My expectations were not high for this WW II production, until noticing the actors in the play; actors who would surely carry the day and move the production forward with energy & verve.
The play did not energize. The 'set up' was too long and dragged. The play was so dated, which can be a strength for creative piece. For this one, it was simplistic and simple-minded, much like the plot. The plot didn't move along nor did it engage the audience. There was no character development. Giving the benefit of the doubt, I still cannot recommend this one, unable to find a redeeming quality.
The setting did reflect the place. However, the actors footsteps echoed and was so loud drowning out dialogue.
Owen Doyle is one of the actors I had hoped would pull this one up & succeed. Owen is a gifted performer and his work in Lapin Agile at the New Rep was extraordinary. Similar kudos to Ross MacDonald, a most phenomenal performance in Exits & Entrances & together with Curt Klump, excellent work in The Lieutenenat of Insishmore.
The lead for Mr. Roberts, Thomas Piper, has solid credentials. This reviewer has not seen him prior to this role. I look forward to seeing the cast in other local performances. Unfortunately, they were unable to pull this one off successfully.
Respectfully submitted,
J.K. Cosmos
New Rep/Theater Reviewer
Wednesday, September 16, 2009
Mr. Roberts
I had always wanted to see the 1948 classic movie “Mr. Roberts” having heard for years how funny it was. I never did see it, but I did catch New Rep’s production of the play on Monday. And it was . . . pretty good. Not great, but pretty good. I realized after the fact that I had expected “Mr. Roberts” to be like that old TV show “McHale’s Navy,” which I thought was a laugh riot when I was ten. Since I am no longer ten, it’s probably good that the only real similarity between the two is that they both take place on a ship.
Despite my McHale’s Navy expectations, “Mr. Roberts” was not pure, light hearted comedy, although there were many amusing moments. The basic plot is this: Roberts is an officer on a cargo ship in the Pacific during the spring of 1945. He has a wonderful relationship with the crew, who adore him because he protects them against the ship captain’s capriciousness. However, he is miserable because he feels like he is not contributing to the war effort. (He is so unhappy about this that he finds it difficult to celebrate when he learns that the Allies have won the war in Europe.) Roberts sends weekly transfer requests to the ship’s captain, which are always denied without reason or justification.
I had some difficulty fully enjoying the play because while there are universal aspects to it -- themes of loyalty, friendship, honor and sacrifice – the play itself seemed very much a product of 1940s. Scenes in which lecherous sailors leer at nurses through binoculars and attack them while on shore leave may have been hilarious in 1948, but in this post-Tailhook world, there was nothing amusing about them.
As for the acting, it was quite good overall. The actors playing the crew members were basically playing caricatures of sailors, so it was difficult to really assess their talent. The actors who were most genuine were the ship’s doctor and the captain. With both of them, you forgot they were playing parts. The actor playing Mr. Roberts rose to this level in the scenes where he confronted the captain. In other scenes he was likeable, but he needed come across as charismatic to explain the crew’s devotion to him.
Despite its faults, seeing the play was a pleasant way to spend an evening out. Even though it was more than two hours long, the pacing was good and the play did not drag. I wouldn’t necessarily tell people to rush to and see it, but it is still worth seeing.
Kpoverman, New Rep Reviewer
Despite my McHale’s Navy expectations, “Mr. Roberts” was not pure, light hearted comedy, although there were many amusing moments. The basic plot is this: Roberts is an officer on a cargo ship in the Pacific during the spring of 1945. He has a wonderful relationship with the crew, who adore him because he protects them against the ship captain’s capriciousness. However, he is miserable because he feels like he is not contributing to the war effort. (He is so unhappy about this that he finds it difficult to celebrate when he learns that the Allies have won the war in Europe.) Roberts sends weekly transfer requests to the ship’s captain, which are always denied without reason or justification.
