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THE SHREVEPORT TIMES, Shreveport, LA, May 23, 2001 By Michelle Pinkard Been thinking a lot about the word freedom lately. Maybe it's because yet another Memorial Day is creeping up on us. Or perhaps it's that the word has almost become as common as a Sunday afternoon barbecue this time of year. Almost. But suddenly it's all clear now. When elementary school teachers stand chalkboard center to make students recite national war dates and significant battles, it's for a reason: to convey that that fundamental right, that freedom, wasn't free. It was paid for with the blood and sacrifices of thousands of men and women in wars throughout several centuries. That realization really hit home last weekend with the viewing of a three-act play at Barksdale Air Force Base. Nearly 400 of the base's elite, troops, retirees and their families attended the three-act production of Letters From the Front. How could I come close to describing the experience? If every possible war-related state -- love, hatred, failure, success, life and death -- were tossed into a blender, surely the result would be this Broadway-style production. By interweaving actual letters written from both the war and home fronts (in conflicts dating as far back as the Revolutionary War), the creators invite the audience to take a tear-jerking, hand-clapping, mind-blowing, two-hour stroll through history. "Letters is different from most theater productions," said producer Marsha Roberts. "Most shows are about the actual production, our show is about the audience. We wanted a chance to say thank you for the services they perform everyday." The drama, produced by Rector-Roberts Productions, has toured international and stateside military installations for more than 10 years as part of a Defense Commissary Agency worldwide promotion. Admission was free, courtesy of sponsors like General Mills, Yoplait and Betty Crocker. The play was written by Robert Rector, who also happens to be Roberts' husband. The couple began collecting letters written during all major American Wars. They, in turn, presented those letters in a dramatic context set during World War II. From this spawned the play's two fictional characters. Katharine Hartgrove, played by Kathy Tyrell, is a nationally recognized writer whose husband died in the first World War and whose son is fighting in the second. Johnny Chastain, played by Patrick Dizney, is a popular radio celebrity on the skids. The two fall madly in love while collaborating on a new show about war letters. "The play personalizes war," said 2nd Bomb Wing Vice Commander Col. Tony Imondi. "It puts a face to the faceless by telling the stories of thousands who sometimes give the ultimate sacrifice in the name of freedom." Freedom, what a cool word.
THE KWAJALEIN HOURGLASS, Kwajalein Atoll, Marshall Islands, Oct. 5, 1999 By K. W. Hillis Receiving a long-awaited letter from a loved one far away fighting a battle, boredom, or, more likely, loneliness, has been and will be a common experience for far too many people. The Kwaj audience that attended the opening of Letters From the Front: WWII, a Rector/Roberts Production, seemed to know this shared experience. ". . . Very moving for both vets and civilians alike. Thanks," was one comment card entry from a 50 year old man. The world's most decorated play (more than 100 medals, plaques, and special commendations), was inspired by a vision that Marsha Roberts, the producer, had in the middle of the night on Sept. 13, 1990. "I saw Letters From the Front in neon. I have never had such an experience before or after," she explained. The vision, and the added significance that Sept. 13 was her late mother's birthday, led her to totally focus on the development and production of the play. Roberts also said she considered it a privilege to be able to share these letters with others through the play. The play is very personal to her: the first voice you hear reading a letter is the voice of her father, Warren Roberts. Robert Rector, playwright/director, who originally wrote the play to focus on Desert Storm and later modified it to a World War II drama, said, "The story of Johnny and Katharine illuminates the the themes that are in the letters. The letters actually only comprise the second act, which is about 20 minutes in a two hour play. So I think one of the biggest misconceptions that people have about the play . . . is that it is just about people reading letters, and it's not." The story revolves around award winning author Katharine Hartgrove, played elegantly and energetically by Della Cole; Johnny Chastain, played with feckless energy that is tempered to a mature determination by Neal Matthews; and the almost physical presence of Stuart Hartgrove, Katharine's son and a soldier. Katharine is writing a play to include letters from soldiers and medics and their loved ones from the Civil War to WWII. Johnny, a showman if there ever was one, wants to play on the audience's emotions, while Katharine is experiencing the emotions in the letters firsthand since her son is fighting overseas. The freshness of the acting was amazing, considering the play has performed at more than 150 military installations worldwide since 1992. Together with the beautifully executed set, the audiovisual effects including a convincing rainstorm outside the window of Katharine's home, and the over 60 subtle lighting changes combined to present an engrossing and emotional experience. The overwhelming physical response of the audience prompted many to write out their comments: "The reality of it!" wrote a 23 year old. "We who live on Kwaj realize we walk every day on many who died for us. This is holy ground. Thanks again," a 60 year old man commented. One seat stayed semi-occupied when the audience left the room. On the front row a pair of shiny, but worn, combat boots were still in front of an empty chair. Ted Boelt, associate producer and Vietnam veteran, is the custodian of the boots. They were given to him by another veteran who wore them when he was in Vietnam. During each performance a seat on the front row is reserved with the boots in recognition of those missing in action (MIA) and prisoners of war (POW). Someday, the hope is, the seat will no longer be empty. Those who missed this moving and memorable play may be able to catch it again, but plan on making a long trip and getting tickets way ahead -- Broadway plays are hard to attend on the spur of the moment.
