THEATER REVIEW : One-Acts Play Off Good Writing : Although quality varies, the 10 playlets in ‘Turning Point’ at Theatre East are strong on performance and direction.

A scene does not a play make. Even if it has a strong punch line.

That’s the only problem that hangs over this evening of 10 playlets under the umbrella title of “Turning Point,” at Theatre East. There’s an awful lot of good writing here and indications that longer works might evolve out of these tidbits.

But as short stories are more difficult than novels to write, the one-act play demands a fine technical hand to bring it up to the level of its longer brethren. A bit of television influence also takes the edge off a couple of pieces.

The performances and direction throughout are exemplary, a case of a fine purse holding small change.

Most of the plays are little more than extended jokes. The two least interesting, “The Telephone” by John Touchstone, and Jim Inman’s “Two Ole Codgers Sittin’ on a Bench, in a County Seat, Town Square,” get their “Beverly Hillbillies” chuckles, but little else.

William Borden’s “The Ledge” is also funny, if two people getting ready to jump can be, and under Ray Young’s direction, Adrienne Hampton and Michael Hernandez make it even funnier.

Jaime Meyer’s “Karl and Mary Anderson Are Afraid” is a disturbing picture of wealthy white bigots destroyed by their own fear, which doesn’t quite survive its pretensions.

Hindi Brooks’ “The Present” gives a too-pat happy ending to a marriage that has obviously been a disaster for years.

The very funny and campy “Vendetta,” by Jacob Edelman, shows that even if you can’t think up an ending for your play, it can be worked into the evening somehow.

Daisy Crane’s “Bad Talking Boys” is a rap poem, not a play.

The strongest of the offerings, both in writing and execution, should be considered first drafts for further exploration.

Michael Cole Dinelli’s “The Donut Shop,” about two losers deep in chronic boredom and paranoia, leads the curious mind to ponder where they came from and where they might be going. Under Dinelli’s tight direction, Dominic Oliver and David Mingrino offer insightful and interesting performances that give the scene body and shape.

In “My Father, My Dad,” directed by Ryan MacDonald, playwright Bruce Kirby has successful actress Nan McNamara playing cat-and-mouse in her dressing room with her out-of-work father, played by actor Kirby. It’s a strong idea that looks like the first five minutes of a full-length play.

Geoffrey Woodhall’s direction and intense performances by John Hugo and Karen Davenport give a sharp edge to Allison Gregory’s “Breathing Room,” about a separated couple who meet on a doorstep, an uneasy twosome with an obsessive fetish for strangulation.

It would require a great deal more exposition to explain their fascination for each other and why the audience might possibly be interested in whether or not they self-destruct, but the exploration might be worth it.

WHERE AND WHEN

What: “Turning Point.”

Location: Theatre East, 12655 Ventura Blvd., Studio City.

When: 8 p.m. Thursdays through Saturdays, 7 p.m. Sundays. Ends June 5.

Price: $12.

Call: (818) 760-4160.