Scott Raker (Tim Riordan) and Peter Sabri (Luke DeLuca), photo credit: Antonio Minino

It’s hard to isolate one simple element of James L. Larocca’s Penang (directed by Donya K. Washington) and point to it as the central theme. Penang unfolds a bit like an autopsy – it is an even, measured, calculated dissection of the life of Tim Riordan (Scott Raker) and an inspection of the elements which led him to do the unthinkable just moments before he was to leave Vietnam and go home.

While Penang starts off as a war story, it evolves into something more. It’s also a buddy story and at times it has the emotional bonding of a male Thelma and Louise … but of course, again, it’s more. It is a tale of survivor’s guilt, it’s a grown up Stand By Me, it’s a psychological investigation, it’s a bit of a mystery, but above all, it is a deeply moving story about one man’s personal journey as he explores his relationship with his faith, his country, his friends, and (most importantly) with himself. Nothing about Penang is easy to distill or explain – except the fact that this is a brilliant, moving production which brought me to tears, gave me chills, and exposed a layer of male bonding that I don’t often get to witness.

When we first meet Navy Lieutenant Tim Riordan (Scott Raker) during the Vietnam War he’s on the deck of a ship, doing his best to guide a helicopter which is taking off from the deck. Or rather he’s strongly advising the pilot to stay put and not risk lives by taking off in heavy winds. The scene  -  set with no more than sound (David Schulder) and lighting (Zach Blane)  - is so intricately crafted that you find yourself cowering in your seat as you experience the helicopter taking off despite Riordan’s orders. You can almost feel the vibration and motion of the ship as the helicopter crashes into the ocean, killing several people … including Riordan’s close friend Bobby. You can’t help but latch on to Riordan as the disaster is reflected in his reactions … as his anger and confusion at the pilot’s idiocy turns to dread and horror as he realizes his friend has been hit. The scene is so vivid that you could almost close your eyes and smell the fire in the air.

Scott Raker (Tim Riordan), photo credit: Joshua A. Michaels

With the simple transition of a quick blackout we’re suddenly back in the states; and here’s where the real story begins to unfold. We quickly find – with the help of Doctor Lee (Leona) Kaufman (Jacqueline Gregg) that Riordan has been hospitalized after a suicide attempt which occurred somewhere between the relatively uneventful moments he packed his bags for home and just minutes later when he was discovered on the floor in a pool of blood. Doctor Kaufman also plays a bit of the Greek Chorus role, she doesn’t understand the Vietnam War and provides a vehicle to discuss it.

At first it’s easy to try and piece the story together yourself; after all, here lies a young man who has been in the thick of combat, who has experienced death exploding right in front of him. He’s lost his friend, and more, he’s lost his edge. Surely an act of self destruction can be easily ferreted out once you piece all the bits together. But as I mentioned … there’s more  - and it’s when all roads seem to lead back to Penag – not a combat zone at all, but a haven of peace, a Malaysian R&R destination – that real questions start to bubble up.

In flashback we’re led to beautiful Penang, to that short furlough that managed to make such an impression on Riordan in part due to the fact that he simply had time to stop for a moment, but also in part due to the fact that while lounging on the beach he meets U.S. Air Force captain, Richard “Luke” DeLuca (Peter Sabri). Luke and Tim couldn’t be more different, but experiencing the same horrors during wartime will trump social class and ethnic background as bonding elements every time. Through a thick Queens accent Luke explains his role as “morale officer”; he’s the one who makes sure the  guys are happy during their tour of duty. As if to illustrate this his comes to the beach armed with home made sun tan lotion and an alcoholic concoction that would put a Long Island Ice Tea to shame. Before too long, the two men become fast friends.

Scott Raker (Tim Riordan) and Peter Sabri (Luke DeLuca), photo credit: Joshua A. Michaels

“What happens in Penang stays in Penang” might easily be the tagline for the journey Luke and Tim embark on together. They decide to join forces and hire a driver, Jimmy Chen (Kurt Uy, who plays Jimmy like Bloody Mary by way of Ms. Swan) to take them around the island. Jimmy is an engaging local character, eager to show the best of what his home has to offer, and quick to make a joke or deflect a painful topic. What unfolds is a series of scenes that take Tim and Luke to various spiritual temples and places of worship such as the Snake Temple and the Temple of the Sleeping Buddha. While the moments are touching, they’d be better served as a cinematic montage than a repetitive pantomiming of getting in and out of the “car”. The tourist scenes last a bit long, but do much to reinforce the fact that together these men went on a journey that involved a little more than some sun tan lotion and some Aqua  Velva flavored libations.

