American Moor, O.W.I. (Bureau of Theatre) and Phoenix Theatre Ensemble, Plaza Theatre, Boston Center for the Arts, through August 12.617-933-8600 or bcaonline.org

Call "American Moor" an unequivocal quest for respect, understanding and meaning. Written and performed by African-American multi-talent Keith Hamilton Cobb, this Pirandello-recalling, 100-minute (no-intermission) play richly challenges white and black theatergoers alike to not only take a fresh look at "Othello''-both the play and the tragic protagonist-but also confront assumptions about race in a Western world still dominated by white perceptions. Throwing proverbial caution to the wind, Cobb's politically incorrect effort may discomfort some theatergoers, but that is all to the good. As with all must-see theater, timely ''American Moor" and commanding Cobb take audience members on an exceptional exploration.

Cobb studies a copy of the play for an audition as theatergoers take their seats around him. Except for the voice of a young director- seen at curtain time a la the voiced 'second' character in the play "Barrymore"-conducting the audition along with fellow (unseen) white theater colleagues, "American Moor" is effectively a solo re-examination. As the title suggests and Cobb eventually explains, the ambitious actor identifies with Shakespeare's moor as a black man secure in his own considerable powers but also conscious of the preconceptions of a dominantly white society.

Those preconceptions seem to influence the director in question--played with proper nonchalance by Matt Arnold-- who suggests the smaller roles of Aaron the moor in "Titus Andronicus" and the Prince of Morocco in "The Merchant of Venice" in lieu of Othello. For his part, Cobb rightly remains adamant about his audition. After all, as an actor with a solid classical resume, he takes umbrage when ''a little white man is asking me if I have any questions about playing a large black man." Quite simply, as Cobb declares, he does not want to be another cookie cutter Othello.

Instead this insightful performer makes a strong case from Shakespeare's text for seeing the Moor as an impressive military leader being shamelessly pressured by his father -in-law Brabantio and Italian leaders to act like a pet chimpanzee. In this context, Desdemona deeply admires her love's self-possession and military prowess and empathizes with Othello's sadness at being asked to perform the equivalent of a minstrel show before Brabantio and his guests. Curiously, Iago's treachery is not dealt with here. Still, Cobb's analysis is very sound. At the same time, this charismatic and handsome actor has the vocal authority and the muscular bearing to make Othello's ordeal particularly moving.

Under Kim Weild's strong direction,Cobb sharply extrapolates the Moor's plight to his own, adding that former Secretary of State Powell has had to deal with a similarly demeaning situation (one actually alluded to in a scene in the earlier breakthrough musical "Bring in Da Noise/Bring in Da Funk" involving taxicabs refusing to pick up black patrons).If you think this argument lacks balance, think again. Cobb does not hesitate to find fault with Tyler Perry's sitcom comedy shows. He even daringly questions the choices of black actors who seem to limit themselves to playing Walter Lee Younger in "A Raisin in the Sun" or repeatedly returning to roles in (very good) August Wilson plays like "Joe Turner's Come and Gone." For his part, Cobb hints at also playing parts like the title role in "Richard II."

Does the play's sometimes heard director fear Cobb as Brabantio clearly fears Othello? Is the director's notion of self as a white authority tantamount to what the undaunted actor describes as a 'race hand'? Cobb fears that the white director in question wants a portrayal that is ultimately a cartoon rather than a man.

''American Moor" may provoke and anger some theatergoers- black and white. The risk-taking play may inspire others to thought and full response. In fact, schedule talkbacks will provide such timely reaction. What matters is theater that both fully engages and opens new doors to diversity, outreach and understanding. Cobb's fiery performance and important play command respect and deserve everyone's attention.