Teens' imaginary language creates vivid 'War' images

By Joseph T. Rozmiarek
Advertiser Drama Critic

From left, Reb Allen, Scot Davis, Hermen Tesoro Jr. and Jonathan Sypert star in Honolulu Theatre for Youth's production of "War." Brad Goda 'War' 4:30 and 7:30 p.m. Saturday and Feb. 15. Tenney Theatre, St. Andrew's Cathedral $12 general, $6 youths 3-18 and seniors over 60; recommended for those for 10 and older. 839-9885 Note: A 7 p.m. March 15 performance is a benefit for the Domestic Violence Clearinghouse and Legal Hotline. Tickets are $20. 534-0040.

The four characters all have absent fathers and find answers to that question among their peers or from father substitutes — an older brother, a coach, an agent or the school's military commander.

The answers they find are focused on physical combat. "Show no fear." "Take the hits." And when you fight, "leave your mark."

Tommy (Scot Davis) wants to fly fighter jets. Brad (Reb Beau Allen) has dreams of professional hockey. Andy (Jonathan Clarke Sypert) wants to be a movie action hero. Shane (Hermen Tesoro Jr.), is trying to live down a past of gang violence. Not quite men and unsure of how to make that transition, the boys' immediate concern is to act and talk tough.

For this play, Foon has created an imaginary slang lexicon that makes a point, but avoids most censorship. Brad calls Tommy's ex-girlfriend a "skrunky piece" and labels Andy a "Scoob" and a "tomato" for acting in school plays. "Andy doesn't have any pistons. He's not onside, you know."

The unexpected surprise in the script is how well the language suits the playwright's point. Foon is an economical wordsmith. His dialogue gets right to the point, leaves out extraneous connectors, and creates vivid images. If this isn't raw poetry, it often comes close. Consider Brad's analysis of a hard look that Shane lays on Tommy:

"Scoping your major veins and arteries, "Looking for the best place to cut."

Language drives these characters above simple realism to represent an attitude more than an actual figure. Like sometimes happens in Shakespeare, words take precedence over reality.

Because the language hits so hard, we can overlook Shane's unlikely bid to back up Andy in a fight. These two aren't friends and won't become so, but Shane is urged to support an underdog, and Andy's laugh reminds him of his murdered brother.

Similarly, Brad plays Iago to Tommy's Othello by lying about his girlfriend's fidelity, leading Tommy to retaliate with a violent rape. With powerful language, there need not be character motivation when the playwright seeks to symbolize evil intent.

The boys act out but come to realize that "the hurt you put out comes back on you." Tommy is arrested and loses his recommendation for military flight training, Brad is cut from the hockey team, and Shane is knifed in gang retaliation.

The play ends with Andy coming dangerously close to imitating Shane's style while lacking the instinct to internalize it.

Guest director Tony Pisculli and his cast put the right punch behind this material. Designers Alfredo Garma and JanDee Abraham add a grim set of graffiti and chain link fencing and a stark, mostly black-and-white style.

The performance is followed by an opportunity for audience discussion and educational materials that springboard to a consideration of abusive behaviors. This is a problem play that urges us to think about a solution.