I had some difficulty fully enjoying the play because while there are universal aspects to it -- themes of loyalty, friendship, honor and sacrifice – the play itself seemed very much a product of 1940s. Scenes in which lecherous sailors leer at nurses through binoculars and attack them while on shore leave may have been hilarious in 1948, but in this post-Tailhook world, there was nothing amusing about them.
As for the acting, it was quite good overall. The actors playing the crew members were basically playing caricatures of sailors, so it was difficult to really assess their talent. The actors who were most genuine were the ship’s doctor and the captain. With both of them, you forgot they were playing parts. The actor playing Mr. Roberts rose to this level in the scenes where he confronted the captain. In other scenes he was likeable, but he needed come across as charismatic to explain the crew’s devotion to him.
Despite its faults, seeing the play was a pleasant way to spend an evening out. Even though it was more than two hours long, the pacing was good and the play did not drag. I wouldn’t necessarily tell people to rush to and see it, but it is still worth seeing.
Kpoverman, New Rep Reviewer
Strong Performances Anchor “Mister Roberts”
by Jana Pollack, New Rep Reviewer
Like so much of the artistic work that arose from World War II, "Mister Roberts" is painted in broad strokes. A product of its time, this play, set on a cargo ship in the Pacific near the end of the war, presents little complexity, but is marked by the clear sense of duty that characterized the time of its conception. As New Repertory Theatre's season opener, this production is well-directed and full of strong performances.
Much of the strength of this production comes from the ensemble, and it's clear that director Kate Warner understood this important element and focused on fostering it. That work pays off, and the guys aboard "the old bucket," as the ship is often referred to, have genuine relationships that are fun to watch. Across the board, "Mister Roberts" is well acted. The most memorable performance comes from the scene-stealing Jonathan Popp as Ensign Pulver, who anchors his work so that it lands solidly throughout the piece. Often, he seems to surprise even himself when he begins to talk, and the moments of these boyish revelations are some of the production's most enjoyable. Mr. Popp is in good company, as well; Thomas Piper as Mister Roberts brings an elegance to his leading role, and Owen Doyle, as Doc, consistently delivers comedic lines with perfect timing.
The problems in this production lie almost entirely in the script. Unfortunately, though the actors do their best with the material provided them, none of the characters is fully drawn, making much of the play feel like a missed opportunity. The hero of "Mister Roberts" is a man whose only flaw is that he wants to help people too much. The captain is a villain when the play begins, and he remains so; the crew members are good boys throughout. In essence, the play is written in black and white. So, while the work that goes into this piece is very fine, the lack of depth in the script means that it fails to deliver a lasting message.
Patrick Lynch's set displays three levels of "the old bucket," and it is very effective in creating clear territories. The presence of the captain's lair, located in the upper right corner, is always felt, but the crew members relax when they are on the lower deck, farthest from him. The structure itself presents a noise problem, however - the metal plates on its steps and floors make quite a racket when stepped on, and the actors sometimes have to fight to make their lines heard over an exiting or entering cast member.
"Mister Roberts" is an entertaining evening of theatre, and Warner has carefully crafted a piece that is easy to enjoy. This is not groundbreaking theatre - performed today, this play is not a groundbreaking play - but it is very good. The quality of the production overcomes the flaws of the text, and although it won't leave you deeply inspired, it will certainly satisfy.
Like so much of the artistic work that arose from World War II, "Mister Roberts" is painted in broad strokes. A product of its time, this play, set on a cargo ship in the Pacific near the end of the war, presents little complexity, but is marked by the clear sense of duty that characterized the time of its conception. As New Repertory Theatre's season opener, this production is well-directed and full of strong performances.
Much of the strength of this production comes from the ensemble, and it's clear that director Kate Warner understood this important element and focused on fostering it. That work pays off, and the guys aboard "the old bucket," as the ship is often referred to, have genuine relationships that are fun to watch. Across the board, "Mister Roberts" is well acted. The most memorable performance comes from the scene-stealing Jonathan Popp as Ensign Pulver, who anchors his work so that it lands solidly throughout the piece. Often, he seems to surprise even himself when he begins to talk, and the moments of these boyish revelations are some of the production's most enjoyable. Mr. Popp is in good company, as well; Thomas Piper as Mister Roberts brings an elegance to his leading role, and Owen Doyle, as Doc, consistently delivers comedic lines with perfect timing.
