But the strict sergeant has handed off his charge and requires a signature to prove it. He informs them that he’s accompanied by a large convoy of truckloads of other returning vets, and he’s got to get going, all across America.
None of the family wants to hear bad news. Harriet thinks everything can be solved with a serving of homemade cake or fudge and coffee. But if things get too heavy-going she can call upon the neighborhood priest, Father Donald (played by the still handsome Richard Chamberlain), to come and reason with the offending family member.
In one scene, David, enraged by the Father’s hypocrisy, attacks the priest physically, leaving him dumbfounded and possibly unwilling to ever return.
Ozzie stays pretty much in denial, although he expresses resentment when he mentions having had to stay behind and do mechanics’ work instead of contributing by being sent overseas. Now he is stuck with a son who has accomplished less than desired in the war.
Younger son Rick, ever chipper and cheerful as he strums his guitar and flash-photographs various family poses, shows a darker, vengeful side when later too much painful truth intrudes upon his and the others’ complacency.
Specters of racism and bigotry seep in, particularly when mention is made of the lovely young Vietnamese woman (played silently but hauntingly by the gentle Nadia Gan) who had given David comfort in Vietnam. She silently floats in and out of the play, appearing to visit David in his bedroom.
Although the play is long (two-and-a-half hours), and possibly overwritten in some of the early scenes, the production holds together beautifully. It is a shining example of unity in acting and production.
Bill Pullman’s Ozzie is a masterful portrayal, easily changing mood and intent. Holly Hunter demonstrates how a tiny, birdlike woman can convey tremendous power.
Ben Schnetzer shows various sides of an unsupported veteran. Raviv Ullman skillfully executes a quick change in his portrayal.
Richard Chamberlain is properly appealing and unctuous; Morocco Umari contributes a sharp cameo.
Sets (Derek McLane), costumes (Susan Hilferty), lighting (Peter Kaczorowski), sound and music (Rob Milburn and Michael Bodeen), projections (Olivia Sebesky), all contribute to make “Sticks and Bones” a memorable theatrical experience.
‘Sticks and Bones’
The New Group
The Pershing Square Signature Center
480 W. 42nd St.
Tickets: 212-279-4200 or TheNewGroup.org
Running Time: 2 hours, 30 minutes
Closes: Dec. 14
Diana Barth publishes New Millennium, an arts publication.