Tim and Luke (and even Jimmy Chen) are men who have lost a lot – brothers, best friends, a son. And this leads all of them to explore faith. To some (like Jimmy), losing a son is an opportunity to renew faith in God. To others, like Tim, it’s an opportunity to dismiss religion altogether. While you’ve often heard “there are no atheists in foxholes” even Luke explains it best when he says … “Do I believe? I’m afraid not to believe. I must believe in God … where else could this kind of fear come from?”

Ultimately, the story of Penang explores the idea of what you do when the people you’re used to reaching out to for help during a time of trauma are now dead; killed right in front of your eyes, or dying while you’re too far away to say your goodbyes.  In cases like these some times you reach out to those who just happen to be in close proximity. And all it’s ever meant to be is a great time that gets filed away quickly as a great memory.  The rest of the story of  Penang tells how this just isn’t the case for Tim Riordan.

In the end, all questions that can be answered (What exactly did happen in Penang? Why did Tim attempt suicide?) are brought to a satisfying conclusion while the age old questions  (Is there a God? What is all this for?) remain, as always, endlessly debatable but ultimately unanswerable.

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Related Posts:

• Interview – Peter Sabri, Co-Star of Penang

Peter Sabri

Ah, New York is not as big a place as one would think. At least not when it comes to theatre – sometimes, you can meet interesting actors, directors, and producers by walking across the hall in your building.

My neighbor and dear friend asked me to join him for an evening of theatre sometime last year.  “My nephew is in this great play – you should meet him, he’s into theatre like you!” he said happily. Little did I know that my friend (who’s name is also Peter – I wonder how many of them are in the clan) was taking me to a wonderful staged reading of Visiting Mr. Green starring Eli Wallach and Peter Sabri…his nephew. As I watched this young man share the stage with one of the most legendary actors of the 20th century, I was impressed with his work and his craft; he made interesting choices, was a joy to watch and the reading was beautiful, heartfelt and heartbreaking.

Upon hearing he was in Penang, a war drama by James L. Larocca, I was thrilled to see him working again, amused by the “Wow, it’s a small world” thought that went through my head, and eager to talk to Peter about his experiences working on this show that earned him a nomination at the 2008 Midtown International Theatre Festival, one of five that the show received. Now, brought back by Madison Street and Boo-Arts Productions, he has a chance to work again on a piece that is an intense drama whose tagline is: In war the only thing that matters is the guy next to you.

DM: Peter, this is not the first time you have worked on this show – you actually were nominated for it previously in the MITF last year. What are some of your favorite aspects of this play having worked on it so much?
PS: When I think back to the first time I read Penang I remember how impressed I was with the depths with which the characters and their stories are explored in a nuanced, articulated way. It’s not only the protagonist who gets to reveal his inner struggle, but almost every supporting character as well, in one way or another. The play is certainly topical for today’s audience, but captures the distinct spirit of potential social, moral, and political issues that existed for many different demographics throughout, in the late 1960′s. I’ve had so many people come up to me after the show expressing how relate able it was to their experience or telling me how insightful it was into that time period.

DM: Having worked extensively on it, what, if any, new things did you find this time around, both in the character and in the show?
PS: The gift of getting to work on a character a second time is what new things you can bring to what you’ve already done. In the show, I’m playing an Italian American soldier from Queens named Richie “Luke” Deluca who meets the central character, Tim Riordan, while they’re both on leave from Vietnam in Penang, Malaysia. While at points he serves as comic relief, he also is sensitive and introspective. This time around, it’s been my goal to try and find the balance between the two in a richer, more specific way. While Luke has certain stereotypical behaviors that make him quite affable, he’s definitely not two dimensional. It’s been great, working to hone in on the distinction.

DM: What do you hope the audience walks away with after seeing the show?
PS: I keep hearing about what an emotional journey it is from an audience perspective. For me, that’s one of the highest compliments. To touch your audience on a personal level, where they’ve become truly invested in the story of the play and the outcome, that’s the key objective for any theater.

In war the only thing that matters is the guy next to you (photo: Antonio Minino)

DM: Part of the main title is “In War the Only Thing That Matters Is the Guy Next to You”. How is this play different than just being a play about the effects of war?
PS: I’ve had the chance to talk with the playwright, James Larocca, in depth about this. I think the differentiation is that a lot of the material you see about the effects of war suggests that the trauma endured causes people to lose sight of their humanity, their sense of morality, and turn on one another. While there’s no doubt in my mind that the nature of war itself challenges these virtues, this play explores the bonds that are formed between those who are out there struggling to stay alive and find meaning in a very complicated, senseless situation they’ve been thrown into.