The problems in this production lie almost entirely in the script. Unfortunately, though the actors do their best with the material provided them, none of the characters is fully drawn, making much of the play feel like a missed opportunity. The hero of "Mister Roberts" is a man whose only flaw is that he wants to help people too much. The captain is a villain when the play begins, and he remains so; the crew members are good boys throughout. In essence, the play is written in black and white. So, while the work that goes into this piece is very fine, the lack of depth in the script means that it fails to deliver a lasting message.
Patrick Lynch's set displays three levels of "the old bucket," and it is very effective in creating clear territories. The presence of the captain's lair, located in the upper right corner, is always felt, but the crew members relax when they are on the lower deck, farthest from him. The structure itself presents a noise problem, however - the metal plates on its steps and floors make quite a racket when stepped on, and the actors sometimes have to fight to make their lines heard over an exiting or entering cast member.
"Mister Roberts" is an entertaining evening of theatre, and Warner has carefully crafted a piece that is easy to enjoy. This is not groundbreaking theatre - performed today, this play is not a groundbreaking play - but it is very good. The quality of the production overcomes the flaws of the text, and although it won't leave you deeply inspired, it will certainly satisfy.
Rock The Boat
by New Rep Reviewer Frank
Kate Warner opens her first season at New Rep with the classic play Mister Roberts. Being of a younger generation, I had not heard of the play nor the movie until New Rep announced this production. The play takes place on a Navy supply vessel and shows a perspective of war that does not always come to mind – the behind the scenes work of bringing supplies, the boredom, the tension. The ship is filled with a crew of good-looking men in uniform (occasionally shirtless) and one good-looking woman who show that war is more than just front-line combat, and, while the piece was written in the 1940s, it still resonates today. The play centers on Mister Roberts, a Lieutenant in the Navy who longs for the day he gets to see combat and really contribute in the war. We see his many attempts, with the help of his crew, to obtain a transfer from the ship’s captain as well as the complex relationships between the crewmembers. The play itself isn’t perfect and could end just fine without the last five minutes of the show, but is an interesting and sometimes funny portrayal.
The entire cast is strong, but especially strong are Thomas Piper as Mister Roberts and Paul D. Farwell as the captain – you can feel the tension in the room between the two of them. Patrick Lynch’s multi-level set, while simple, does a great job at evoking the ship – the only thing missing is having the set gently rock back and forth – something I’m sure the audience is grateful that it is missing. Molly Trainer’s attention to the crew’s costumes is amazing – you see all the sweat and the stains of a hard day’s work in the sun. Kudos should also go out David Wilson for his sound design incorporating many subtle background elements that really adds to the mood of the production. If you enjoy men in uniform, palm trees, Johnnie Walker Red Label, goats, soapsuds, and lots of alcohol – or if you’re curious as to what all these have to do with a Navy supply ship – check out Mister Roberts, a solid beginning to Kate Warner’s career with New Rep!
Is Tropical Still Topical?
by Jack Craib, New Rep Reviewer
Inaugurating the current New Rep season with "Mr. Roberts", last seen on Broadway six decades ago, was a gutsy move. Not only is wartime nostalgia a rare commodity these days, but most folks are no doubt familiar with the film version that boasted more stars than the average general. The team of Fonda, Cagney and Lemmon (and William Powell too) is a memory hard to erase. It is a testimony to the shrewdness of this production's casting that audience members can manage to do so and appreciate the spot-on performance level this cast maintains.
