Director Michael Dale Brown, who
underwent his own basic training in 1969 at the height of the
Vietnam conflict, has fashioned a gritty, often grim production that
nevertheless clings to its comedic roots. This is, after all, Neil
Simon.
"Biloxi Blues" focuses on Simon's
alter ego, Eugene Morris Jerome, who both performs in and narrates
the story of a training platoon of diverse individuals being molded
into a functioning unit by an overbearing and somewhat psychotic
sergeant. It's the recruits' individual reactions to the continual
physical and psychological browbeating they endure that flesh out
this intriguing story.
In the central role of Eugene,
Paul Pakler (who'll be replaced by Carlos E. Campos for the last two
weekends) turns in a terrific, finely nuanced performance. As he
drops wry comments to the audience on various occasions, Pakler
brings us up close and personal to a GI's first military experience
while zestfully pursuing his own three ambitions -- to lose his
virginity, fall in love and write a novel, for which he keeps
copious notes.
His fellow Jewish intellectual,
Epstein, a wimpy looking lad with a surprising reservoir of resolve,
is splendidly enacted by Rodney Pallanck. Pallanck's character
continually attempts to apply Talmudic logic to the Army's illogical
situations, often with hilariously unfortunate results.
Wielding the iron fist in the
barracks as the sadistic Sgt. Toomey, Ryan Holihan strains to
establish his authority, and is not always razor sharp in the
process. However, he conveys his frightening domination effectively
as well as his scary persona, projecting all the charm of a coiled
rattlesnake.
Robert DuBois, as barracks bully
Wykowski, enriches his assignment with his sheer physical presence
as does Travis Stolp, to a lesser degree, as his buddy Selridge.
Joaquin Nunez effectively conveys the seemingly out-of-place Carney,
who yearns for a singing career, while John Schwendinger (who'll be
spelled the last two weekends by Joseph Marshall) is fine as the
reticent Hennessy.
One of the play's funniest
sequences is the soldiers' visit to a brothel, in which the matronly
Rowena (Kay Richey, to be replaced by Terra Taylor-Knudson) attempts
to alleviate the guys' first-time jitters. It's matched by a more
tender scene where Eugene falls, shyly, in love with a dance hall
hostess, played beautifully by Alyson Fainbarg (with Melissa B.
Scott booked for the final two weekends).
Brown's effective multi-locale
setting incorporates the barracks, mess hall and latrine, as well as
the cathouse, USO dance hall and, most effectively, the train
carrying the GIs to and from their Mississippi misery.
"Biloxi Blues" may speak of a war
long ago and far away, but it serves to bring home the conflicts of
today and, most likely, tomorrow. For those who have served, the
Neil Simon seriocomedy will vigorously stir the memory banks.
