The military’s "don’t ask, don’t tell" policy continues to be a controversial issue, spawning a number of questions about equal treatment and freedom of expression. What does homosexuality represent in the minds of most Americans and its top officials? What effect does homosexuality have on one’s military performance, if any? And what exactly is the meaning of "deviant" behavior?
Burning Blue, a play by former naval aviator D.M.W. Greer, examines many of these issues in its excellent portrayal of three top-ranking pilots suspected of homosexual behavior who become subject to a humiliating modern day witch hunt. The play first opened in London and received critical acclaim, having earned itself two Olivier awards. It should do equally well here in New York.
The play unfolds after a flight accident unearths some uncertainties regarding the records and conducts of Lieutenant Daniel Lynch (Mike Doyle), Lieutenant Matthew Blackwood (Matthew Del Negro) and Lieutenant Will Stephenson (Chad Lowe). Having their "morality" questioned in this way threatens not only their personal lives, but their military careers as well (each of them comes from longstanding military families). A detailed investigation occurs in which the romantic relationship between Blackwood and Lynch reveals itself, forcing Lynch to confront his true self and re-examine the conceptions he previously held about happiness and love.
Director John Hickok presents the story brilliantly with a filmmaker’s eye, peeling it back layer by layer until each character is vulnerable and exposed. The use of flashbacks is executed seamlessly, each scene flowing into the next with hardly a breath in between. There is quite a lot of nudity in the play, including a scene in which "Boner" (Bill Dawes) stands stark naked as he comes out of a shower, forcing the audience to confront their own conceptions of maleness and homosexuality. Still, the real story about self-discovery and self-honesty is not overpowered by such broader themes of homosexuality.
Performances are stellar across the board. Mike Doyle as the sensitive, thoughtful and emotionally torn Lieutenant Lynch is excellent. Matthew Del Negro gives an equally impressive performance as Lieutenant Blackwood, a kind of superman whom everyone admires and respects, yet who has a secret sensitivity that he only begins to expose after realizing his love for Lynch. Chad Lowe, who is most popular for his many TV and movie appearances, succeeds on stage as well, portraying a homophobic Lieutenant Stephenson. Bill Dawes also brings a touch of humor as "Boner," which balances out what might have been a very heavy and melodramatic play.
Although each individual performance is terrific, what really makes the play come to life is the chemistry between the three principle actors Doyle, Del Negro and Lowe. The relationship they create on stage is incredible to watch, especially as it evolves from one of easy, testosterone-charged friendship, to that of sexual frustration tension and confusion.
Despite the clean performances and the great use of staging, however, the end of the play reaches a climax that may have been slightly overdone. The drama of the story is a little overbearing by the middle of the second act and the actors seem to lose themselves in it. The result is something that seems uncontrolled and too emotionally charged. Still, this is not enough to detract from the overall strength of the show, which handles its subject matter with calculating intelligence.
Aside from being a great production, Burning Blue also seems very relevant–now more than ever. Once again on the brink of war, we are forced to rediscover ourselves and the true meaning of freedom and justice. What, after all, does sexual orientation have to do with dodging bullets in Iraq?
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