The play itself, surprisingly after such a long hiatus, manages to remain relevant because it doesn't only deal with a navy cargo ship in the steamy South Pacific. Despite its specific period look and sound (sailors with such unsalty language?), it tackles much broader and grander issues. While it may be difficult for some today to empathize with the title character's lament that the war is "dying before he can get to it", there is no such problem with identifying with his compassion for his men and the realization that it is boredom that threatens to destroy their morale.
After a somewhat slow start due to a healthy dose of exposition that will later prove just how tightly written the play is, that concept moves front and center in the person of the officer ironically in charge of morale (and laundry), the morally ambiguous Ensign Pulver. As do the other men on board, he clearly worships the water their Executive Officer, Mr. Roberts, walks on. It is his validation Pulver seeks but doesn't find, at least initially; Mr. Roberts even bluntly states that he'll respect his morale officer if and when a threatened prank on the ship's megalomaniacal captain is actually carried off and when he has the guts to knock on the captain's door and admit to it. It is to the credit of the playwrights (Thomas Heggen, from his novel, and Joshua Logan) that the work's most memorable and heartfelt moment (the ultimate disposition of a botanical "malignant growth") is the bittersweet climax that amazingly unites humor and pathos, and resonates with an undeniable relevance.
As noted, the cast is pitch perfect, above and below deck. Thomas Piper exudes powerful strength and profound tenderness as the heroic Mr. Roberts, and Jonathan Popp provides an egaging Pulver who comes into his own in the second act as his character blossoms. As the Queeg-like Captain from Boston, Paul D. Farwell is the ideal foil for Mr. Roberts' foiled ideals, and Owen Doyle as Doc is his expressive anchor. All of the cast seem just right, including Ed Hoopman as Dolan, whose dashed hopes prove to be pivotal.
Technically, the production is virtually flawless. The sound, lighting and costumes (right down to the realistic sweat stains) are all shipshape, and the set design is ingenious in its versatility. ("Virtually flawless", because the set is easily the noisiest in memory, which enhances authenticity if not audibility). The ship is a bit less populated than on its first sailing in 1948 (fewer sailors, one fewer palm tree), but its impact survives. If this first offering is any indication of the directing abilities of new Artistic Director Kate Warner (and there are quite a few nice touches without being overdone), New Rep audiences have a good deal of great theater to look forward to. And that's without even considering the masterfully underplayed palm-chewing goat.
Inaugurating the current New Rep season with "Mr. Roberts", last seen on Broadway six decades ago, was a gutsy move. Not only is wartime nostalgia a rare commodity these days, but most folks are no doubt familiar with the film version that boasted more stars than the average general. The team of Fonda, Cagney and Lemmon (and William Powell too) is a memory hard to erase. It is a testimony to the shrewdness of this production's casting that audience members can manage to do so and appreciate the spot-on performance level this cast maintains.
The play itself, surprisingly after such a long hiatus, manages to remain relevant because it doesn't only deal with a navy cargo ship in the steamy South Pacific. Despite its specific period look and sound (sailors with such unsalty language?), it tackles much broader and grander issues. While it may be difficult for some today to empathize with the title character's lament that the war is "dying before he can get to it", there is no such problem with identifying with his compassion for his men and the realization that it is boredom that threatens to destroy their morale.
After a somewhat slow start due to a healthy dose of exposition that will later prove just how tightly written the play is, that concept moves front and center in the person of the officer ironically in charge of morale (and laundry), the morally ambiguous Ensign Pulver. As do the other men on board, he clearly worships the water their Executive Officer, Mr. Roberts, walks on. It is his validation Pulver seeks but doesn't find, at least initially; Mr. Roberts even bluntly states that he'll respect his morale officer if and when a threatened prank on the ship's megalomaniacal captain is actually carried off and when he has the guts to knock on the captain's door and admit to it. It is to the credit of the playwrights (Thomas Heggen, from his novel, and Joshua Logan) that the work's most memorable and heartfelt moment (the ultimate disposition of a botanical "malignant growth") is the bittersweet climax that amazingly unites humor and pathos, and resonates with an undeniable relevance.
