"Shipwrecked" is a late addition to the Blackfriars season, having just recently replaced "The Violet Hour," which was originally scheduled to run in the January-February slot. The rationale for the swap-out is apparently that the rights to "Shipwrecked," by Donald Margulies (he won the Pulitzer in 2000 for "Dinner with Friends"), suddenly came available, and Blackfriars couldn't pass up the opportunity. After seeing the charming show, the decision is understandable, especially when you consider that the show is anchored by local actor Fred Nuernberg, who was arguably born to play this type of role.

"Shipwrecked" is subtitled "The Amazing Adventures of Louis de Rougemont (As Told by Himself)." That should give you some idea of the kind of fourth-wall-breaking enterprise going on here. Nuernberg plays De Rougemont, who strides into the theater directly addressing the crowd (he even implores them to turn off their cellphones and unwrap their candies and lozenges) before introducing the remainder of the cast by their actual names, as they are meant to be seen as actors playing various roles. However, as de Rougemont tells his tale, it's almost impossible not to get sucked into his fantastical world and forget that what you're watching is very much intended to be a play-within-a-play, albeit with a somewhat dark, thoughtful twist at the end.

As the title suggests, "Shipwrecked" is about a shipwreck. De Rougemont leads the audience through his amazing tale, starting out as a sickly young boy whose mother would read him adventure tales like "The Odyssey" and "Treasure Island," even as he longed to play outside with the other kids. Finally cured of his ailments by 17, De Rougemont set out to see the world, signing on with a ship's captain and his crew on their way to the Coral Sea for a pearling expedition. After a few trials at sea, things get even worse when a storm destroys the ship De Rougemont is on, and he becomes stranded on a deserted island with only his dog friend Bruno for company. After years of surviving on his own, hoping for rescue, he ironically takes on the role of rescuer himself when a catamaran full of aboriginals float by his tiny island, and his story takes even more bizarre turns.

The play is billed as a show for the whole family, and while most of the crowd I saw it with was decidedly adult, I can see it appealing to older kids who enjoyed the "Pirates of the Caribbean" movies, or even the whimsy of something like "The Princess Bride." One of the great joys of the performance is that it employs old-school theater techniques, such as a variety of foley instruments to recreate sounds like wind, rain, and more (all of them employed by the other actors, almost always on stage), and the ingenious use of John Haldoupis' always-stunning sets. A large backdrop with an old sea map vaguely printed on it becomes a sail or a projector screen for a variety of light tricks, while a small central platform becomes a raft, a stage, an island. The entire production calls to mind the simpler, but arguably more artistic days, before computer wizardry became a hallmark of everything, including the stage.

But this is Nuernberg's show, and this is a part he was built for. Nuernberg is a natural storyteller; he has the kind of lilting, yet authoritative voice that makes listening to him a pleasure, and he's so charismatic that you hang on almost every word. He's also completely believable whether he's playing a frail 8-year-old boy, bravado-filled teen, or weary older man. He did stumble over a few lines here and there in the performance I saw, but the man is the sole speaking part for something like 80 percent of a 90-minute show. Even with a few flaws here and there it's an impressive feat, and a perfect showcase for his considerable abilities.

In the supporting roles of Player 1 and Player 2, Janine Mercandetti and Jason Mincer get to literally put on a variety of hats, playing everything from a sea captain to Queen Victoria to a dog. Both of them are at their best in the scenes where De Rougemont is grilled by a phalanx of supposed scientific experts, although they have wonderful moments throughout the show (Mincer's portrayal of Bruno is especially charming). Backing them up are assistant players David and Jackie Spiro, who perform all kinds of physical and technical duties with aplomb.

Toward its end the play takes a somewhat unexpected turn, and what started out as a cheerful distraction takes on a very real heaviness. It's not that the tonal shift doesn't work - it does, thanks mostly to the excellent acting and directing that leads us to the point - but it underscores the proceedings with a real-world message that's hard to watch unfold on stage, but important for the audience to embrace fully. Without giving too much away, Margulies uses what appears to be an old-fashioned entertainment as a call for the death of cynicism. And that's something I think we can all get behind. Have you ridden a sea turtle today?

"Shipwrecked! An Entertainment"

Through February 20

Blackfriars Theatre, 795 E Main St.

$15-$27 | 454-1260, blackfriars.org