Jim Leonard, author of such previous plays as The Diviners and Crow and Weasel, has built his new work around a kind of American Mother Courage, a young woman named Martha (the superb Suzy Jane Hunt). Unlike Brecht's tough, cynical heroine, Martha is idealistic, hopeful and ever-despairing of mankind's follies and inhumanity to such an extent that, after having become pregnant during the Civil War, she won't give birth until the world becomes a better, kinder place.
One hundred and fifty years later she is still carrying her child -- and still looking for the right point in time to deliver it.
Martha's moral and metaphysical quest is dramatized in a semi-satirical, semi-fantastical way in Battle Hymn, now in its world premiere run at Inside the Ford. In a way, Martha's quest is a microcosm of America's quest to live up to its democratic principles, its all-men-are-equal notions (which were undermined from day one by our acceptance of slavery and our slaughter of the Indians).
Sixteen-year-old Martha is buffeted about by history and abused by men all along the way, starting with her preacher father (William Salyers) and continuing with the various soldiers, farmers, con artists and yuppies (remarkable multiple performances by Salyers, Bill Heck, Robert Manning, Jr. and Short) who keep trying to take advantage of her.
Not only does Leonard play with time and history in Battle Hymn, he pokes fun at gender, race, sex, pop song and even Elsie the Cow. Mostly, though, he lays bare the tainted soul of our nation, the prejudice, love of violence and lust for power which blight the republic's promise and greatness.
Battle Hymn has a lot to say and much distance to cover (the Civil War to the World Wars to Haight Ashbury to Guantanamo), but thanks to the splendid ensemble, John Langs' deft direction, Brian Sidney Bembridge's impressive set and lighting, Dianne K. Graebner's raffish costumes and Michael A. Levine's jaunty score, all challenges are overcome, and the journey is made swift and effortless.
In all, Battle Hymn is one of the finest, most provocative plays L.A. has seen in years.
