BD Wong Photo by Craig Schwartz

He is the only actor to win all of the big four awards - the Tony, Drama Desk, Outer Critics Circle and Theater World - for one performance. His 1988 portrayal of Song Liling, in M. Butterfly marked his Broadway debut and made San Francisco native, BD Wong, a theatrical household name.

These days, you can catch him on TV in Law and Order: SVU, but much more important, you can see him in person on the La Jolla Playhouse Potiker Theatre stage in the one-actor show, Herringbone. Portraying a host of different characters in Tom Cone's musical theatrical demands an actor of Wong's stature, and it's not hard to figure out why he would welcome such a challenge.

Unfortunately, the play doesn't live up to him. Skip Kennon's music ranges from sort of lively to rather bland, Darren Lee's choreography never gets beyond just nice and, except for a few numbers, Ellen Fitzhugh's lyrics fail to inspire imagination.

It's still a good enough production, however, thanks to Roger Rees' skillful direction, Wong and the onstage musicians, and it has some worthy scenes and moments.

The story focuses on eight-year-old George, whose Southern parents have dreams of his stardom and their resulting financial liberation. Caught in the Depression, father Arthur and mother Louise apprentice their only child to vaudeville veteran Nathan Mosley. His late and vengeful dance partner, Lou, possesses George's body and the kid becomes a tap dancing wonder, touring the country with the family in tow. Lou's increasingly evident evil nature threatens to consume George, who finds the courage to fight for his body and mind.

The tale is told through the narrator, Herringbone, who sets the scene with the opening number (reprised at the end), "One of Those Years." It should be a grabber, but it's too drifty and not at all hummable, making a lackluster introduction.

Much better, quite delightful and charming, is the second song, "Not President, Please" where George ponders what he'd like to be instead of the Chief of State - perhaps a twin, maybe invisible.

He does get to be a twin, and at times he becomes invisible, but not in the ways he wishes. It is not a duplicate being that joins the George family, but rather the evil midget Lou. What George needs is an exorcism, or at least a therapist, but greed and hopes for a good life cause his parents to accept the obvious disconnect between their child and the dancing manifestation of him.

Wong is up to the multiple roles, portraying a host of different characters, often several within the same sentence, and particularly shines with mother Louise and Lou. The tweed suit that represents the boy George is a clever device that doesn't detract at all from the characterizations, mostly because Wong handles it deftly and without self-consciousness.

The purpose for the play's continual shape-shifting never becomes clear, so it seems primarily a showcase for one actor. Adding a background person or two wouldn't kill the idea, and it would dissipate the nervous feel. What is evident is that Wong works so hard in this production. He's so darn likeable, energetic and graceful, and he seems delighted to be with it.

He does need to be miked, as his singing voice doesn't carry beyond the stage, especially over the percussion and piano. It might be better to switch stage positions of the base and the drums, putting the percussion at stage rear.

The 3-piece band is super, especially the piano player, Musical Director Dan Lipton, who has his own list of impressive credits, and plays the entire score from memory.

One of the highlights is the "Tulip Print Waltz" featuring Dot the desk clerk, George and Mr. Lou. Unfortunately, it is followed by "Three Waltzes" a disturbing scene wherein the 8-year-old boy's body is commandeered by the randy Mr. Lou so he can have intercourse with Dot. It's too creepy and would not be much less so, even if George were an adolescent.

A 12-year-old would make more sense in the very powerful, attempted suicide scene. Eight-year-olds do kill themselves, but not by leaping from tall buildings in fits of depression after lengthy declarations. (Eugene Lee's spare set on the revolving stage works wonderfully throughout most of the play, except for a wobbly door that makes for a shaky climb in that scene and detracts from the amazing agility Wong displays.)

It is a musical comedy, albeit a dark one, so it has an upbeat ending. Yet, there are questions unanswered. What happened to George's mother? How did George tame the demon Mr. Lou inside him?

Why didn't we get a grand final dance number, a la Broadway, with razzle-dazzle and great tapping?

Hey, we got BD Wong, working it as few others could, and that is no small compensation. Rather, it's a grand prize. If you miss this chance to see a master at work, you'll be sorry.

"Herringbone" runs through August 30 in the Sheila and Hughes Potiker Theatre, UCSD campus in La Jolla. Performances: Tues-Weds at 7:30pm; Thu-Sat at 8:00pm; Sun at 7:00pm. Sat & Sun matinees at 2:00 pm. Tickets: $30-$65. Reservations: (858) 550-1010 or www.lajollaplayhouse.org