‘TOAD HALL’ IS JUMPING WITH HUMOR

Bravo to the Los Angeles Children’s Museum and its new children’s theater ensemble, Bumberchute. Last summer, a pleasingly literate production of Rudyard Kipling’s “Just So” stories suggested that the fledgling acting troupe--all museum staff--would be worth a second look. Its current production, “Toad of Toad Hall,” proves it.

Under Candace Barrett Birk’s direction, care is taken to treat classic literature for children with respect. Using A. A. Milne’s affectionate adaptation of Kenneth Grahame’s “The Wind in the Willows,” “Toad of Toad Hall” is presented with humor and stylish simplicity.

The play centers around boisterous Toad, whose latest craze--cars--has made him a menace to society. His concerned friends, Mole, Ratty and stern Badger, do their best to curb his passion for the open road, but not even a stiff prison sentence can suppress Toad’s buoyant spirit.

The courtroom scene is a howl. “We see before us this monster of iniquity.” The judge (Tom Dugan in enormous white wig and mustache), casts a steely glare at Toad, who doesn’t stand a chance: The jury has been infiltrated by his enemies, the ferrets and weasels.

Every element of the production complements the next. The pace is swift, transitions are smooth and the actors bring each distinctive character to life.

Alvaro Asturias’ good-natured Ratty is a Latin-accented delight. He’s well matched by Frank Pittarese’s Badger who demands respect, while Joan Harrison’s diffidence works well for the timid but game little Mole.

The posturing, nimbly leaping, endearingly unrepentant Toad is played vividly with professional abandon by Steve Jehring.

Pablo Marz is convincing as the nasty ferret who plots Toad’s downfall and gets his comeuppance. Dugan’s Judge is straight out of a Mack Sennett comedy.

The weasels are played by children. An hour before each show, young visitors to the museum may take a “weasel workshop” and then participate in the play. Saturday’s novice actors did a fine job.

Lyla Fernandes-Paakkanen created the clever makeup and Harrison is credited with the quaint, turn-of-the-century costumes. Brian Faul’s lights are especially effective.

Karan L. Reinstein’s set design makes the most of the museum’s box-like Louis B. Mayer Performance Space. Hanging branches and green platforms lend a woodsy atmosphere. The audience sits on tiered platforms surrounding the action as though watching from the banks of a curving river.

Performances continue today through Saturday at 2 p.m., with an added performance on Saturday at noon. Information: (213) 687-8800.