Blood On Their Hands
George Heymont
Tuesday, August 24, 2010
myculturallandscape.blogspot.com

By sheer coincidence, I attended two back-to-back performances this weekend -- staged outdoors in East Bay venues -- in which three key characters were dressed in white nurse's costumes that had red crosses emblazoned on their chests. In each case, the three women predicted future events and acted as dramatic catalysts to move the action forward.

Both plays were adaptations of literary classics. Both dealt with the struggles of a war-weary population. The key difference between the two productions was to be found in their respective stage directors/adapters.

One production was the world premiere of a new work created by a budding theatrical genius with the potential to become the Peter Sellars of his generation ... Speaking of the Shotgun Players, here's a tip. Go to this link now and reserve your seats for a performance of Jon Tracy's In The Wound. Do not pass "GO," do not collect $200. As the folks at Nike say, "Just do it!"

It's rare for lightning to strike twice in the same place. In terms of outdoor theatrical productions by a small company staging world premieres on a bare-bones budget, the odds against success are even greater. Unless, of course, you've got incredibly strong leadership.

The Shotgun Players' founder and artistic director, Patrick Dooley, boasts a solid resume as an actor, director, and producer (in 2007 Shotgun became the nation's first 100% solar-powered theatre). As Dooley notes:
"In the early days, we didn't talk to many local playwrights. It didn't seem smart for an unknown theatre company to do an unknown play by an unknown playwright. So we just focused on making good plays and diligently sent our checks to support the faraway families of Mamet, Churchill, and Brecht. Somewhere along the way, I realized that it was time to start giving back to an art form that had been so good to us. Yes, there is always room in the world for another great Hamlet. But it's also important to support those voices trying to articulate the world we live in today. We've made a concerted effort in the last few years to do just that with some remarkable success (Dog Act, Meyerhold, Beowulf, This World in a Woman's Hands).
A key accomplishment has been our focus on long-term relationships with playwrights and composers. To back that up we produce at least one commissioned play each season. Many of the commissions also feature original music. Keeping with the spirit of innovation and challenge, we encourage our playwrights to write the epic, sweeping plays they've always dreamed of. To celebrate our 20th anniversary in 2011, we will present an entire season of commissioned new works."

Director/writer Jon Tracy is a theatrical wunderkind who, in addition to his work with Shotgun Players, is Director of Artistic Development at SFPlayhouse (where he oversees new works by local playwrights produced in their "Sandbox" theatre). According to his bio, "Jon Tracy is an unsubstantiated myth. He dreams big raconteur-like things and sings small raconteur-like dreams. He keeps meeting happiness for coffee and the coffee is good."

His work is more than merely good. In 2009, Dooley and Tracy joined forces to create The Farm, a hugely successful adaptation of George Orwell's allegorical novel, Animal Farm, that was one of the best productions seen in the Bay area all year. This month, they have returned to John Hinkel Park with Tracy's adaptation of Homer's epic poem, The Iliad, entitled In The Wound.

Once again, with minimal funding, Shotgun Players have accomplished what many larger theatre companies could only dream about:: creating a vibrant new piece of theatre that is relevant, accessible, and consistently thrilling.

If last year's production of The Farm was bursting with energy, In The Wound has 30 athletic actors constantly on the run performing what, at times, looks like a Greek version of color war. Tracy has updated the action from ancient Greece to August of 1944, labeling the Grecian Task Force's invasion of Troy as Operation Tyndareus. Although his soldiers first appear with bright red and blue plumage in their helmets, by the end of Act I, many are on crutches or limping across the stage with the help of aluminum walkers.

Whether Tracy's nurses/goddesses are pounding out rhythms on war drums or taking turns galloping across the stage disguised as a stag (seeing is believing), his imagination is so rich -- and so clearly articulated onstage -- that he manages to make Homer's epic poem understandable to a modern audience that, like the ancient Greeks, has grown tired of constantly being at war. Tracy's wry, sarcastic writing also contains some golden comic moments:
"The other day I had lunch with the head of Medusa."
"Oh yeah? How'd that turn out for you?"

Tracy has taken care to explain how the Trojan War resulted from the oath of Tyndareus -- a plan concocted by Odysseus, King of Ithaca (Daniel Bruno), who describes himself as a social mathematician. Dressed in a dark, blue suit, Odysseus -- who is often counseled by Palamedes (John Thomas) -- is drafted into the business of war.

Since war never ends, Odysseus can never rest. Although his wife, Penelope (Lexie Papedo) and son, Telemachus (Yannal Kashtan), keep pining for him at home, their time together is limited by the Gods.

Thanks to Odysseus, the Greeks had all vowed to uphold the oath of Tyndareus (in which they swore to support Helen's choice of a husband and unite against anyone who tried to steal her away). Unfortunately, they had never considered the possibility that Troy's rowdy lover, Paris (Harold Pierce), would abduct Helen (Jennifer Jovez) from her elderly husband, Menelaus, King of Sparta (Dave Garrett).

Family ties and sacred oaths being what they are, Agamemnon, King of Mycenae (Michael Torres) -- who is also the brother of Menelaus -- is quickly drawn into battle. Not even the sacrifice of his daughter, Iphigenia (Nesbyth Rieman) -- who was, for a very brief time, the wife of Greek's greatest warrior, Achilles (Aleph Ayin) -- can save him from years of war-torn misery.

The famous Greek warriors Patroclus (Roy Landaverde) and Ajax (Dave Maler) are on hand to engage in lengthyy battle. On the opposing team stand Paris's brother, Hektor (Alex Hersler), and his elderly father, King Priam (John Thomas).

Nina Ball's unit set features three towers which hide musicians beneath camouflage netting and a series of wagons used to help with transitions while masking entrances and exits. Christine Crook's costumes range from simple Army fatigues to three amazing costumes for Athena, Hera, and Aphrodite that incorporate angel's wings made from of the crutches of dead warriors. Brendan West's original score (which was created in collaboration with every member of the production and is performed exclusively by the ensemble) includes music for the waterphone, harmonium, and wind chime. I'm pretty sure I saw one Greek soldier playing a harmonica as well.

Tracy has created a rollicking, walloping piece of epic theatre about the evil and stupidity of war. In addition to its literary and dramatic value (you've never seen paper planes make such a powerful anti-war statement), In The Wound is an impressive achievement in traffic control. Performances continue through October 3 in John Hinkel Park. Don't miss it!