If you’re going to write a play about two legendary sports figures it would help if more than one of them was interesting. Such is the dilemma of Eric Simonson’s second attempt to lure reluctant middle-aged men to Broadway. But unlike last season’s Lombardi, which presented a compelling portrait of a truly larger-than-life figure, Magic/Bird has a central emptiness at its core.

The play concerns the basketball players Larry Bird and Earvin “Magic” Johnson, whose professional rivalry and complicated personal relationship fascinated sports fans during the 1980s. Adding innate drama to the story, of course, is Johnson’s 1991 announcement that he is HIV-positive.

That powerful scene opens the play, which relates its story in flashback form. The evening certainly covers all the bases—sorry, wrong sports metaphor—in its depiction of, among other things, the several championship games fought between the Lakers and the Celtics; the friendship that resulted when a reluctant Johnson traveled at Bird’s insistence to his home town of French Lick, Indiana to film a now-classic Converse commercial; and their playing together in the 1992 Olympics in what became known as the “Dream Team.”

Bird was notorious for being an anti-social and uncommunicative figure, which the play captures all too well. Although the character’s loquaciousness provides some comic mileage, a little goes a long way and it ultimately becomes simply boring.

Although physically suitable for their roles and displaying some impressive hoops chops, Kevin Daniels and Tug Coker are underwhelming as Magic and Bird respectively. Daniels delivers an ingratiating performance, but is understandably at a loss to convey Magic’s megawatt charisma. And Coker is unable to make Bird’s recessive nature sufficiently intriguing.

Far better are the supporting players in their multiple roles. Peter Scolari entertainingly essays such famous coaches as Red Auerbach and Pat Riley; Deirdre O’Connell is a hoot as Bird’s mother, who hosts Magic for lunch in the evening’s most entertaining scene; and Francois Battiste gets laughs every time he imitates Bryant Gumbel’s distinctive high-pitched voice.     

The staging by Thomas Kail features some clever touches, such as introducing the cast in sports-team style at the play’s beginning and the use of real-life footage to complement the onstage action. And the period atmosphere is appropriately with songs by the likes of Blondie and Huey Lewis and the News.

Magic/Bird is being presented in association with the NBA, which should certainly help it in terms of cross-promotional branding. And since non-basketball fans are likely to be left cold by this wan drama, it will need all the help it can get.

Longacre Theatre, 220 W. 48th St. 212-239-6200. www.telecharge.com.