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The US Premiere of
TUNNEL RAT
By Neil Cole
We know three things at the outset of this medical-mystery yarn: 1) During the Viet Nam war, the enemy operated from an interconnected network of underground bunkers, 2) When so-called "carpet bombing" failed to eradicate these hidden fortifications—you can still see them today on guided tours in Saigon—U.S. forces sent personnel into the subterranean fortresses to hunt them down, and 3) Since the conduits were sized to accommodate soldiers of smaller stature than your average Yank, the shortest GIs were steered toward these missions.
Ronnie Giles, the hero of our play, was one of these "tunnel rats" (as they were dubbed by their peers) and, 42 years later, it's still eating at him. This is manifested in hallucinations where the ring of his cell-phone triggers memories of the doomed convoy whose driver was his own last-minute replacement, where the ghost of a female guerrilla whom he had to shoot harasses him like a pesky kid sister, and his psychologist appears to be garbed in the black "pajamas" of a Vietnamese sapper. Is Giles suffering from survivor's guilt or killer's remorse, or is he fabricating his symptoms in order to keep receiving his pension? Does he still wear his uniform (with all his medals carefully displayed) because it justifies his past actions, are his troubles actually rooted in self-consciousness over his lack of height—or does the source of his malaise matter less, in the end, than his need to accept what can't be changed and get on with his life?
Playwright Neil Cole's clinical approach to his topic is a welcome departure from the abstract emotionality too often adopted by civilian playwrights attempting vicarious replications of a singularly ill-documented war. The dramatic conceit of the aforementioned shrink and dead VC assuming the auxiliary roles in Giles' persistent recollections is kept from descending into precocity by the simplicity of Genesis Theatrical Productions' technical design and the unaffected tone imposed upon the text by Mark J. Shallow, Stefanie Johnson, and Joyce Hshieh under the direction of Brian LeTraunik. Although Andrew Dallas' score of incidental music occasionally slips into cliché—"For What It's Worth," again?—Cole's look back to traumas suffered nearly a half-century ago provides intriguing insights into what will soon almost certainly become a problem once again, in addition to serving as a sound-check on the freshly rehabbed stage in Uptown's Preston Bradley auditorium.
-Mary Shen Barnidge
Windy City Times
Under the direction of Brian LeTraunik, the cast thoughtfully examines a soldier’s struggle with honor during an unpopular war.
-Katy Walsh
Chicago Theatre Beat
I would highly recommend seeing this production and even the Vietnam Veteran sitting next to me agreed with that sentiment.
-Audience Member
Ronnie Giles, the hero of our play, was one of these "tunnel rats" (as they were dubbed by their peers) and, 42 years later, it's still eating at him. This is manifested in hallucinations where the ring of his cell-phone triggers memories of the doomed convoy whose driver was his own last-minute replacement, where the ghost of a female guerrilla whom he had to shoot harasses him like a pesky kid sister, and his psychologist appears to be garbed in the black "pajamas" of a Vietnamese sapper. Is Giles suffering from survivor's guilt or killer's remorse, or is he fabricating his symptoms in order to keep receiving his pension? Does he still wear his uniform (with all his medals carefully displayed) because it justifies his past actions, are his troubles actually rooted in self-consciousness over his lack of height—or does the source of his malaise matter less, in the end, than his need to accept what can't be changed and get on with his life?
Playwright Neil Cole's clinical approach to his topic is a welcome departure from the abstract emotionality too often adopted by civilian playwrights attempting vicarious replications of a singularly ill-documented war. The dramatic conceit of the aforementioned shrink and dead VC assuming the auxiliary roles in Giles' persistent recollections is kept from descending into precocity by the simplicity of Genesis Theatrical Productions' technical design and the unaffected tone imposed upon the text by Mark J. Shallow, Stefanie Johnson, and Joyce Hshieh under the direction of Brian LeTraunik. Although Andrew Dallas' score of incidental music occasionally slips into cliché—"For What It's Worth," again?—Cole's look back to traumas suffered nearly a half-century ago provides intriguing insights into what will soon almost certainly become a problem once again, in addition to serving as a sound-check on the freshly rehabbed stage in Uptown's Preston Bradley auditorium.
-Mary Shen Barnidge
Windy City Times
Under the direction of Brian LeTraunik, the cast thoughtfully examines a soldier’s struggle with honor during an unpopular war.
-Katy Walsh
Chicago Theatre Beat
I would highly recommend seeing this production and even the Vietnam Veteran sitting next to me agreed with that sentiment.
-Audience Member
"Abrahamson's hip sensibility and penchant for puns ("out in the desert where the shvitz hits the fan") make for 80 minutes of fast-paced wholesome—and astonishingly educational—fun."
-Mary Shen Barnidge
Windy City Times"
...like a 'Rocky and Bullwinkle' cartoon - there's a lot for the kids and a second level of humor for the adults."
-Pauline Dubkin Yearwood,
Chicago Jewish News
"As a Gentile woman, I found HANNUKATZ THE MUSICAL to be a delightful Hebrew lesson. The program even lists words so you too can ‘Talk Like A Jew.’ After seeing “Fiddler on the Roof” a couple weeks ago, it was nice to experience the jocular side of God’s Chosen People. For Jewish families, this is a holiday tradition waiting to happen. It finally gives Jewish kids an icon to get behind. In a battle between a gigantic, energetic cat verses an overweight old guy, a disabled reindeer and a creature with a heart condition, the victor seems obvious!
- Katy Walsh,
The Fourth Walsh
It just so happens they are doing a show on Christmas Day and serving Chinese food after the show. So for those who have nothing to do and don't want to hang out at Walgreens (one of the few places open on Christmas), head to the National Pastime Theater for a few chuckles and grins.
Sally Jo Osborne
Chicago Stage Style
“You’ll enjoy the show no matter what holidays you celebrate.”
WGN News Chicago
-Mary Shen Barnidge
Windy City Times"
...like a 'Rocky and Bullwinkle' cartoon - there's a lot for the kids and a second level of humor for the adults."
-Pauline Dubkin Yearwood,
Chicago Jewish News
"As a Gentile woman, I found HANNUKATZ THE MUSICAL to be a delightful Hebrew lesson. The program even lists words so you too can ‘Talk Like A Jew.’ After seeing “Fiddler on the Roof” a couple weeks ago, it was nice to experience the jocular side of God’s Chosen People. For Jewish families, this is a holiday tradition waiting to happen. It finally gives Jewish kids an icon to get behind. In a battle between a gigantic, energetic cat verses an overweight old guy, a disabled reindeer and a creature with a heart condition, the victor seems obvious!
- Katy Walsh,
The Fourth Walsh
It just so happens they are doing a show on Christmas Day and serving Chinese food after the show. So for those who have nothing to do and don't want to hang out at Walgreens (one of the few places open on Christmas), head to the National Pastime Theater for a few chuckles and grins.
Sally Jo Osborne
Chicago Stage Style
“You’ll enjoy the show no matter what holidays you celebrate.”
WGN News Chicago
