THEATER REVIEWS : ‘Arms’ Hits Its Targets Dead On

When George Bernard Shaw’s fourth play, “Arms and the Man,” opened at London’s Avenue Theatre in 1894, the final curtain brought cheers--and one boo. At his curtain speech, Shaw turned to the dissenter and said, “My dear fellow, I quite agree with you, but what are we two against so many?”

The play, originally called “Alps and Balkans,” put Shaw on the theatrical map and conditioned audiences to his tongue-in-cheek, self-deflating humor.

Opinionated as Shaw was, his charm had always been his ability to puncture sham, even his own. And that is exactly what “Arms” is about--pricking the balloons of heroism, innocence, pride, nationalism and romantic love.

The play opened a year before Oscar Wilde’s “The Importance of Being Earnest” and is as stylized as that play. For this production at Cal State Fullerton, director Joseph Arnold has set the fin-de-siecle tone of his staging firmly in its period, which gives the production a freshness by its reliance on its own dramatic and comedic roots.

The plot is silly, a fact that never bothered Shaw. It’s about Capt. Bluntschli, a Swiss mercenary fighting for the Serbs against the Bulgarians, who finds himself during his flight from battle in the bedroom of Raina, whose father and fiance are Bulgarian officers. More interested in carrying his cherished chocolate creams than bullets, he becomes her “chocolate-cream soldier.”

From Bluntschli’s violent entrance to the requisite happy ending, Shaw loses no opportunity to mock the father’s rollicking jingoism, the fiance’s pompous militarism and the maid’s social ambition. He doesn’t ignore reverse snobbery or pretentious nationalism or the sly deceits of romantic love.

Arnold and cast approach the staging with sheer joy. The dialogue sparkles on their lips, and their unscripted reactions to one another are precise and funny.

Todd Crabtree’s tongue-in-cheek Bluntschli and Jennifer MacLeod’s multilayered Raina stand out in a fine cast, along with Kirsten Vangsness’ fireworks as the volatile maid Louka. They have the style down pat and provide the evening’s funniest moments and the sharpest glimpses of Shaw’s biting wit.

Rosemary Stecker’s turn as the mother is an example of how real humor can spring out of an honest and naturalistic performance. Tom Loeprich is solid as Nicola, affianced to Louka but willing to let her marry above her station so he can continue to adore her with his servant’s soul.

Andrew Amador, as Raina’s ridiculous father, achieves a fine effect with his blustery, self-satisfied air. Paul Pederson’s likable pomposity and amusing denseness scores high as Raina’s intended, Sergius, a difficult role that Pederson makes look easy.

John R. Fisher’s uncomplicated settings, Bradley Enochs’ fluid lighting, Abel Zeballos’ excellent costumes, Susan Mershon’s period correct makeup and hair designs and Jeff Fairbanks’ rich sound design all contribute to place the production in its era.

* “Arms and the Man,” Recital Hall, Cal State Fullerton, 800 N. State College Blvd., Fullerton. Today through Friday, 8 p.m.; Saturday, 2:30 & 8 p.m.; Sunday, 5 p.m. Ends Sunday. $7-$8. (714) 773-3371. Running time: 2 hours, 15 minutes.

Jennifer MacLeod: Raina

Rosemary Stecker: Catherine Petkoff

Kirsten Vangsness: Louka

Todd Crabtree: Capt. Bluntschli

Tom Loeprich: Nicola

Andrew Amador: Maj. Paul Petkoff

Paul Pederson: Maj. Sergius Saranoff

A Cal State Fullerton department of theater and dance production of George Bernard Shaw’s comedy. Directed by Joseph Arnold. Scenic design: John R. Fisher. Lighting: Bradley Enochs. Costume design: Abel Zeballos. Makeup/hair: Susan Mershon. Sound: Jeff Fairbanks. Stage manager: Wade Williamson.