Antics aren't just for kids

By Carolina Astrain

Published Feb. 23, 2007

Our scene took light within the confines of Raina's bedroom laden with a quilted bed and dimly lit room. Tactful lighting operations during the first act of George Bernard Shaw's "Arms and the Man" added a cheek of enchanting illusion feeding into the characters' world of adolescence and heroic idealism. Raina, portrayed through the talent of MU senior Heidie Arni, is the daughter of the wealthiest man in Belgium. After housing an enemy of war, an officer from the Serbian army named Bluntschli (played by graduate student Brett Johnson), Raina places herself in danger of her father's possible fury in response to her treachery. From there, everything is spun off into instances of reappearing romantic trances, witty humor and bitter rancor.

"I had seen the production a number of times years ago, and I felt we needed a classical play," director Suzanne Burgoyne said. "It's about how we make up these stories for ourselves. The play is about masking and unmasking. A lot of the damage is done in the world because of people who try to be something they're not."

The refugee seeks safety within Raina's chambers but is then held captive by her naïve charm. Unique to this production are the reappearances of two Russian soldiers prancing onto stage parading a banner that states, "And they lived happily ever after." Their tumbles and feigned falls were coordinated with help of choreographer Adrianna Adderly.

"I love improv," said senior Joshua Robinson, who played a Russian soldier. "I think that's my strongest area when it comes to acting."

Robinson and sophomore Chris Lowe created their own lines and blocking in what Burgoyne called a collaborative effort.

"Arms and the Man" is a social critique about issues of class and their desires that push them against each other further into the plot.

"One of the things Shaw is trying to say is that people don't grow up, and when they do grow up, people kill each other," Burgoyne said.

These characters were all children in their actions and victims to their faults. Expertly designed costumes exemplified the ego of each player into the child they played.

"Petkoff, to me, was the biggest child," Matt Saltzberg said. "My cloak was my security blanket. I rubbed my tummy several times to 'satisfy' myself. I connected Petcloff with my own life as an only child. My wife acted as my mother."

The most adult performance given among the cast is by Theatre Assistant Erin Castle, who plays Raina's maid, Louka. Louka plays her cards as the accuser and victim of the cowardly attitudes belonging to her superiors.

"I feel so fortunate with this cast," Burgoyne said. "It was wonderful working with them. We were all wiling to try new things and being in a wheelchair did not stop that. To me, theater is a group effort."

This was evident after Burgoyne slipped on ice and broke her ankle. The play's actors took turns driving Burgoyne to rehearsals, caring for her cats and running her errands.

"Arms and the Man" is an important piece of theatrical literature necessary in rising above the suppression of society's norms, and Burgoyne's cast does it justice. The final resolve is also fitting and begs for acts of self-fulfillment divorce from social expectations.