DURHAM -- Durham playwright, Howard L. Craft followed the classic advice "write what you know" for his first full-length play, "Caleb Calypso and the Midnight Marauders." Drawn from his Army experience in Germany in the late 1980s, his gritty but loving overview of military life makes a strong impression at Manbites Dog Theater Company.
Craft was there as the Cold War was ending, when soldiers began looking past immediate dangers to get on with their lives. He sets his play in that period, detailing the loves, fears and ambitions of the men of the 13th Cavalry.
Caleb Stephens, a 19-year-old African-American, has only 10 months left on his enlistment. He's been working on rap lyrics (the play's title comes from one) and wants to be a big celebrity, with "Caleb Calypso" coined as a future professional name. His cohorts encourage him to re-enlist, touting security, camaraderie and an easy peacetime gig. But Caleb is determined to leave, pushed by ugly clashes over race, class and cultures.
Craft creates individual characters with authentic voices. There's Caleb's close buddy, Jerome Williams, a private who relishes telling of his sexual exploits, and "Did It" Davis, a retired Vietnam vet restaurant owner who dispenses down-home advice. Gruff company sergeant Jefferson comes there for solace, and even dutiful sergeant Vasquez and cocky specialist Gonzales find a haven there.
The white contingent sticks together in the barracks, where quiet college grad Rizzetti and gung-ho country boy Bates have to put up with ladies' man Koperski and intolerant slacker Dresner. Arguments, threats and paybacks roil among the company, especially after one character is suspected of being gay and another of secretly spray-painting obscenities, bringing punishment for all.
Profanity, crude sexual references and macho posturing abound, but Craft also shows characters' vulnerability and tenderness, offering insight into human nature and the consequences of actions. The play is an engaging collection of snapshots, alternately funny and frightening, but lacking a narrative thrust. Caleb's dilemma should be central, but the other characters' stories prove more interesting, drawing focus and sometimes slowing the pace.
Still, the work is praiseworthy, especially under Joseph Megel's astute direction. Cast members range from newbie to old hand, but he gets them all to connect with the audience.
Standouts include Gil Faison's affably quirky "Did It," Trevor Johnson's hilarious and moving Jerome and Brian Gorham's endearing Bates. Lucius Robinson makes a chilling, revengeful Dresner, J. Alphonse Nicholson a thoughtful Caleb and Reza Salazar a likable Gonzales, the showoff Puerto Rican. L.A. Rogers, John Rogers Harris, Jeff Aguiar and David Greenslade also contribute fine moments.
Craft's talents are firmly established with this production, signaling an estimable career ahead.
