-
- There are some interesting contrasts brought out, like comparing big corporations
to gang members who go in a neighborhood to "vandalize" the smaller businesses
with lower prices, flashier stores, eventually putting them out of existence. What
few people dare to say, except in very private circles, Pelfrey's characters shout -
complete with expletives, at the top of their lungs. And that is that the influx of
immigrants into this country is scaring the hell out of society. Couple that with
the crime statistics in Black neighborhoods, and their gradual oozing into the
"better areas", and you have the fodder for a gritty tale about a group of
white men who decide to take matters into their own hands. One of the men, John, has
been attacked at an ATM, and this ignites them to resolve that if the world is bringing
gangs to their neighborhood, then they will form their own gang to protect it!
Armed with that premise, the gang adopts the name "Honkies With
Attitude". Besides John, a radio talk show host, they include McCauley, a
coffee shop owner; Barry, a contractor whose son is brain-damaged from a drive-by
shooting; Chad, an unemployed man and Mike, a real estate broker who is Mexican
American. This creates the first problem, since Mike is not happy with the name, but
decides to go along after a lot of arguing. None of the men are the violent type,
and seem hopelessly out of place as they attempt to convince each other that they are up
to the challenge. If they had actually come across a real Cript or a Blood, they
would have probably fainted - or maybe given the local dry cleaner lots of business - or
both.
At first the gang does little more than cruise the neighborhood, but when the
unemployed Chad brings in Fleck, things really take a turn. Fleck is a dark,
brooding character that is frighteningly real. He is not really the stereo-typical
gang member, but more the San Quentin "lifer" type who acts from impulse and
says very little. Cris D'Annunzio is sometimes too scary to even look at in this
role.
The unexpected equation is Barry, who openly resents Mexicans for shooting his
boy and makes no effort to hide his feelings. Soon the men are fighting among
themselves and when Fleck actually kills a tagger on one of their rounds, the gang soon
disintegrates. They break up into two rival factions, with Mike, John and McCauley
forming their own group and after being shot at by the others in a drive-by, they cruise
the area for revenge with Mike handling the weapons. They attempt their own drive-by
against the others to try to scare them. Except, they miss and kill a janitor
instead.
Events follow like a whirlpool spinning into an uncontrollable abyss.
Killing becomes almost secondary, as Barry's rage leads him to eventually kill Mike, then
he kills his son, and them himself. The dialog, pace and choreography of this
exchange embodies the essence of the story in one of the most gripping scenarios of this
production. The hate, fear, hopelesness and despair resonated so powerfully that the
audience sat in stunned silence, vicariously living each emotion with the actors.
Before long, the very thing the "Honkies" were trying to escape comes to live
right inside their home. Their effort to keep from becoming victims has turned them into
criminals, worse than the ones they feared. Those who survive reach a final
realization that their enemies now live a few blocks away, and there is nothing they can
do except try to live with it.
One of the many things about this play that stays with you is the performances
by all the actors. McCauley's transformation from a mild merchant to cold blooded
killer is nothing short of chilling, as Mark Kinsey Stephenson, every bit the average guy
at first, shows how easy it is to cross the line. Richard Ruyle gives you food for
thought, showing how even a neighbor you trust can harbor hatred and bigotry without you
ever knowing it, and how the slightest provocation can be the difference between life and
death. The radio talk show host, as played by Perry Herman is an excellent
personification of those who incite people to action with words, but are often slow to
join in the action. Pedro Pano was excellent as Mike, the guy from the barrio who is
desperately trying to build a better life at the risk of being called a
"sell-out". David S. Davidson, as Chad, is downright obnoxious as the one
who keeps egging them on, and pushing them to act, but when his estranged wife agrees to a
reconciliation, he decides to pack it up and leave the group to deal with the problem of
the killing they have committed. D. Matt Crabtree played Barry's invalid son.
The women in the play do little more than support or argue, but don't really
have much influence on the events, although the men claim to be doing it for them.
Heather McCandles, Monica Hidrovo and Lisa Gruber are the dutiful suburban wives, and do a
credible job with the material they are given.
Directed by Darrell Kunitomi, the ensemble presented an evening that was sure to
have people talking about the possibilities and the nuances. To his credit, Kunitomi
keeps the action low-key, with dramatic lighting and very sparse sets, all of which add to
the tension and anxiety.
Unfortunately, many will compare this play to Pelfrey's archetypal
"Cockroach Nation", sure to become a classic. That is unfair, as
"Nation" was a surreal look at the future and "Honkies" is a blinding
spotlight on NOW! One can only hope that the message will not be lost by the
comparison, and that people will realize that the neighborhood the men are trying to
defend could easily be the one across the street from you. |
