`Sand' Looks At American Interest In Iraq
The fog of war is supplemented by shifting desert sands in Trista Baldwin's new play, "Sand," about three American soldiers guarding an abandoned oil pump at a desert outpost in the Middle East.
Directed by Daniella Topol, the play emphasizes the naivete of some of the characters, apparently reflecting the nature of recent American involvement in complicated and shifting Middle Eastern politics. The action unfolds in vignettes that sometimes feel forced in their symbolism, but the actors give nuanced, honest and engaging performances.
The three soldiers represent a microcosm of the U.S. military. Keisha (Angela Lewis), a young woman who joined the service right after high school to get money for college, is surprised now to find herself driving a truck in a war-torn desert country. Recently arrived Justin (Alec Beard), in his early 20s, was drifting with his life and joined the Army on a whim.
Armando (Pedro Pascal), a family man on his fourth tour of duty, is a career soldier, proud to serve his country. He carries a photo of his young daughters attached to his M-16 rifle. The sergeant remains steadfast in his mission, but is clear-eyed about the dangers all around, sternly reminding the young recruits to never let their guard down.
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Baldwin personalizes outsize issues such as the nature of war, military occupation and fear of death by showing them through the eyes and words of the soldiers, most frequently from Justin's perspective. Conversations among the three are often humorous, punctuated with good-natured cursing.
Justin's initial clarity, as when he declares, "I know why we're really here, oil is number one," soon gives way to doubt and uncertainty, as casualty reports arrive regularly about fellow soldiers in other locations. He also feels the disorienting effects of being on duty in an isolated location in 120-degree desert heat, trying to deal with the need to remain alert during long stretches of boredom punctuated by sudden terrifying explosions.
Churchgoing Keisha tells Justin that he has to have faith, but he doesn't really have any religion on which to fall back. Increasingly wondering what is real and what is imagined, he has several encounters with one of the locals, also portrayed by Pascal, in which they attempt to connect.
The native man, Ahmed, doesn't comprehend how he could be accused by Justin of "stealing" the oil from the pump, because the oil belongs to him and to his country. Pascal skillfully portrays the Arab's dual feelings toward the occupying Americans, as his seemingly friendly gestures are accompanied by moments of menace and glares behind the soldier's back.
The cast moves in a sometimes dreamlike state around an eerie set, created by Anita Fuchs and effectively lighted by Traci Klainer. Along with piles of real sand, some of the dune constructions are woven out of pale, sand-colored military uniforms, symbolic of the American casualties.
As events escalate, the boundaries between reality and fantasy become blurred. Sound designer Daniel Baker provides ominous atonal sounds beneath much of the play, so it will be no surprise if the desert sand triumphs in the end and swallows up yet more Americans.
"Sand," a Women's Project production, runs through March 2 at off-Broadway's Julia Miles Theatre.
By JENNIFER FARRAR