As noted, the cast is pitch perfect, above and below deck. Thomas Piper exudes powerful strength and profound tenderness as the heroic Mr. Roberts, and Jonathan Popp provides an egaging Pulver who comes into his own in the second act as his character blossoms. As the Queeg-like Captain from Boston, Paul D. Farwell is the ideal foil for Mr. Roberts' foiled ideals, and Owen Doyle as Doc is his expressive anchor. All of the cast seem just right, including Ed Hoopman as Dolan, whose dashed hopes prove to be pivotal.
Technically, the production is virtually flawless. The sound, lighting and costumes (right down to the realistic sweat stains) are all shipshape, and the set design is ingenious in its versatility. ("Virtually flawless", because the set is easily the noisiest in memory, which enhances authenticity if not audibility). The ship is a bit less populated than on its first sailing in 1948 (fewer sailors, one fewer palm tree), but its impact survives. If this first offering is any indication of the directing abilities of new Artistic Director Kate Warner (and there are quite a few nice touches without being overdone), New Rep audiences have a good deal of great theater to look forward to. And that's without even considering the masterfully underplayed palm-chewing goat.
Wednesday, September 09, 2009
One Man's World War II Journal
As we gear up for the opening of Mister Roberts (Monday, September 14th!) we will be sharing "One Man's World War II Journal" by Thomas J. Fahey. The next part of the story will be posted on Friday and the final segment on the opening night of Mister Roberts! Feel free to leave us a comment and we hope to see you during the run of Mister Roberts!
One Man’s World War II Journal
By Thomas J. Fahey
Our graduation ceremony at Milton High School in June, 1943 was held up for two hours, as about 50 of the grads were getting their draft board physicals in Boston.
Two days later, they were in the service. At the induction center, three of the men were recruited into the Navy and were sent to Harvard for the V-12 program. Not a bad deal. They wound up as officers on destroyers and later would come back to Harvard to graduate. But some of the graduates didn’t come back; two of them were guys from our gang.
I would be turning 18 in October, so I had time to choose a service branch. I had a job for the summer at the Cunningham Park Pool in Milton as a lifeguard, while also teaching senior and junior lifesaving courses.
Our family had more Navy than anything else; my father and three of his brothers were chiefs in the Navy in World War I and my uncle was a master sergeant in the Marines. Three of them were lifers.
I wanted to be a flyer in the Navy Air Corps; the recruiting station was at 150 Causeway St. in Boston, next to the Boston Garden, and in I went. I was worried about some of the bad marks I had in high school, but I figured they’d give me a test. The ensign said to come back with a
transcript of my marks.
The next day I brought that in and he was very unimpressed. He said they must have pushed me out the door of Milton High. He told me I should go to the Army Air Corps recruiting station at 33 Kilby St. in Boston; they would taker anybody.
The recruiting sergeant there said to take a seat and when about 10 guys showed up, he would give a test. After we turned in the tests, the sergeant went into a back room to score them. A few minutes later, he came out and said everyone had passed; I think he dumped them into a waste basket.
We had our physicals and were sworn in a few days later. After turning 18 in October, I got word to report to Fort Devens in Ayer on Dec. 13, 1943. It was cold, about zero when we arrived. We were there about six days, getting shots, uniforms, and watching Mickey Mouse films.
A troop train came in and took us on a 5-day train ride to Miami Beach with XYZ priority; that meant whatever track we were on, we had the lowest priority. No wonder it took five days. As we got off the train, hundreds of guys were getting on, yelling “You’ll be sorry.” They were being sent to the infantry, as all the tech schools were filled up.
We lived in the Betsy Ross Hotel on South Beach and went to training at the local golf courses, which were turned into training centers. The same thing was done in Atlantic City, and Biloxi, Miss. The flight was half from Fort Devens, and half from Fort Jackson, South Carolina.
