In Fields Where They LayThe Dreamscape Theatre at Hudson Guild TheatreReviewed by
Erik Haagensen
December 16, 2009
Gonzalez presents the standard cross section of soldiers endemic to most military-themed dramas. There's the gentle family man, the youngster afraid he's a coward, the youngster's best friend and protector, the cynically bitter philosopher, the upper-class officer, the lower-class sergeant, and the misfit, here a Jamaican, in what proves to be Gonzalez's most original stroke. They rub shoulders in the close quarters, some forming bonds and some butting heads. Human lives are heedlessly wasted, and we learn once again the futility of war. Though not without talent, Gonzalez does little to make these stereotypes fresh and specific. The evening is empty of surprise, particularly at the all-too-predictably tragic ending. Director Brad Raimondo stages the show with a painterly eye against Kacie Hultgren's effective cyclorama-dominated set, evocatively lit by Wilburn Bonnell. Hultgren is ingenious in her use of burlap curtains hung on ropes from pulleys to serve as the walls of the trenches, allowing fluid changes of perspective, though she is more successful at suggesting the ravaged battlefield than the cramped trench interior. Special mention goes to the way Geoffrey Roecker's convincing sound design makes use of silence. Raimondo lets the pacing drag, however, and doesn't succeed in helping his actors. Unconvincing accents are legion, and most of the performers have a hard time making character coalesce. Best, probably because they are given Gonzalez's best scene, are Carl Hendrick Louis as the Jamaican misfit and Michael Swartz as the spooked youngster. When they find themselves alone on lookout duty at the top of Act 2, their strained attempt to understand each other is real and touching. Zack Calhoun as the sergeant, while saddled with a cliché, manages the most successful accent and underplays nicely. Poor Morgan Anne Zipf as the gentle husband's wife seems lost wandering about reading his letters, but the only reason the character's there is for the curtain, which isn't enough to justify the device. And speaking of carpentry, the unmotivated intermission only proves the importance of knowing one's Aristotle. Having the cast members double as German soldiers is awkward. The whole point is the unlikely coming together of strangers. Indeed, as it was the Germans who apparently initiated the truce, it seems a questionable decision to focus the play solely on the British forces. I wanted to know what was going on in those German trenches that led to such an act. There is some lovely choral singing of Christmas carols, and once the play gets to the truce it gathers steam simply due to the nature of the event. There undoubtedly remains an interesting play (or film) in this story. Alas, Gonzalez, whose sincerity and commitment are abundant, hasn't been able to deliver it. Presented by the Dreamscape Theatre at Hudson Guild Theatre, 441 W. 26th St., NYC. Dec. 12–Jan. 2. Tue.–Fri., 8 p.m.; Sat., 2 and 8 p.m.; Sun., 7 p.m. (No performances Dec. 22–27 and Thu., Dec. 31.) (212) 868-4444 or www.smarttix.com. |
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