DM: Do you think working on this show has given you a different outlook on what it means to serve in War?
PS: From the very beginning, I’ve tried to imagine what it would be like to put your life at risk and endure and partake in terrible acts of violence far from home for something you may or may not believe in. It still escapes me. The character I play is a few years younger than I am now, and its incredible to me that for many men and women throughout our country’s history and today, this has been their reality. It’s a humbling experience, to say the least, and it’s a reminder of the respect we should all have for those individuals who have served in War.

Scott Raker (Tim Riordan) and Peter Sabri (Luke DeLuca) in James L. Larocca's "Penang" photo credit: Joshua A. Michaels

DM: Now, a little more about you: I had an opportunity to see you in “Visiting Mr. Green” opposite Eli Wallach. It was a great reading – both of you were wonderful. What was that like, to work with an actor whose has made such an important mark in the entertainment industry?
PS: Thank you. When I first heard that I might have the opportunity to work opposite Eli Wallach, I immediately went over to my movie collection and pulled out The Misfits. I stood there looking at the poster for this film written by Arthur Miller, directed by John Huston, and starring: Clark Cable, Marilyn Monroe, Montgomery Clift, Thelma Ritter, and none other than, Eli Wallach, and thought to myself….Holy Shit! Eli is one of the few remaining living legends who was directly involved in many of the visionary efforts made in film, theater, and style that directly influence contemporary work today. He also happens to be at 93 one of the sweetest, most generous, most talented people I’ve ever had the pleasure to work with. Regardless of whatever future achievements I might have, it will forever remain a highlight in my career.

DM: What made you want to go into acting – when did you know that was what you wanted to do?
PS: My Mom would have to remind me for sure, but I think it was when I was the emcee for my kindergarden show or first had to recite a nursery rhyme in front of the parents at my pre-school graduation that I realized I wanted to perform. It was one of those things as a kid where I’d always say I wanted to be a doctor or a lawyer AND an actor when I grew up. Had to get the secure profession in there as well. When we were sitting in my high school guidance office talking about colleges and I said that I wanted to major in theater as an actor, at first my Dad was like, “Really? That’s it? Nothing else?;” but, I’ve been lucky in that both my parents and, in fact, my entire extended family have been so supportive of me and my career throughout the years. They come to everything I do and are my biggest fans. I can’t image doing this without them. It’s been my greatest gift.

DM: Who are some of your favorite actors and inspirations for your work?
PS: Like every young male actor I can recite the list of actors throughout the decades who have inspired and informed my work. It’s almost a cliche but at the same time it’s very true: Brando, DeNiro, Pacino, James Dean, Paul Newman, Dustin Hoffman, Robert Duvall, Gene Hackman, Sean Penn, Daniel Day Lewis, Liam Neeson, Peter Saarsgard. That’s just off the top of my head, and I haven’t even touched the amazing female talent we’ve been a witness to over the years.

DM: What would be some of the characters/plays you would love to work on in the future, to really climb that artistic mountain and tackle?
PS: I would love to work on some of Tennessee Williams’ characters some day. Brick in Cat on a Hot Tin Roof or Stanley in Streetcar. I’ve always really enjoyed John Patrick Shanley’s works: Aldo Scalicki in Italian American Reconciliation, Danny in Danny and the Deep Blue Sea, The Dreamer Examines His Pillow. I was into Neil Labute for a while and Kenneth Lonergan. I just went in to read for Rodolfo in the new version of Arthur Miller’s A View From the Bridge coming back to Broadway. That would be amazing.

DM: What’s coming up next for you after Penang?
PS: Who’s worried about after Penang? After two hours of deep contemplation and my strongest efforts to sound like a reasonably intelligent individual, I’m just thankful I managed to finish this interview.

_____________________________

Indeed, Peter! Intelligent and talented. Uncle Pete’s gonna be proud!

You can see Peter Sabri in Penang, running Nov. 5th through Nov. 22nd at The Workshop Main Stage Theater (312 West 36th Street, New York, NY 10018, 4th Floor).

THM’s own editor Karen Tortora-Lee will be reviewing the show very soon!

Tickets are only $18 – please check out www. BOO-Arts.com for more info.

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• Women’s History Month: Celebrating Women In The Arts – Spotlight On Diánna Martin