Harvey Fierstein's gay-and-proud "Torch Song Trilogy" returns to its Brooklyn roots in an engaging, witty, and ultimately heart-warming production, directed by Stephen Nachamie, for Park Slope's Gallery Players, now marking their 40th anniversary, with Seth Rudetsky, in a tour de force, heading a persuasive septet of actors. "Torch Song" opened, at the theater where Fierstein performed as early as 1970, on November 25 and runs through December 10. I caught the December 3 performance and the long afternoon of three one-act plays seemed to fly by.

After seeing Fierstein inhabit the bravura role he wrote for himself of Arnold Beckoff, drag queen, lover, rival, widow, parent and son, dispensing bon mots, bitchery, love and warmth and dominating his "Trilogy," it was hard to imagine anyone else ever filling shoes that were such a perfect fit. But now, with Rudetsky, I've seen a second performer-Daniel Booth AKA Miss Sweetie, in Cherry Grove, having been the first- very different from its creator, assume the part and make it his own. One kvells with delight as Rudetsky, known to many as Sirius Satellite Radio host and author of the book "The Q Guide to Broadway," spars with flair with the recalcitrant Ed (Brad Thomason), Arnold's on-again-off-again, bisexual lover; with "the mother" (Laura Sommer Raines), as formidable as he; and with poor Laurel (Andrea Wollenberg), Ed's wife; tries, against all odds, to light a cigarette and make clever conversation while being plowed in a bar's backroom; and lavishes love on young partner Alan (Andy Phelan), cut down too soon by gay-bashers, and on foster son David (Marc Tumminelli), who hopes for a home that will last. If Rudetsky's commanding neurotic drama queen-cum-proud gay activist role model is convinced that, after all trials and tribulations, everything's going to turn out just fine, how can we think otherwise?

Thomason (Ed) & Rudetsky (Arnold)

Thomason plays Ed, confused about choosing between Arnold's intensity and openness or Laurel's low key, socially acceptable "living proof of his normality," as suitably clueless, but reassures us he could come to appreciate the stability he'd have with the former. Raines' Mrs. Beckoff might have a bit more crust but, when all is said and done-and plenty is during Raines and Rudetsky's scorching exchanges-makes her own case for a mother, set in her ways, but loving enough to see her way clear to "adjust[ing] to all the curves" her son throws in.

Phelan and Tumminelli cut endearing figures as Arnold's alluring young love and precocious charge respectively. Phelan's Alan and Thomason's Ed's encounter in the barn generates heat indeed. Wollenberg's Laurel, caught up in a hopeless situation, engages our sympathies. Yolanda Batts, in vibrant voice as Lady Blues, commenting on the action of the opening play/act by singing "Lover man, oh where can you be," "No regrets" and other torch songs, completes the cast.

Chairs, phones, dressing table and screen suggest the locales of Act One ("International Stud"). A huge bed accommodates the action of Act Two ("Fugue in a Nursery"), and an elaborate apartment, designed by Craig M. Napoliello, serves as the setting for the dénouement ("Widows and Children First"). Not only do mother and son boast matching bunny slippers, but Arnold also serves his mother tea from a rabbit teapot, with matching creamer and sugar bowl. Brenna Sage is responsible for the music, Kathleen Leary created the costumes, and Dan Gallagher did the lighting.

There are some changes in text-Arnold claims he worships, not at Harvard, but Bloomingdale's, and summons his mother as "Mommie Dearest," instead of calling, "Yoo hoo, Mrs. Bloom," as those of us with long memories remember Gertrude Berg's Molly Goldberg used to. The epilogue to "Fugue," where Laurel tells Arnold that she and Ed are engaged and Arnold sings a torch song, is omitted.

Remaining performances, at 199 14th Street, off Fourth Avenue, are on Thursday, Friday and Saturday at 7:30 p.m. and Sunday at 3 p.m. For tickets, at $18, or $14 for seniors and children, call 212/352-3101 or go to www.galleryplayers.com.

Upcoming Gallery Players presentations are Terrence McNally's "Dedication" or "The Stuff of Dreams" (January 13-28); "Violet," with book and lyrics by Brian Crawley and music by Jeanine Tesori (February 17-March 11); Molière's "The Learned Ladies" (March 31-April 15); and "Victor/Victoria," with book by Blake Edwards, lyrics by Leslie Bricusse, and music by Henry Mancini and Frank Wildhorn (May 5-27). Call 718/595-0547 for information.