3 African-American 1 Acts

By JULIO MARTINEZ

3 African-American 1 Acts (Hudson Theatre; 99 seats; $ 15 top) Pipedream Prods., in association with Blumsack/Reilly/Stehlin and the Hudson Theater, presents three one-act plays by Michael Ajakwe Jr.; "Double or Nothing," directed by Michael Edwards; "Happy Anniversary, Punk!," directed by Ted Lange; "The Ride," directed by Ajakwe.
 
Cast: "Double or Nothing": Darron Johnson (Frank), Tayfee Wallace (Sherry), Richard Atkins (Chance). "Happy Anniversary, Punk!": Tommy Hicks (Al), Al Garrett (Big Mac). "The Ride": Phil Morris (O.J.), Bill Overton (A.C.). So what did O.J. Simpson and Al Cowlings talk about during that June 17, 1994, slow-speed sojourn along the 405 in Cowlings' white Bronco? "The Ride" surmises that O.J. (Phil Morris) and A.C. (Bill Overton) spent the time discussing race relations, conspiracy theories, the status of superstars and their own lengthy personal relationship in this most intriguing of three lackluster one-act plays by Michael Ajakwe Jr.
 

Morris and Overton are quite believable as they work their way through Ajakwe's meandering dialogue, which never really makes a point or comes to a conclusion. Morris presents a solid portrait of a confused, frightened and at times indignant O.J., who can't understand why his almost mythic superstar status isn't shielding him from the pain he is now suffering.

Overton is outstanding as Cowlings, always measuring his words and actions, trying to keep the gun-toting O.J. talking and acting sensibly. Much of the exchange between the two is actually quite funny. Recounting all the things he had done for Cowlings throughout their lives, O.J. reminds Cowlings that he even got him into his syndicated TV series. A.C. rejoins, "Yeah, but you didn't get me into 'Naked Gun.' "

Aiding the performances are the inventive cut-away Bronco, designed and built by Robert Taylor, and Mark Laurent's evocative sound design, recalling the endlessly repetitive newscasts of that particular day.

"Happy Anniversary, Punk!" presents an unbelievable confrontation between Al (Tommy Hicks), a grief-enraged father, and gang-banger Big Mac (Al Garrett), the teenage killer of his 15-year-old son, on the one-year anniversary of the murder. In Al, Ajakwe has created an individual who supposedly has been brooding and planning for a year, but is totally indecisive in his dealings with the youth.

Under Ted Lange's minimalist direction, Hicks works at bringing some credence to Al's mercurial shifts in mood and action, and Garrett offers a sympathetic presence, being reduced from swaggering homeboy to terrified child. Set and lighting designers Marco De Leon and Kathie O'Donohue fail to evoke the upscale, middle-class home setting described by the playwright.

"Double or Nothing," which serves as the curtain-raiser for the evening, tries very hard to be a sitcom but fails to provide a plot or many laughs. Good-time loving playboy Frank (Darron Johnson) wants to score with single mom Sherry (Tayfee Wallace). To do so, he must win over her brooding, ill-tempered 8 -year-old son, Chance (Richard Atkins). Eventually, for no apparent reason, he succeeds.

Neither the playwright nor director Michael Edwards seem to have a clue as to what this one-acter is supposed to be. And on opening night, Johnson and Wallace were even less secure with their lines and their blocking. Young Atkins, though, is a gem. His character just marches straight through all the nonsense with unwavering presence and impeccable comic timing.

Sets, Marco De Leon, Robert Taylor; lighting, Kathie O'Donohue; sound, Mark Laurent. Opened, reviewed April 12, 1996; runs through May 23. Running time: 2 hours, 10 min.