Review by: Gordon Maniskas
The 1960’s were an era fraught with dramatic social change, ceaseless war, and young soldiers struggling to shoulder the burdens of an entire country. “Zulu Time” explores life on an aircraft carrier preparing to head off to Vietnam as the Navy Men on board grapple with rapidly changing racial dynamics. A talented ensemble cast breathes life into the poetic dialogue of playwright Chuck Faerber, as they confront societal issues that continue to plague America to this day.
The first act takes place off the coast of California as race riots break out on the mainland. While they
watch the skies fill with the smoke of burning buildings, the Navy Men each deal with the racial tension in their own ways: African-American soldiers worry about the safety of their families, while most Caucasians are contemptuous of the minorities’ violent protests. When Ronnie, an African-American seaman (played by Christopher T. Wood) overhears racist slurs hurled by Page Boy, a pilot (played by David Ghilardi), he demands an apology, threatening to keep Page Boy grounded until he gets one. But, as Ronnie soon finds out, complaints of racism are of no concern to the ship’s commander. Though Wood’s natural, empathetic performance and Ghilardi’s surprisingly complex portrayal of a hardened racist are both effectively executed, the first act drags somewhat at times. Much of the action revolves around Ronnie’s stubborn demand for an apology – 
a noble goal, but not quite enough at times to propel the dramatic momentum through to the second act… Where everything is ramped up a notch.
The second Act deals with the carrier’s arrival in Vietnam. Now in the midst of a war zone, the characters have all been changed by bloodshed… one way or another. The piece truly takes off here, as the racial tensions are tested even further by the strain of war. An unlikely friendship forms between two Engineers, one Black and the other a closeted homosexual (played by Acquah Dansoh and Tony Grosz respectively), and they find themselves pitted against the closed-minded soldiers who are supposed to be their comrades. The second act is rife with conflict and intensity, and is gripping through the final, tragic moments.
The cast shines in this ensemble piece, some actors portraying multiple roles with nimble dexterity. Scott Keiji Takeda shines particularly brightly in the role of Yamato, a Japanese-American Navy Captain trying to shield Ronnie from the racist bureaucracy on the carrier. Centered, intense, and charming, his presence on the stage is magnetic. Takeda admirably wears the mantle of the moral center of the play, and his moments in the spotlight keep the audience in rapt attention. Also of note is Byron Hays as the ghostly “Mate of the Deck” who, bedecked in a sparkling white uniform, serves as the 4th-wall breaking narrator. The mastery delivery of his many soliloquy is always delightful, and adds a satisfying change of pace throughout. Trevor Larson as the ace pilot “Lone Star” radiates a youthful charisma and playfulness artfully balanced by moments of honest sensitivity. And, John Marzilli as Admiral Potter is an explosion of bombastic “Full Metal Jacket” military man. Gravelly voice, hard eyes, and a ferocious temper, he’s the man you love to hate… and watch.
But, the real star of the piece is the dialogue by Chuck Faerber. With colorful Navy jargon, florid prose rooted in honest Human emotion, and multiple poems recited throughout, the monologues and dialogue are written with consistent beauty. Complex characters in complex situations feeling complex emotions, and all presented simply enough to keep the audience along for the ride. The play has the feeling of a long-form poem at times, but
without ever being ostentatious.
Hats off to director Richard Kuhlman and set designer Gary Lee Reed for navigating the small performance space with such effectiveness. A single rolling walkway and a few platforms are choreographed to gracefully create a multitude of different settings. Several quasi-balletic sequences, lit by lighting designer Donny Jackson, provide whimsical, dream-like moments to balance to stark, exposed brightness of the other scenes. And, Gina Davidson’s costumes do a fantastic job differentiating between the varying Navy positions, substantially aiding the audience in understanding the complex hierarchy on the ship.
“Zulu Time” is a timely production, shining a light on the social injustices of the 60s and reflecting on how things may have (or may not have) changed since then. The cast’s strong performances of the richly crafted script makes this show well worth seeing.
WHEN: Runs July 11th through August 9th
Fridays and Saturdays at 8pm, Sunday at 3pm
WHERE:
Hudson Theatre
6539 Santa Monica Blvd
Los Angeles, CA 90038
CONTACT:
(323) 960-7740
General Admission: $25
