ORRIN takes place in the Philadelphia home of a middle-class, upwardly mobile black family. Their well-ordered existence is suddenly shaken by the return of the eldest son, Orrin, a junkie and drug pusher who had been thrown out by his father many months before. Filled with bitterness and false courage, Orrin taunts his "upright" family with street talk and tales of his free-wheeling lifestyle. Despite his bravado, the loneliness and loss he feels are soon clear—as is the sad truth that the distance between him and his family is too great to overcome. (3 men, 1 woman.) The joys and sorrows of black womanhood are at issue in SUGAR-MOUTH SAM DON'T DANCE NO MORE. Sammy, a charming but unreliable drifter, returns unexpectedly to Verda Mae, his on-again/off-again love. This time Sammy promises to stay, and announces that he has left his wife for good, but Verda Mae, after a lifetime of such assurances, won't be convinced. Ironically, in the end, it is Verda Mae's growing sense of independence that leads her to the loneliness and abandonment she fears will be her inevitable fate. (1 man, 1 woman.)
Widely produced by leading regional and experimental theatres, including presentation as a double bill by New York's famed Negro Ensemble Company, these two affecting and revealing plays explore two aspects of black life in contemporary America. "Evans knows how to structure drama and how to impart a flow to his naturalistic dialogue." —New Orleans Times-Picayune. "…there is a sharpness in the writing." —NY Times.