At Ft. Neal, Louisiana, 1944, Tech Sgt. Vernon C. Waters, in charge of a Negro unit in the still-segregated U.S. Army, is murdered. Is this fierce black disciplinarian, so racially self-conscious and particularly contemptuous of his easier-going southern charges, the dramatic subject? Or does the play belong to Capt. Richard Davenport, a Negro lawyer, sent to find and prosecute the murderer, much to the consternation of base Capt. Charles Taylor? After all, Davenport seems caught between Taylor, who'd rather he quit -- not because he's prejudiced but rather believes others' prejudices will hinder the investigation, and both the arrogance of other white base officers and defeated attitudes among the unit's blacks. (Murder by Klan is their conditioned opinion.) Or is the story Taylor's, since he's the one who changes as he gets to know more about the murdered man, the Negroes he commanded, and Davenport, whom he also works with in solving the mystery?
Could "A Soldier" be a composite of all the black soldiers of different backgrounds and personalities but similar challenges, each of whose story unfolds?
Whomever the story belongs to, Jim Weaver has assembled an impressive cast of WBTT regulars and guests and powerfully directed them to tell it.
Handsome Summer Hill Seven brings out the self-loathing beneath Sgt. Waters' projected egotism and disdain for the "niggers" under him. The more compliant, the more he disdains them. That's why he gives leeway to PFC Peterson, whose pride dominates Will Dalton's demeanor. Waters most despises Pvt. C J Memphis, the outdoors-loving, big Southern former ball player whom Martin Taylor makes as believably good-natured as he is claustrophobic. Important revelations come from privates who've proved good at secrets, played with assurance by Nate Jacobs, especially, and Eric Wilson.
Earley Dean has calm presence as Cpl. Cobb. Stuttering and jiving, Thomas Williamson II interprets Henson as a what-the-heck young private, just trying to make the best of "being there." Hateful as Lt. Byrd, a kind of white counterpart to victim Waters, Tommy Carpenter reveals him as violently prejudiced. He's worse than his buddy, Wilcox. In fact, David Zietz is believable as the captain who may just be putting on a front but more likely can't bring himself to Byrd's depths of racial hatred.
Robert Mowry as Capt. Charles Taylor furthers his reputation of being one of the area's finest actors, illustrating West Pointer Taylor's quandary about how to interact with Capt. Davenport, the only black officer he's ever met. Dignified Don Laurin Johnson proves Davenport his bright, effective equal.
Author Fuller is adroit at showing the racial tensions and injustices of A Soldier's Play's time and situation without being preachy. He doesn't tip his hat regarding solution to the murder or its cause until the very end. Fuller has a good ear for varied dialogue as well as a sense of structure to best serve a story that mixes past and present, interviews and actions.
WBTT, with its competent technical as well as artistic staff, evidences respect for the writer and his story that seems truer than fiction. Boldly so.
