I'll admit it, I was skeptical about "The American Dream...Interrupted". The Vietnam conflict was too traumatic and too recent for a musical treatment. Cinematic productions have all been heavy, dwelling on the pain and tragedy. We're not yet ready for a m="Mash" about Vietnam.

My mistake was that I stopped reading at the word 'musical'. What it really said was 'musical drama', and that made all the difference. I was in the military during Vietnam and though I was spared the experience of combat, I did share in the pain and humiliation veterans experienced. So apparently, did Jackie Marx. 

I don't know if Miss Marx was in Vietnam. If she was, then her talent for bringing the locale to the stage is impressive. If she wasn't, it is miraculous. You could feel the moist tropical atmosphere filling the small auditorium. The small cast and spare scenery fit our small stage, and the action spilled into the audience. Involving us all.

The acting was extremely effective. Never overpowering the plot, never forced. And polished to perfection. The cast was an ensemble, executing the drama with seamless unity. A particularly effective touch was the contrast between the unquestioning patriotism of. Alan Gill (World War I Doughboy, Fletcher Bailey, and the bewildered fear of Scott Swenson, (his soldier grandson, Pfc Bailey). Anne Voigtmann Hunt (First Lieutenant Matthews) and Ruth Neville (Second Lieutenant Fitzsimmons) were perfectly paired to portray different aspects of the female presence in combat and its special tensions. David Smith (Spec 4 Brown) was particularly engaging in a dual role aspect for Brown, Pfc, Baileys combat buddy who doesn't survive, and as Henry Junior, the son who must deal with his loss.

There are many plotlines at work here on many levels, but it works. Boy does it work. There wasn't a dry eye or an unmoved heart in the house. This was theater at its best, engaging, moving, and very much relevant.

Of course, nothing is perfect. The band using amplified instruments often threatened to overpower the vocalists. Somehow. It never did.

This brings us to the real glitter in this theatrical jewel, the Songs. Too topical to ever be general hits on their own, these songs go together and tell the story so well that they would form a wonderful soundtrack album.

Jackie Marx's playwriting talents are exceeded only by her genius for song crafting. We will hear more of her in the future. Don't forget the casts names, either they will undoubtedly crop up again.

In summary, Jackie Marx has made a major contribution to Theater and the cast that assembled to bring it to us is indeed a Four Star Ensemble. Those of us privileged to have been in the audience that night owe a large debt of gratitude to the Sandwich American Legion Post 181, and the other sponsors for making this World Class performance possible.

One cannot help wondering if there isn't another side to Jackie Marx's special talents: clairvoyance. With a few line changes and different scenery, this play could have just as much relevance for another generation and another conflict 20 years from now. This is one time I hope I'm wrong.

Paul H Gleason,

24 January 1991. Bravo,

                                                                                      Paul. ****