WAR MUSIC at A.C.T.

A battle scene in Lillian Groag’s War Music. Photo by Kevin Berne.

(Right) Zeus (Jack Willis, left) and Poseidon (Anthony Fusco) share a laugh over the fate of the city of Troy as their servant (Erin Michelle Washington) looks on. Photo by Kevin Berne.

WAR MUSIC: Epic drama. Adapted and directed by Lillian Groag, based on Christopher Logue's translation of the "Iliad." Choreography by Daniel Pelzig. Music by John Glover. American Conservatory Theater, 415 Geary St., San Francisco. (415) 749-2228 or www.act-sf.org. Through April 26, 2009

A TRUNCATED TROJAN WAR IN 3 HOURS

“Band Wagon” is a 1953 MGM movie in which a pretentiously artistic director visualizes a new song and dance musical as a modernistic Faust with disastrous results even though the cast included great actors, Fred Astaire and Cyd Charisse. A.C.T. is committed to develop large-scale fusion work combining language, music, and movement. To that end, they hired the legendary Lillian Groag who selected Christopher Logue’s translation of The Iliad for the project. Added to the team were award-winning composer John Glover and noted choreographer Daniel Pelzig. The cast includes A.C.T. core acting members (Rene Augesen, Anthony Fusco, Gregory Wallace, Jud Williford and Jack Willis); veteran actors Charles Dean, Lee Ernst, Sharon Lockwood, David A. Moss, and Andy Murray). What should be a tremendous success ends as a stunning visual production that may feed the intellect but ends as a “Band Wagon music and dance show” that needs re-thinking.

Groag notes the 10-year Trojan War is the ultimate absurdity with death and destruction blamed on the love for Helen, the most beautiful woman in the world. In Greek mythology, when there were multiple gods and it was an honor to die for love of one’s country, Helen, wife of Spartan King Menelaus is abducted by Paris and brought to Troy. Achilles, the fighting machine hero of the Greek Army, has a falling out with his leader Agamemnon and walks out in a huff refusing to fight. Much of the story line involves the machinations cooked up to get Achilles to return to the fold since he is needed to win the war. Homer played by the always excellent Anthony Fusco is the narrator and the show begins with a petulant Achilles (fine job by Jud Williford) throwing a tantrum and stalking off stage.

All (most?) of the mythological characters are paraded on stage with 13 cast members playing 39 parts. It is not necessary to re-read (you did read it once?) The Iliad since the program has a listing and the writing and cursory, sometimes elegant, sometimes humorous (would you believe freshman beanies with pinwheels?) costume changes designed by Beaver Bauer, sufficiently delineate the numerous roles.

Set designer Daniel Ostling has created a rather stark set, a mini-amphitheater with bleacher-like steps on each side and a flat playing field for battles choreographed by Daniel Pelzig to take place. At the back, a large circle opens at various times to reveal a crescent moon, sun, and a model of Troy. Russell H. Champa’s lights are a marvel adding depth to the action. A particularly effective device is the simulation of battle flares created by multiple bare light bulbs exploding on and off as they descend from the ceiling.

There are many stunning moments, pithy sayings, philosophical conjectures, and fine acting to admire but the burning question remains: For what purpose?

Kedar K. Adour

Courtesy of www.theatreworldinternetmagazine.com