The first three days were precarious as the Civil War nearly erupted again. A quarry worker from Quincy saved the day when he picked up the biggest Rebel with one hand; that ended the war.
The cafeteria was turned into a clinic. We all lined up for shots, hundreds of soldiers. After getting our shots, we soldiers walked out into the parking lot three abreast, Ollie Johnson on one side and me on the other, and in the middle was Walter O’Connell of North Reading, about 6-5.
He would let out a piercing scream and faint, falling backwards. Ollie and I would catch him before he hit the ground.
About 50 soldiers in the long lines were fainting dead away; ambulances started arriving to tend to the faint of heart.
The flight sergeant, a New Yorker, came running down the street, screaming "You guys from Boston are going to get me court-martialed yet."
We went on night and day maneuvers up by Opa Laoka. The sergeant sent us out on patrol on all dirt roads at 11 at night, Naturally, we got lost, but somehow we found a roadhouse out in the boondocks, in an area that was all jungle at the time.
We were in the back yard when a bartender came out with the trash. He asked all four of us if we wanted a cold beer.
It was very hot and muggy, so we downed a few beers and finally found the sergeant. The first thing he said was “I smell beer. Where did you guys from Boston find a barroom in the middle of the jungle?”
The road house was in -- believe it or not -- Robert Ripley. It was completely covered with bottle caps on the walls and ceiling.
We enjoyed a swim every day after training as the ocean was across the street. We had many days of tests called the "stay nines"; they determined whether you would be a pilot, navigator or bombardier cadet. If you didn’t score high enough on those, there were tech schools -- engineer, radio or armorer gunner.
The interviewer told me the cadet groups were full but some guys with exceptional scores would be sent to college until there were openings. The tech schools were full up and not available. He thought we would be sent to aerial gunnery school, which is what happened, We were put on a troop train to Kingman, Ariz.
It was a very slow and beautiful trip -- the cars were troop sleepers, very comfortable. The trip took eight days. We stopped in Houston, Texas at 8 a.m. Some cars were detached as the guys were going to gunnery school in Laredo, Texas. We were supposed to be in Houston for six hours.
The sergeant said that under no circumstances were we to leave the train. When he was out of sight, the windows went up and about 600 guys were loose. It took about two weeks to round them up. I’ve never seen as many beautiful women as there were in Houston. All I remember is getting rousted out of a barroom about midnight.
One Man’s World War II Journal
By Thomas J. Fahey
Our graduation ceremony at Milton High School in June, 1943 was held up for two hours, as about 50 of the grads were getting their draft board physicals in Boston.Two days later, they were in the service. At the induction center, three of the men were recruited into the Navy and were sent to Harvard for the V-12 program. Not a bad deal. They wound up as officers on destroyers and later would come back to Harvard to graduate. But some of the graduates didn’t come back; two of them were guys from our gang.
I would be turning 18 in October, so I had time to choose a service branch. I had a job for the summer at the Cunningham Park Pool in Milton as a lifeguard, while also teaching senior and junior lifesaving courses.
Our family had more Navy than anything else; my father and three of his brothers were chiefs in the Navy in World War I and my uncle was a master sergeant in the Marines. Three of them were lifers.
I wanted to be a flyer in the Navy Air Corps; the recruiting station was at 150 Causeway St. in Boston, next to the Boston Garden, and in I went. I was worried about some of the bad marks I had in high school, but I figured they’d give me a test. The ensign said to come back with a
transcript of my marks.
The next day I brought that in and he was very unimpressed. He said they must have pushed me out the door of Milton High. He told me I should go to the Army Air Corps recruiting station at 33 Kilby St. in Boston; they would taker anybody.
The recruiting sergeant there said to take a seat and when about 10 guys showed up, he would give a test. After we turned in the tests, the sergeant went into a back room to score them. A few minutes later, he came out and said everyone had passed; I think he dumped them into a waste basket.
