The Pendulum -- Circuit Theatre Players -- City Hall -- through Saturday, August 14.

It was an inspired move on the part of Rotimi Martins to choose this particular time to mount his play, The Pendulum.

Originally written by Martins for Nigerian public television, it has been skilfully adapted (with the assistance of Delaey Robinson) for Western audiences. Even so, its subject serves as a tantalising introduction to the lores and traditions of Africa and, as such, certainly helps set the scene for the African exhibition which opens at the National Gallery in October. The Circuit Theatre Plays are, incidentally, donating part proceeds of this production towards the cost of mounting this ambitious New York show in Bermuda.

The impression, which lingers long in the mind after the production is over, is one of sheer enchantment. Martins draws on profound knowledge of his homeland and writes with engaging, yet powerful simplicity. He knows a trick or two about the theatre, as well, and the result is a play which, although rather short in length, is beautifully crafted. The drama -- and attendant surprises -- moves in wave after wave towards a stunning climax.

Music, of course, is an integral part of African culture, and Martins uses drummers and dancers to optimum effect.

The theme of the play -- which is profoundly serious with some very comical dialogue -- centres around a young, westernised African man who has married a white woman. After university in London, they return to her home in Bermuda.

His abandonment of heritage and traditional values lead, with alarming rapidity, to dire consequences. It is his uncle, faithfully retaining those values in spite of 20 years of exposure to New York City life, who eventually opens the young man's eyes. It takes a trip back home to Africa to bring our hero to his senses (and restored health), and it is here, in the second half of the play, that we witness the rich ritual of music and dance which forms the very centre of African spiritual life.

There were some beautiful performances in this play. From the moment Rotimi Martins bounded on stage in his blue and gold robes, he dominated the proceedings in the pivotal role of Uncle Baseyi. A wonderfully expressive face, a natural feel for comedy allied with an inborn sense of timing made this a performance to be long remembered.

Rotimi Martins is one of the most valuable and versatile theatre professionals working in Bermuda today. With degrees in theatre from universities in Wales and Nigeria, he was appointed to head the University of Vos Department of Theatre Arts and, in the process, became one of Nigeria's best actors, writers, producers and directors.

These talents have been brought to bear on this production, for in addition to writing The Pendulum, he is co-director (along with Delaey Robinson) and the producer. It is his intimate knowledge of things African, however, which makes this drama so unusually authentic. We may have grown used to seeing the black perspective from the point of view of African Americans or West Indians -- or, indeed, from black Bermudians: How refreshing to drink in the real thing! The strength of this play, from a literary standpoint, is Martins' eloquent reminder (or, for some, the revelation) that the values of which he speaks are universal. The son who mocks the traditions and spiritual beliefs of his family, the conflict that erupts between generations is as relevant in western society as in that of Africa, or anywhere else, for that matter.

It is interesting, too, that Cathy, Kunle's western wife, senses this long before her husband.

After a slightly nervous start, Ayo Johnson visibly grew in the leading role of Kunle, and Laura Gorham brought a quiet and understanding dignity to the role of his wife.

Delaey Robinson is an actor whose superb diction is allied with an intelligent and sensitive approach to any role he tackles. His interpretation of Ewatade, Kunle's father, was no exception, and he brought some marvellous touches to the almost musical timbre of Ewatade's speech.

Keith Ebbin played two roles, first as the Bermudian taxi driver. One of the truly comic moments of the evening was his face as he watched, in frank disbelief as Uncle Baseyi chanted over the African talisman.

His performance as the Witch Doctor was on a magnificent, if menacing, scale as, in full regalia of beads and feathered headdress, he sang and danced his way at the head of the dancers, through the auditorium and on to the stage.

Dancing to the measured beat of authentic African drums, the Empress Menen Dancers brought the sight and sound of Africa thrillingly alive: Their ritual songs and dances brought the evening to a rousing end.

The Pendulum is a thought-provoking, and refreshingly entertaining play. Try not to miss it.

PATRICIA CALNAN HELPING OUT -- The Loyal Hill Community Committee recently presented $550 to the Devonshire Parish Home for the elderly. The money was raised from donations and the third annual fun day held on July 20 at the home. From left: Community committee chairwoman Mrs. Ruth Simmons, committee public relations woman Mrs. Cynthia Woolridge, committee president Mr. Keith Simmons and matron of the home Ms Helena Brice.