Por Charlene Baldridge
The Vietnam conflict was so unpopular with the American public that returning survivors were spat upon. Eddie Birdlace, the protagonist in “Dogfight,” is one of the returnees. At the top of Benj Pasek and Justin Paul’s 2012 musical (playing at Cygnet Theatre through Aug. 23) Eddie returns to San Francisco seeking the only “home” he has ever known.
If that setup sounds familiar, Pasek and Paul based their musical (with book by Peter Duchan) on the 1991 Warner Brothers film with screenplay by Bob Comfort.
Flashback to November 1963: Beautifully portrayed and sung by Patrick Osteen, Birdlace is one of three Marine buddies who include Boland (Alex Hoeffler) and Bernstein (Scott Nickley). They call themselves “The Three Bees” and have the tattoos to prove it. Along with others set to ship out the next morning, they have rented a lowlife nightclub in which to stage a cruel prank. Each Marine chips in $50 and the winner takes all in the “Dogfight,” a contest to choose the ugliest date.
Bernstein brings Ruth Two Bears, an inarticulate Native American portrayed by Mel Domingo. Boland brings a toothless whore named Marcy, played by Sarah Errington, who turns in a hysterically funny portrayal. Birdlace brings Rose (Catie Grady in a breakthrough performance) an innocent and awkward waitress he meets in a diner. The chemistry and musical blend of the latter pair are marvelously touching. Rose’s mother is played by Debra Wanger. Charles Evans Jr., Ben Gibson, and Eric Von Metzke play other marines. Bryan Charles Feldman portrays the Lounge Singer.
Just out of boot camp, bent on getting laid, and roaring for a fight, the men are crass and full of bad language employed to shore up the veneer of toughness. Even Eddie wears it well, but when he realizes how badly he has hurt Rose, he makes it up to her with dinner in a swanky restaurant. Their romance is brief and poignant.
Music director Terry O’Donnell conducts an excellent five-piece orchestra from the keyboard. David Scott’s sound design is such that only occasionally does the accompaniment overwhelm the lyrics. The ensemble singing is terrific. David Brannen’s choreography, Chris Rynne’s lighting, Jacinda Johnston-Fischer’s costumes and Peter Herman’s wig and makeup design fit just right.
Aside from the talented company and individual performances, the most wondrous of all the elements is Sean Fanning’s memorable scenic design, a view of San Francisco through a trestle with crossover and stairs on either side, and in the center, the bay and a cable car. Sean Murray directs with clarity and a sure love of these characters that will not soon be forgotten.
Pasek and Paul’s music is appropriate and varied, with trios, duets, solos and ensemble numbers that make sense in the unfolding story. It is also melodic and somewhat infectious.
—Charlene Baldridge ha estado escribiendo sobre las artes desde 1979. Puedes seguir su blog en charlenebaldridge.com o llegar a ella en [email protected].
