Actors Co-op (From left to right) Scott
Arroyo, Tim Woodward, Marc
Elmer and Rick Marcus portray injured
WWII-era soldiers in the play "The Hasty Heart."
By Kristen Lara
Daily Bruin Contributor
In times of war, soldiers thrown together by circumstance
develop bonds with each other as they survive from one day to the
next.
Set during World War II, John Patrick’s play “The
Hasty Heart” follows five men recuperating from war injuries
in a temporary British convalescent facility in Southeast Asia. The
five include an Englishman, an Australian, an American, a New
Zealander and a native of an unspecified tribe, all of whom are
cared for by the beautiful and capable British nurse, Margaret.
The men are united in their admiration and respect for Margaret,
as well as through an easy, yet strong, camaraderie.
Each character is stereotypical of the country from which he
hails, providing much of the play’s comic relief as, amid the
banter, tempers flare and petty arguments ensue. Despite these
conflicts, however, the men share a friendship that transcends the
boundaries of their different heritages.
The atmosphere is altered when a new patient, a proud Scotsman
named Lachlen (Stephen Van Dorn) is admitted to the ward.
Before Lachlen arrives, the others are informed that he has only
two weeks to live, but is unaware of his condition.
Sympathetically, the men attempt to draw him into their circle, yet
he resists, viewing friendship as an unnecessary luxury and a
weakness of character.
Naturally reserved and brusque of manner, the angry Scot neither
understands nor accepts the men’s amity, never having been
exposed to tenderness or affection.
Eventually, however, the other characters break through the
walls that Lachlen has built around himself. He realizes that he
has wasted many years in self-imposed loneliness and yearns for
something more to render his life meaningful.
 Actors Co-op "The Hasty Heart," which runs through Dec.
17, features Marianne Savell as Margaret and
Stephen Van Dorn as Lachlen. The young soldier
tentatively moves closer and closer to the group until he
establishes himself as one of them, abandoning his pride in favor
of lowering his guard and softening his heart. The movement of the
play finds Lachlen overcoming the obstacles that threaten to keep
him locked within himself, while he discovers the true nature of
friendship and love.
As the desensitized Lachlen moves from isolation into the group,
he is reborn in his humanity. Van Dorn brilliantly captures the
personality of the soldier with a moving and passionate
performance.
Scott Arroyo, in his role as the Yank, also gives a powerful
performance in emotion-fraught scenes as Lachlen stubbornly clings
to his pride while the American attempts to show him the value of
friendship.
Marc Elmer, Rick Marcus and Tim Woodward, playing the
Australian, New Zealander and Englishman, respectively, are a
charmingly funny comedic team, delivering much of the hilarity on
which the play depends. Amongst them, however, it is Woodward who
steals the show in his role of the outlandish Tommy. All the men in
the convalescent ward contribute to the humor, yet, for
recuperating invalids, they all seem amazingly hale and hearty.
Another interesting character is Blossom, played by Jerome
Gregory Williams, the peaceful and good-natured tribesman who is
isolated from his counterparts because of a language barrier.
Unable to verbally communicate with the rest of the group, he
remains virtually silent throughout the play.
His character, however, plays an integral role in conveying the
play’s central message, a message that, through
Williams’ performance, resounds with the audience. With
measured movements, Williams captures his character’s
simplicity and quiet sadness.
Marianne Savell, in her role of Margaret, treads lightly among
her counterparts and her presence brings the cast together during
several scenes. Savell manages to infuse the right blend of spunk
and archness in her character, a character who is at once mother,
sister and sweetheart to the men under her care.
Occasionally Savell’s performance seems to lack the
sincerity essential in several of the dramatic turning points. This
may, however, be a result of the ambiguity of the character itself.
At times, for example, the audience is confused and is left
wondering about her true motives.
In addition, there are instances when the audience is given too
much explanation. Toward the end, the play’s theme of
redemption is continually spelled out when it would have perhaps
been more effective to leave some of the message open to
interpretation.
Overall, “The Hasty Heart” is delightfully executed.
One can interpret the convalescent ward, a place in which the men
undergo physical and emotional healing, as a microcosm of the
world. A melange of people are thrown together, and in their not
always harmonious interactions manage to give and receive
acceptance and warmth.
The journey of the Scottish soldier can also be thought of as a
journey that one undertakes as a human being, to find fulfillment
and affirmation in life through friendship and love.
Patrick’s “The Hasty Heart” is a masterful
blend of comedy and drama. Performed by the award-winning Actors
Co-op and directed by Pepper Sweeney, the play is the second
production of their 2000-2001 season during which they examine the
theme of redemption.
THEATER: “The Hasty Heart” is now
playing at the Crossley Theatre, 1760 North Gower St. in Hollywood
through Dec. 17. Performances are Thursday through Saturday at 8
p.m., with 2:30 p.m. performances on Sunday. For ticket pricing and
information, call (323) 462-8460 or go to www.ActorsCo-op.org.