It’s extremely difficult to set plays on a battleground and make them feel authentic. Only Shakespeare’s superior talents as a poet and dramatist make credible the battle scenes of his history plays.
So it’s gutsy of Synetic Theater to try to reproduce the horrors of war in “Home of the Soldier.” Ben Cunis has provided a script, which grew out of interviews with soldiers. But the production relies greatly, as do all Synetic’s productions, on a physical rather than a verbal approach to its subject.
“Home of the Soldier” is the story of two young men who have joined the American military, Son (the extraordinary Vato Tsikurishvili) and Kid (Zana Gankhuyag), who are preparing to be deployed.
| Onstage |
| ‘Home of the Soldier’ |
| Where: Synetic Theater, 1800 S. Bell St., Arlington |
| When: Through July 1 |
| Info: $25 to $55; 800-494-8497; synetictheater.org |
The first scene consists of a company of soldiers still in training, doing vigorous calisthenics while their leader, Drill Sargeant (Joseph Carlson), barks orders at them. The soldiers’ agility and strength are astonishing.
Cunis and director Paata Tsikurishvili don’t clarify where or when this war is being fought, although the use of computers implies a modern struggle. The costumes by Laree Lentz include soldiers’ uniforms that seem contemporary. The enemies’ uniforms are long, loose black outfits.
Daniel Pinha’s set uses a metal grid reaching to the top of the stage. Sandbags are piled on top of one another three-quarters of the way up the grid. As the action unfolds, those sandbags are pulled down and the grid is uncovered, used as a killing field.
Behind the grid is a movie screen, which is occasionally used to reveal filmed or taped scenes of battle or to show computer images of the soldiers’ wives. Riki K.’s multimedia design adds an important dimension to the production.
“Home of the Soldier” doesn’t offer a justification of war. It confines itself to the warrior himself. Tsikurishvili gives a muscular, taut performance as Son, a powerful character yet fragile, confused by his inability to focus the blurred lines that separate his original home from his battleground home, his father from his military family.
Gankhuyag is touching as the happy-go-lucky young man who sets out for war with Son. Irakli Kavsadze is compelling as the Prisoner. Jodi Niehoff is terrifying as Native Mother. All the remaining actors work well together as an ensemble, portraying soldiers and enemies.
It would be nice if Cunis’ script were fleshed out with more opportunities for Tsikurishvili to realize his character. Still, through its unified use of choreography (by Cunis and Irina Tsikurishvili), music and multimedia design, the production is a tremendously affecting testament to the pain, anguish and courage associated with the individual soldier, whether he or she is in the hostile environment of war or has left that place to return to another home.
