By Lyle Victor Albert. Directed by Richard Lett. A Theatre Terrific production.

At the Havana Theatre until Sunday, November 28

This show is so much more than all right--in fact, it's a gas.

Writer-performer Lyle Victor Albert opens Jumpin' Jack with an invocation to "Our father who art in London". The mock prayer continues: "And forgive us our copyright infringement, as we forgive you your rip-off of Mississippi and Chicago blues." It seems we're at a meeting of Mick Jagger's Bastards, a support group for the notoriously promiscuous rocker's illegitimate offspring.

But our leader, Jack, insists he was a wanted child: his mother, Virginia, he tells us, was a classmate of the "creepy, skinny" Jagger at the London School of Economics, who returned to her rural Alberta home when Jagger got her pregnant. Little Jack grew up loving the Rolling Stones hits in which Virginia found hidden meaning.

Albert has cerebral palsy, and his earlier solo shows, Scraping the Surface and Objects in Mirror Are Stranger Than They Appear, used shaving and driving, respectively, as a premise for wider autobiographical exploration. In this fictional play, his disability plays a minor but pivotal role: a hayloft accident leaves four-year-old Jack in a coma, from which he awakens in a care facility to learn that his mother has mysteriously vanished.

But the Stones continue to mark Jack's rites of passage. At age eight, he is able to stand and walk for the first time in years when his pot-smoking caregiver plays him the album Sticky Fingers. "Some people call it spirit, others call it psychosis," he says. "I call it being Jaggered." As a teenager, he decides disco doesn't suck when he dances to "Miss You" with a sexy classmate. Years later, a chance sighting of Virginia in a video of a Stones concert prompts Jack to seek out his mother and to discover the surprising truth about his dad.

Albert is a captivating storyteller. His script is meticulously crafted and unpredictable at every turn, and he delivers his wry one-liners with killer comic timing. Under Richard Lett's direction, the production is elegantly spare, with minimalist projections and just enough snippets of Stones songs to enhance Albert's evocations of his youth.

Go see this show. It's more than rock 'n' roll, and you'll like it.