A compelling insight into the unhealed wounds of the Vietnam War
Mayer Wakefield
‘As the two sides confront one another over Vietnam, it is difficult not reflect on the spurious nature of all such conflicts’
The Trial of Jane Fonda
Park Theatre
London N4
4/5
IN 1988 Jane Fonda met a group of 26 Vietnam war veterans who were attempting to curtail her attempts at filming Stanley and Iris with Robert De Niro in Connecticut.
That meeting is the spark for Terry Jastrow’s meticulously researched play, which involved multiple trips to Vietnam and interviewing Fonda in person. The result is an intriguing insight into the deep wounds left behind by the Vietnam war.
Fonda, regarded as a “commie-bitch traitor” in the eyes of many veterans following her visit to Hanoi at the height of the war in 1972, is initially greeted as such by the six characters who Jastrow creates to voice such a mindset.
A mildly patronising Fonda, played with convincing grace by Anne Archer, concedes that some of her actions in North Vietnam were naive. But she refuses to buckle under the forthright aggression of the vets, whose wounds have clearly not healed.
The seething frustration of Buzzy (Christien Anholt) and the palpable contrition of Reggie (Ako Mitchell) provide the two stand-out performances.
As Fonda contextualises her actions, we are treated to a detailed historical breakdown of the war and the inspiring anti-war movement that sprung up as a result. Reminders of the US massacres in Ben Suc and the shootings at Kent State University are as pertinent as ever.
Equally pertinent is Sean Cavanagh’s striking set, with the multitude of conflicts that took place in 20th century strewn across a divided star-spangled banner.
As the two sides confront one another over Vietnam, it is difficult not reflect on the spurious nature of all such conflicts.
There are moments when the dialogue drags as the arguments become somewhat repetitious.
But with a high-quality cast and a fascinating subject matter, The Trial of Jane Fonda deserves to play to full houses night after night.
Runs until August 20, box office: parktheatre.co.uk
Review by Mayer Wakefield
Source: Morning Star
