aired on Nigeria's national television, has been chosen as the next production by the Circuit Theatre Players.

Mr. Martins, who came to Bermuda 13 years ago, wrote The Pendulum in 1975, in his native Nigeria, while he was Theatre Manager and Acting Head of the Department of Theatre Arts at the University of Jos.

Now, with the help of Delaey Robinson, the play has been adapted slightly for Bermuda audiences.

The African theme seems especially appropriate for this year's production, serving as something of an appetiser for the major African art exhibition from New York which will open at the National Gallery in October.

In fact, part of the proceeds from The Pendulum will be donated to the Gallery to help in the cost of mounting this first travelling exhibition.

"Although there are some humorous lines, it's a serious play,'' says Mr.

Robinson, "which explores -- and this is what fascinates me -- the interface between Western and African culture. It deals with the problems an African would experience in a western setting. Very, very often, Africans in those circumstances become too westernised and this can cause dire consequences. We are really talking about the abandonment of traditions, and traditional values.'' From that standpoint, he adds, it is a play that is not simply a comparison between two different cultures: "The conflict that arises between father and son arises within any culture. It's the generational thing where youth too often throw off the old ways and old beliefs that are tried and tested.'' For Mr. Martins and Mr. Robinson, who are both taking acting roles in the play, this is truly a joint venture, as they are also the co-directors.

Mr. Martins, reflecting his versatility in all things theatrical, is also the producer of The Pendulum. It is, perhaps, his talents as a totally professional and innovative technical director that have placed him at the forefront of contemporary Bermudian theatre.

He has brought these gifts to bear in last year's Circuit Players' production of Strictly Matrimony, For Coloured Girls and the Colored Museum.

Just last week, he acted both as producer and technical director for the one-night, but highly successful appearance in Bermuda of the Detroit-Windsor Dance Company.

He obtained his post-graduate diploma in theatre at Cardiff University in Wales, and on his return to Jos University in Nigeria, he became a well-known figure on Nigerian television, in the capacities of actor, writer, producer and director.

"We are fortunate to have someone of his calibre in Bermuda,'' enthuses Mr.

Robinson, who says it was Mr. Martins, along with Eugene Harvey and Patricia Pogson who got him interested in the theatre in the first place.

"I was always interested, but it wasn't until I joined their workshops that I really began to appreciate the power and beauty of the theatre.'' He says that although this will be the first time his name has been listed as director, he has been heavily involved in that aspect of the theatre for some time now.

"Rotimi Martins is very modest and publicity-shy, but he is incredibly gifted and highly qualified. He was very instrumental in getting black theatre workshops going here and out of that, came the Cedar Roots Ensemble and now, the Circuit Theatre Players. We were committed to learning as much as possible about the performing arts.

"Timi has always encouraged everybody to get involved in everything, on the technical as well as the drama side. He has taught us so much and it was a natural progression for me to do directing.'' They are even in complete agreement as to how the play should look, favouring simple sets which, in the words of Mr. Robinson, "allows the audience to use its imagination and lets the actors use their skills in getting their points across!'' The bond between these two men goes beyond that of the theatre. They are close friends and Mr. Robinson is godfather to Mr. Martins' second child, who is three. His eldest son, Rotimi Jr., is ten years old and also appears in the play.

So is he set to follow in his father's footsteps? "Well, I think we'll just have to wait and see how we get on after all this,'' laughs Mr. Martins.

Bermudian Delaey Robinson attended school in England before going on to Queen's University in Ontario where he obtained his degree in Biology.

He was given the lead role in Day of Absence for Cedar Roots Ensemble, and also appeared in Fire-Raisers at Daylesford, and made a memorable appearance in August Wilson's Fences. His most recent appearance was in Beef, No Chicken by Nobel Prize-winning playwright Derek Walcott for the West Indian Association. But he says his greatest claim to fame was when he was Victor's "right-hand man in Bermuda'' in The Young and the Restless.

Mr. Robinson maintains that he acquired his "second degree'' when he decided to travel. This turned into a five-year circumnavigation of the globe and, not surprisingly, he cherishes the time he was able to spend in Africa.

"I was in West Africa for six months, in Senegal, The Gambia and Ghana, mostly. Funnily enough, although I spent some time in Kerewan, Kunta Kinte's village of Roots fame, I didn't realise that this was the village until some months after I had left.'' The sense of community within the distinct identity of each village was an aspect of African life that deeply impressed Mr. Robinson. "They still have their traditions of different dances and drums from village to village.'' He also "loved'' the Pacific Islands and India.

"You realise in those islands that people can be happy without all the trappings of materialism that we have here. Then you get to India and realise that you can be happy with absolutely nothing at all!'' After spending three months hitch-hiking through 3,000 miles of India, he also visited Nepal where he climbed ("with only the help of one Sherpa porter'') a 17,500 feet mountain just four miles south of Mount Everest.

Mr. Robinson, who is principal budget officer for the Ministry of Finance, firmly believes "everyone'' should try to travel: "People don't realise that if you want to travel, all you need is the will to go.'' Both directors are "gratified'' with the upsurge of interest in black theatre in Bermuda. But, says Mr. Robinson, there is a down-side: "It's obvious that people are hungry for theatre but this can have the detrimental effect of encouraging people to go onstage before they are adequately prepared. If people go onstage too soon, it discourages development in that many of them don't seem to want to work in between to improve themselves. I like to use the analogy of musicians, who have to practise every day. Actors don't seem to grasp that they need to practise like musicians. That's why workshops are so important. They give people the opportunity to learn their craft.'' Joining Rotimi Martins (Sr. and Jr.) and Mr. Robinson will be Ayo Johnson, who takes the lead role of Kunle and Laura Gorham, who plays his foreign wife.

Rounding out this unusually experienced cast will be Kenneth Ebbin, who as the Native Doctor leads the musical side of things, along with the Empress Mennen Dancers. Mr. Ebbin is well known in Bermuda for his knowledge and collection of African drums and other musical instruments and artefacts.

The Pendulum opens at City Hall Theatre on Wednesday, August 11 through Saturday, August 14. Tickets are $25 for patrons and $20 general admission.

The box office at City Hall is now open between 10 a.m. and 3 p.m., telephone 292-2313. Tickets may also be obtained from True Reflections, Sound Advice, 27th Century Boutique, Llewries Photos, Hall's Fabrics (Somerset) and from the Music Chamber in St. George's. For reservations and further information, telephone 238-2614.

AFRICAN PLAY FOR BERMUDA -- The Circuit Theatre Players will present The Pendulum by Nigerian-born Rotimi Martins, right, at City Hall next week. Mr.

Martins and Delaey Robinson, left, are co-directors of the play which has an African theme.