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Paul Fitzgerald Paul Reviews Guardians at The Culture Project  Though it only contains two characters, Peter Morris' Guardians focuses on a number of important issues. The "American Girl" (Katherine Moening) is Lynndie England, the woman arrested for the Abu Ghraib torture photos. The "English Boy" (Lee Pace) is a fictional character made to represent the journalist who faked torture photos in Britain's The Daily Mirror. Through episodic monologues, each character reveals the truth behind how they came to be in the respective photographs. The American girl tells the story of why she ended up in Iraq, in the prison, in the photos and finally in jail. We learn that she is a member of the "white trash" that many people have only seen as bad jokes in comedies. The truth of the matter is that she is one of many people whose only escape from their lives is the Army. Morris touches on issues such as the relationship between men and women, abuse and the real situation in Iraq for the troops. Moening presents the American girl with honest candor. She has accepted her fate, but is not going to hesitate to express what she's learned through this ordeal. The audience is forced to question to what extent soldiers must follow orders, and where those lines must be drawn. The underlying humanity of the character is what makes this performance more than just a critique of cultural and political issues. The English boy provides a fascinating contrast to the American girl, if at times a puzzling one. Morris continues to pile on the issues here, adding journalistic integrity and the sexual politics of the hardcore gay underground into the mix. The connection between the two lies in the issues concerning power and the responsibility to hold and guard it. Pace directly contacts the audience, admonishing latecomers and bidding goodbye to bathroom-goers. He is smooth, sexy and completely comfortable in his role. When leaving Guardians, I wasn't sure whether to laugh at the hilarious humor Pace brought, or cry at the truth of the issues he revealed. Director Jason Moore, scenic designer Richard Hoover and lighting designer Garin Marschall allow Pace and Moening to really come through. Sparse movement, lighting, and props push the focus of the audience completely on the actors. They respond by baring themselves completely. The play ends with a very specific message to the public. We are implored to seek out the true issues behind the war: those within our government. A new message? No. An important one? Very. Morris revives an issue, causes us to rethink it, and then brings us back to the present. From there, people can leave the theater and go out and use this newfound awareness to make a change. |