Since anybody can style himself an expert on any war, David Greig's proposing to tell us about Eastern Europe is probably no more invalid than the generic characters who populate the Irish playwright's flagrantly emotional look at another country's troubles: we have the blustering stationmaster, clinging to the illusion of order his occupation provides. The wise old teacher, patiently waiting for Decency and Good Sense to prevail. And the idle, drunken louts whose ill-tempered violence will win them worldwide renown as "heroic partisan activists" To be sure, the dynamic between provincial Adele, who longs to leave home, and nomadic Katia, who wearies of traveling, is enlivened by a hint of lesbianism (which could, for both of them, be simply a means of getting what they both want). And the sinister power exercised by black-marketeer Morocco is undermined by the knowledge that the opening of trade with the former Soviet Union will soon force him to find another restricted border in order to conduct his shady business.
The overall superficiality of Greig's script is more than redeemed, however, by this Mary-Arrchie production -- coming on the heels of that theater company's four-for-five sweep at the recent Jeff Citations ceremonies. Jeremy Wechsler directs a cast that includes reliables Richard Cotovsky and Beata Swerderska, along with star-material contenders Debra Puette and Edward Dzialo (whose intelligent portrayal of the unsavory Morocco further contributes to this actor's reputation as a talent to watch). Only Matt Yde and Scott Baker, playing the uncouth Berlin and Horse, never rise above the comic-book personalities given them by the author.