We had our physicals and were sworn in a few days later. After turning 18 in October, I got word to report to Fort Devens in Ayer on Dec. 13, 1943. It was cold, about zero when we arrived. We were there about six days, getting shots, uniforms, and watching Mickey Mouse films.
A troop train came in and took us on a 5-day train ride to Miami Beach with XYZ priority; that meant whatever track we were on, we had the lowest priority. No wonder it took five days. As we got off the train, hundreds of guys were getting on, yelling “You’ll be sorry.” They were being sent to the infantry, as all the tech schools were filled up.
We lived in the Betsy Ross Hotel on South Beach and went to training at the local golf courses, which were turned into training centers. The same thing was done in Atlantic City, and Biloxi, Miss. The flight was half from Fort Devens, and half from Fort Jackson, South Carolina.
The first three days were precarious as the Civil War nearly erupted again. A quarry worker from Quincy saved the day when he picked up the biggest Rebel with one hand; that ended the war.
The cafeteria was turned into a clinic. We all lined up for shots, hundreds of soldiers. After getting our shots, we soldiers walked out into the parking lot three abreast, Ollie Johnson on one side and me on the other, and in the middle was Walter O’Connell of North Reading, about 6-5.
He would let out a piercing scream and faint, falling backwards. Ollie and I would catch him before he hit the ground.
About 50 soldiers in the long lines were fainting dead away; ambulances started arriving to tend to the faint of heart.
The flight sergeant, a New Yorker, came running down the street, screaming "You guys from Boston are going to get me court-martialed yet."
We went on night and day maneuvers up by Opa Laoka. The sergeant sent us out on patrol on all dirt roads at 11 at night, Naturally, we got lost, but somehow we found a roadhouse out in the boondocks, in an area that was all jungle at the time.
We were in the back yard when a bartender came out with the trash. He asked all four of us if we wanted a cold beer.
It was very hot and muggy, so we downed a few beers and finally found the sergeant. The first thing he said was “I smell beer. Where did you guys from Boston find a barroom in the middle of the jungle?”
The road house was in -- believe it or not -- Robert Ripley. It was completely covered with bottle caps on the walls and ceiling.
We enjoyed a swim every day after training as the ocean was across the street. We had many days of tests called the "stay nines"; they determined whether you would be a pilot, navigator or bombardier cadet. If you didn’t score high enough on those, there were tech schools -- engineer, radio or armorer gunner.
The interviewer told me the cadet groups were full but some guys with exceptional scores would be sent to college until there were openings. The tech schools were full up and not available. He thought we would be sent to aerial gunnery school, which is what happened, We were put on a troop train to Kingman, Ariz.
It was a very slow and beautiful trip -- the cars were troop sleepers, very comfortable. The trip took eight days. We stopped in Houston, Texas at 8 a.m. Some cars were detached as the guys were going to gunnery school in Laredo, Texas. We were supposed to be in Houston for six hours.
The sergeant said that under no circumstances were we to leave the train. When he was out of sight, the windows went up and about 600 guys were loose. It took about two weeks to round them up. I’ve never seen as many beautiful women as there were in Houston. All I remember is getting rousted out of a barroom about midnight.
Tuesday, September 01, 2009
First Week of Rehearsals
The cast and crew had a successful first week of rehearsals for Mister Roberts, and they launched into their second week today! Just two more weeks of rehearsals and then the show will open on September 14th at 7:30! Here is a quick look at what happened last week during rehearsals:
The cast, crew, and staff at the first day of rehearsal for Mister Roberts.
Kate Warner (Artistic Director) talks about her vision for Mister Roberts.
Molly Trainer (Costume Designer) shows off her costume renderings to the cast, crew, and staff.
Set furniture for Mister Roberts from the model set!
Mister Roberts cast watching the designer presentations. 
Patrick Lynch (Scenic Designer) showing off the set of Mister Roberts!
Kate Warner (Artistic Director) gets ready to start rehearsing Mister Roberts!
We hope to see you at the theater during the run of Mister Roberts (September 13 - October 3)!
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