I met one of the actors today. He was in researching details about the
Battle of Gettysburg and as we talked it occurred to me that some of you
might be interested in this Civil War Drama which is on stage through
June 30. You can read the review below and go to the web site at the
link at the bottom for all the details.
CIVIL WAR DRAMA plays out Under the Stars
By Michael Toscano
One of the joys of summertime theatre is the occasional opportunity to
see a production outdoors, against the magnificent backdrop provided by
Mother Nature. And no less an authority than Shakespeare said, "All the
world's a stage."
Sometimes it works better than others, of course. Intimate dramas tend
to suffer when presented al fresco because of distractions, for
instance. But other shows are enhanced by the natural elements.
Such is the case with "The Killer Angels," a sweeping historical drama
telling the story of the Battle of Gettysburg in the American Civil War.
Adapted by Karen Tarjan from Michael Shaara's Pulitzer Prize-winning
novel, the rarely staged play is this years "under the stars" offering
from The Heritage Theatre Company. It's currently running at the
Amphitheatre in the Woods at Cabin John Regional Park in Potomac, Md.
The Battle of Gettysburg effectively ended rebel General Robert E. Lee's
thrusts into northern territory and is considered the turning point
leading to his eventual surrender and the end of the Confederacy.
The scope of the pivotal battle is daunting and difficult to comprehend:
more than 50,000 U.S. and rebel soldiers died over those first three
days in July, 1863. That's almost like condensing American losses in
the Vietnam War into just a few days.
It might seem that a dozen or so actors in a play can only offer a scant
sampling of something that brutal and enormous. Yet, Tarjan's play gives
us a feel for this chapter of our history by showing the epic events
mostly through the eyes of the commanders from both sides.
The story focuses on Generals Lee and James Longstreet of the rebels and
Colonel Joshua Lawrence Chamberlain and General John Buford of the
Union army. Oddly, U.S. General George Meade, who had overall command
of the federal Army of the Potomac is not a character we meet, although
he is discussed.
It is through these men and their deliberations of both a military and a
personal nature that the scope of the largest battle ever fought on
American soil is conveyed. We are also offered a glimpse into the
motivations that caused Americans to take up arms against each other.
While there is some peripheral fighting that is re-enacted, the battles
are described through exposition.
Does it work? The answer is a qualified yes. Those who enjoy military
history will appreciate the human chess game, as thousands of troops are
moved about in anticipation of what the other side's actions will be.
Students of American History will enjoy seeing the groundwork laid for
the battle's political ramifications.
Others may find the talky first hour or so of the two hour production
(there's no intermission) a bit slow as we are exposed to a significant
amount of historical background leading up to this moment. Some many
military leaders from both sides are introduced that it becomes
difficult to keep them straight in your head.
That's not helped by the fact that all but one primary cast member is
playing multiple roles. Gradually, however. the personalities and
concerns of the major players become clear and the story takes hold
dramatically.
Director Karey Faulkner has a primary cast of eight people handling 24
roles, backed up by another five actors as extras helping to fill in
scenes.
The actors deftly handle the often swift transitions with clever costume
changes and careful attention to body language, facial expressions and
vocal inflection and accents.
They also make use not only of the amphitheatre's rustic backdrop, but
the sloping, semi-terraced hillside surrounding it. The natural woodsy
setting and split-rail fencing around the area create a realistic period
atmosphere and add substantially to the story-telling.
Recorded narrations between scenes provide historical background and
context and help maintain a coherent flow.
The relationship between Colonel Chamberlain (Jerome Bourgault) and his
young brother Lt. Tom Chamberlain (Daniel Corey) provide many of the
most interesting moments. As brothers, they share a personal bond that
allows them to offer the most purely human sentiments.
Bourgault and Corey marvelously allow the military bearing of their
characters to relax in each other's presence. It is also in their
private conversations that the subject of slavery is explored.
Both actors negotiate their way through Tarjan's dialogue, which sounds
more like oration than conversation, and they make it sound authentic.
Bourgault also provides some interesting moments as an English Colonel
who is traveling with the rebels, completely transforming himself from a
loving brother and steadfast U.S. Colonel into a silly popinjay who
offers an offbeat view of the Americans and their war.
Tarjan is at her best with moments strictly military or deeply personal;
her attempts to provide dialogue defining each side's reasons for
fighting are unfortunately reliant on grade school boilerplate.
In her view, the Union Army is fighting a noble war to free the slaves,
while the rebels know they are fighting a doomed cause, but do so out of
a vague sense of regional loyalty.
This murky view of the Southerners may be what hampers Robert
Herbertson's portrayal of Robert E. Lee. The Lee we see here is a mild
and irresolute figure, not a commanding presence. He wears a fussy
mustache rather than the beard we are familiar with from photographs.
The result here is that Lee is completely overshadowed by his
subordinate, General Longstreet, played with a dark and brooding
intensity by Bruce Gruber. Gruber is the only actor playing just one
role, which may allow him extra concentration.
His Longstreet is the character who most makes you feel you're at an
army encampment, with death lurking in the shadows.
Steve Leventhal is also notable as crusty Union General John Buford, a
crafty strategist. Andrew Schneider is vivid in a number of smaller
roles, especially that of rebel General Ewell.
In sum. "The Killer Angels" makes good use of its natural setting and is
a compelling story. It is ambitious, energetic, and flawed, much like
the nation it tries to explain.
"The Killer Angels" continues through June 30, performed by The Heritage
Theatre Company at the Amphitheatre in the Woods, located at Cabin John
Regional Park, 7400 Tuckerman Lane, in Potomac, MD. Performances begin
at 8:30 p.m. on Thursdays, Fridays, and Saturdays.
Seating is general admission: "under the stars" on the sloping
amphitheatre lawn. Bring your own lawn chairs or blankets and plenty of
bug repellent.
There is free parking and handicapped spaces. A wheelchair seating area
is also available.
Food is permitted. There are covered and open-air picnic tables at the
park, as well as drinking fountains. Alcoholic beverages are not
permitted.
Tickets may be purchased by calling 301.770-9080. Tickets and
information are also available at www.theheritagetheatre.org
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