CARTHAGE REPUBLICAN TRIBUNE, Carthage, NY, Sept. 9, 1996 Some of the finest, often overlooked pieces of literature are not by recognized writers but by common folk who pour out their hearts and emotions, especially in war times in the form of letters. These precious writings were the core of the drama, Letters From The Front, staged at the State Office Building last weekend. Presented by Ft. Drum's Morale, Welfare and Recreation department, the play is the work of Robert Rector, who was moved to write it after coming across a Civil War letter stained with mud from the battlefield, written by a young war-weary soldier pouring out his heart to his bride back home. The format of the play is simple. Katharine Hartgrove, played by Della Cole, is writing a play using "letters from the front." She is involved with Johnny Chastain, played by Bob Harter, a washed up sitcom star, who offers encouragement to her work but discovers a great deal about himself in the process. Bringing the story full circle is the unseen character of Katharine's son serving in the Gulf War. The real stars, however, are the faceless letter writers stretching from Valley Forge to Desert Storm. Their very personal missives were read as asides to the drama, often with enlarged photographs as a backdrop. The contents of the letters were compelling, filled with longing for the world and their lives to return to normal, expressing fear of combat and declaring love and hope to someone thousands of miles away. One even reached philosophical heights, questioning man's place in the universe. The audience was often moved by the tone of the letters. Harter and Cole, both experienced on stage and television, gave solid, sincere performances. The wide auditorium stage lent itself to the attractive set designed by Guy Tuttle. It is a fine hall for dramatic productions and little amplification was necessary to hear the lines. Background music was original, coming from the creative pens of Johnny and Marissa Woodall. Letters From The Front was thought provoking, professionally performed and provided a refresher course in history. You can't ask much more than that of any production. Hosted by Watertown Lyric Theatre, it was locally sponsored by the Watertown Daily Times, the Carriage House Inn and Miller Lite, and nationally promoted by General Mills. Folks, you don't have to go to Syracuse, New York City or other large cities to see good productions. You can enjoy them right in your own backyard. -- D.H.--
PULL QUOTES "If every possible war-related state -- love, hatred, failure, success, life and death -- were tossed into a blender, surely the result would be this Broadway-style production." THE SHREVEPORT TIMES, May 23, 2001 "By interweaving actual letters written from both the war and home fronts (in conflicts dating as far back as the Revolutionary War), the creators invite the audience to take a tear-jerking, hand-clapping, mind-blowing, two-hour stroll through history." THE SHREVEPORT TIMES, May 23, 2001 "The freshness of the acting was amazing, considering the play has performed at more than 150 military installations worldwide since 1992. Together with the beautifully executed set, the audiovisual effects including a convincing rainstorm outside the window of Katharine's home, and the over 60 subtle lighting changes combined to present an engrossing and emotional experience." THE KWAJALEIN HOURGLASS, Oct. 5, 1999 |
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