Home Front
Reviewed by Iris Mann
Victory Theatre Center
Through February 12
RECOMMENDED
In this west coast premiere of Home Front, by Warren Leight, a psychiatrist is quoted as saying, “This country will break your heart.” So will this beautifully rendered play. The statement by the psychiatrist foretells what happens to the story’s three characters in the face of a doomed interracial love affair during the 1940s, when such a union was taboo.
The action begins in a New York bar on VJ Day, which marked the end of World War II. Naval Lt. James Walker (C. J. Lindsey), who is African-American, meets Annie Overton (Austin Highsmith Garces), a white woman, and it is love at first sight. They very quickly become intimate, and Annie gets pregnant. When James comes back on leave, they start to set up housekeeping together in a tenement basement
James believes that the world is changing, moving forward in terms of race relations, given his black unit’s stellar performance during the war, and the fact that black servicemen actually became officers. Annie trusts him and believes in him. But, assigned to duty in South Carolina prior to being discharged, James ends up in prison after arming himself and shooting in defense of a young man about to be lynched. Edward Glimmer (Jonathan Slavin), a New York neighbor and friend, uses a connection in Washington to arrange for James to get a general discharge, but things get even more wonky, showing how illusory it was (and by implication, remains) that the moral arc in inter-racial relations bends towards justice.
James returns to New York and looks for work, but all he is offered are menial jobs. As his rage at the world grows, he and Annie begin to turn on each other.
The play is well constructed, and there are scenes involving unseen characters which are imaginatively handled, although it may have been more effective if, at least once, we had witnessed or heard actual people expressing blatant, or hidden, racial prejudice. But that is a minor consideration here.
It should be noted that Leight injects an interesting touch by having James and Annie express their own biases. While not overtly prejudiced, at certain points each uses a derogatory expression regarding gay men while interacting with Edward, whom they know is gay. James acts out of jealousy and disillusionment, while Annie speaks without thinking.
Director Maria Gobetti does a superb job of immersing her actors in the action, setting just the right pace, atmosphere and emotional levels. Her use of the small stage is highly inventive, and she keeps the proceedings taut as they become increasingly volatile. She extracts uniformly splendid performances from her actors.
The interplay between all three performers is so genuine that we almost feel we are looking through someone’s window, watching the harshness of real life unfold. The actors also manage to be totally convincing as people of the 1940s.
Lindsey is an attractive presence, beginning with a soft, innocent charm and building to a crescendo of outrage and cynicism. One almost wishes James would take the plea and accept the general discharge, while completely understanding why he cannot. We are shaken just watching his thunderous outbursts. Garces is a revelation, descending from an optimistic, high spirited young woman to a defeated, broken victim of circumstances beyond her control. She takes the audience with her every step of the way on her emotional journey.
Slavin provides most of the clever comic relief. But his smooth performance goes beyond the comedic to depict an essentially sensitive and kindly soul who has a quiet strength and wisdom. The actor’s presence provides an anchor for the whirlwind around his character.
The set design by Evan Bartoletti and costume design by Carin Jacobs help immeasurably to suggest the period and create an ambiance. Lighting designer Benedict Conran and sound designer Noah Andrade deserve honorable mention, while the montage of scenes from the historical VJ day supplied by Jermaine Alexander at the very beginning sets the mood for the drama that follows.
Victory Theatre, 3326 W. Victory Blvd., Burbank; Fri. & Sat., 8 pm; Sun., 4 pm.; through Feb. 12. 818-841-5421 or thevictorytheatrecenter.org; Running time: Two hours with one intermission.
