The small Nora Theatre Company may be in the backwoods of Boston University, but they are anything but irrelevant. The company, currently in the process of permanently relocating to a state-of-the-art facility in Central Square, has impressed critics for years, and their latest production of "How I Got That Story" by Amlin Gray continues in this tradition.
The Obie Award-winning, two-man show chronicles a young reporter (Chris Thorn) who arrives in war-stricken Ambo Land full of eagerness to report the truth. A series of unfortunate events cause him to recognize the horrors of war and the impossibility of remaining neutral in the wake of its insanity.
Thorn fits the part of a naive, young reporter to a T. Round-faced and exuberant, he approaches his new job with youthful vigor. Once he becomes acquainted with the darker side of war, the reporter's transition to weathered cynic may be a little too abrupt. Nonetheless, he retains his naivet?© even as he attempts to distance himself from the American side of the war. He expects the Ambonese people to accept him wholeheartedly and without question, demonstrating that he still has much to learn about the nature of trust. This continuing sense of innocence provides unity throughout the play.
John Kuntz, the only other cast member, is absolutely phenomenal in his role of "The Historical Event." Each scene features Kuntz in a new role, from prostitute, to war-worn soldier, to Madame Despot, to Ambonese nun. Kuntz assumes each role with utter conviction, his body becoming a vessel for voices, gestures and personalities. He fully gives himself to the stage, and his astounding range is theatre at its best.
Small, flat-screen televisions frame the stage and flash black and white photographs of war-time Vietnam during the black-outs. While the TV screens are regrettably small, these photographs are a grim reminder that the horrors in the play are much more than fiction.
The lighting is unremarkable, and the costuming is simple. Although Kuntz plays over 20 roles, he manages to don a new character with nothing more than a wig, a tie, or a smock. Simplicity is a boon in this case, allowing talent to speak unimpeded.
Calling itself a "nightmare comedy," the show is nevertheless more somber than funny. Although the play was written in response to the war in Vietnam, "How I Got That Story" has clear parallels to current events. The brash, unsophisticated American soldier stereotype still holds today, and Madame Ing is the quintessential totalitarian leader. The setting may be different, but this production demonstrates that the roles remain largely unchanged.
The Reporter faces innumerable difficulties in his attempts to assimilate into Ambonese society. This prompts questions about the feasibility of cultural understanding and cooperation. In addition, the seemingly unending cycle of war sends a bleak warning to viewers.
Despite the location of the playhouse, this show is a treat for theatre lovers. Stellar technique and an important message make the show a success. On the downside, the script is somewhat scattered. As the reporter skips around looking for the next big story, the viewer is left wondering how the pieces fit together. In addition, the reporter's character development is juvenile. His complete immaturity is wearying at first - the audience is left wondering, "Is anyone this naive?" Nevertheless, the message is clear and the show is highly satisfying.
"How I Got That Story" is a gritty depiction of the insanity and horror of war, and it is also a remarkable piece of theatre. Unfortunately, the major themes are as relevant today as they were 25 years ago when the show was written. Well-timed humor lightens the impact of these themes, but one will nevertheless ponder its message long after leaving the shoddy theatre.
