstage dressing room scenes, adroitly portraying several characters having overlapping conversations.

And they can sing, too, performing charming musical numbers that help everyone pause to catch their breath.

Stanton remains one of the few actors who almost steals scenes from himself. His rapping Latina diva, Ernestina, has a hilarious scene with Larry, another Stanton character, and it really seems like both of them are onstage together.

Director Carl Forsman balances the roller-coaster emotions with deft pacing. The dysfunctional fun increases exponentially as events threaten to careen out of control and sink Joel’s opening night. Finally, both modern and Greek plays interweave in an age-old story of love, jealousy, and deceit as Joel learns some long-kept family secrets.

"Love Child" runs through Jan. 3.

___

On the Net:

http://www.newworldstages.com