'Streamers' Masterfully Directed by Scott Ellis

Streamers by David Rabe

Directed by Scott Ellis; Scenic Design, Neil Patel; Costume Design, Tom Broecker; Lighting Design, Jeff Croiter; Sound Design, John Gromada; Fight Direction, Rick Sordelet

CAST (in order of appearance): Richie, Hale Appleman; Martin, Charlie Hewson; Carlyle, Ato Essandoh; Billy, Brad Fleischer; Roger, J.D. Williams; Sgt. Rooney, John Sharian; Sgt. Cokes, Larry Clarke; M.P. Lieutenant, Cobey Mandarino; PFC Hinson, Augustus Kelley; PFC Clark, M. Zach Bubolo; PFC, Tucker Sparkman

Performances through December 9, 2007 at Huntington Theatre Company
Box Office 617-266-0800 or www.huntingtontheatre.org

The Vietnam War era seems like a very long time ago, especially with our collective national attention being focused on the current quagmire in Iraq. The Huntington Theatre Company revival of David Rabe's Streamers puts it front and center again with a gritty intensity that brings back disturbing memories and makes for a compelling evening of theatre.

One of the more disturbing aspects of this play at this time is that, except for an underlying naiveté, it could have been written about the experiences of young soldiers waiting to ship out to this decade's war. Set in 1965 Virginia as the Vietnam conflict is starting to escalate, these men enjoy the American innocence that would later be ravaged by the war, Watergate, and 9/11. To be in the audience is to straddle a timeline between then and now and, sadly, see that not much has changed.

The action takes place in an Army barracks shared by three of the main characters. Richie is a wealthy New Yorker who would find it difficult to exist in the age of "don't ask, don't tell." Billy is the all-American boy who hails from Wisconsin and Roger is a middle-class black man who befriended him in basic training. Insinuating himself into their midst is Carlyle, an angry, fearful black man from the streets. As each of the soldiers reveals himself through Rabe's exquisite narrative, their inner conflicts are exposed and it is clear that there will be collisions among them.

Place these same four men in office cubicles or a college frat house and the layer of tension that is created by the barracks setting would be lost. However, the situation aside, Streamers is primarily about race, sexuality, and class as they affect the relationships among the quartet. They are all out of their element and struggling to find something solid and stable to hold onto. Enter the two veteran sergeants, Rooney and Cokes, tough guys who have already been to war too many times. Instead of offering guidance or comfort to their young charges, they instill more fear by telling tales of buddies whose parachutes did not open when they were being dropped onto the battlefield and drunkenly sing about it ("Beautiful Streamer").  John Sharian and Larry Clarke imbue their portrayals with the bark of the drill sergeant, the buffoonery of the inebriated, and the deep bond of admiration for a comrade-in-arms. More than anyone else, Clarke's Sgt. Cokes represents the heart of the story when he delivers the final monologue recounting his day with his old pal Rooney and the life lessons he has learned from his battles on the front and with leukemia.

The specter of violence permeates every scene but is most palpable when Carlyle is present. He is a menacing, loose cannon who can be expected to explode at the slightest provocation. Ato Essandoh's performance is forceful, yet controlled as he slides from seductive, to enraged, to the extreme act that rocks their world. At the opposite end of the spectrum, J. D. Williams portrays Roger with a quiet dignity, as a man who has learned how to fit in and still be comfortable in his own skin. He does the soul brother thing with Carlyle, but is more simpatico with Billy. Brad Fleischer admirably depicts the turmoil within this young man as he struggles with his feelings about Richie's sexuality and hesitates to explore his own.

The character of Richie is the linchpin around which much of the conflict and emotions turn and Hale Appleman is up to the task. He literally bares body and soul in an attempt to get what he wants, indeed needs, from his bunkmates. He goes from light and breezy to wistful and sardonic as he plays a dangerous game with the others, but Appleman is at his best when Richie shares the story of his father leaving and again at the denouement.

Director Scott Ellis induces courageous, realistic performances from this cast. They let us feel the fear of these young soldiers who, although they have yet to go to the battlefield, are surely as much at war. He is responsible for moving the show along at a good pace and he also wrings a good deal of humor from the well-crafted script as it reflects the mundane Army life. Neil Patel's stark, orderly set and Jeff Croiter's industrial-style lighting emphasize the humdrum beigeness of everything. Individuality is not allowed in this man's Army.

Streamers is one of four so-called Vietnam plays written by Rabe after he returned from service in a field hospital in Southeast Asia. In 1976 it was named Best American Play by the New York Drama Critics Circle and received a Drama Desk Award for Outstanding New Play. In its first major revival in 30 years, the playwright and production team could not know how it would be received by today's audience. The parallels between Vietnam and Iraq are legion, but we are informed by time and history as we look back upon the former while we remain enmeshed in the latter. Unfortunately, the issues in the forefront of Streamers continue to resonate today. I hope we get some of them right so that 30 years hence they will seem quaint.

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