M*A*S*H
at Blessed Oscar Romero

Reviewed on March 11, 2016

Kayla Warkentin
Millwoods Christian School
Submitted for publication to Edmonton Journal 1

It's 1953. The war against communism is raging, and American surgical units across Korea are working furiously to mend wounded soldiers. This powerful context was brought to life in Blessed Oscar Romero's recent production of M*A*S*H. They captured the interplay of solemnity with comedy, and presented a heart-warming story in a fresh, energetic way.

The story of M*A*S*H was originally created by Richard Hooker, a surgeon in the 8055th Mobile Army Surgical Hospital, and has since been spread across various media, including 15 novels, a feature film, a television series, and a stage play. The partially student-written version presented by Blessed Oscar Romero is a gripping comedy detailing the exploits of two talented, albeit impulsive surgeons, Hawkeye and Duke. After their young Korean friend, Ho-Jon, is drafted, they devise a plan to send him to America to train as a doctor.

The energy of the cast, as well as a sense of urgency that should be a constant in a war setting, were both somewhat lacking as the show began. However, as the play progressed, the energy grew, and it became quite an alluring performance. Following the first surgery scene, the desperation of the situation developed and the story progressed naturally.

The moment Hawkeye (Shawn Wieliczko) and Duke (Jackson Card) entered the stage, it was clear that this show was going to be entertaining. They played off each other's energy well and brought an abundance of humour into the production. Patrick Davies, as Col. Henry Blake, excellently portrayed the authority of a commanding officer. As soon as he stepped onto the stage, he commanded the audience's attention. At the same time, he maintained a steady accent, making his performance all the more impressive.

Although the male roles in this play were highly prominent, the women also delivered strong performances. Jasmine Taylor as Capt. Bridget McCarthy was entertaining in her cynically humorous role and did a wonderful job portraying a motherly, authoritative figure. Savannah Holzapfel as Major Margaret "Hot Lips" Houlihan provided a great contrast to the playful nature of the other characters, and was believable in her portrayal of a militaristic commander. The Bonwit Sisters (Shiane Matias, Delaine Bistretzan, and Rebecca McGee) added a fantastic burst of energy to the stage each time they entered a scene. All of the actors, especially Matthew Hackett as "Ugly," were adept at making their characters come to life, even when not in focus.

The set proved to be one of the most successful elements of the show. It was intricate, consistent, and period appropriate. Projections during the narration of Hawkeye's letters home allowed the audience to experience a different aspect of the production and offered a broadening of the setting that was well utilized. The costumes and sets followed a strict colour scheme, allowing for a smooth, ordered performance. Positional sound effects were used, impressively enhancing a sense of realism.

Capturing the themes of the original works, this energetic, comedic performance was a capably-executed tribute to a story cherished by many.

Katherine Archibald
Archbishop MacDonald High School
Submitted for publication to Edmonton Journal 2

The 4077th Mobile Army Surgical Hospital, stationed in South Korea in 1953, has been receiving mortally wounded soldiers on the daily. News of the arrival of two of the best surgeons from the States is welcome news to the unit - that is, until they actually arrive.

Blessed Oscar Romero's entertaining production of M*A*S*H provided a taste of nostalgia for long-time fans of the original franchise while winning over a whole new generation of fans who were unfamiliar with the shenanigans of "Hawkeye" Pierce and his kooky outfit of surgeons, nurses, and soldiers. The production was true to the M*A*S*H franchise, combining the inhumanity of war and death with the humanity and humour of life.

In the stage adaptation of the beloved novel, movie, and TV series, Col. Henry Blake puts out a desperate request for new surgeons for the beleaguered unit. "Hawkeye" and his friend "Duke" arrive on the scene in Korea, and in no time manage to insult the Army with their anti-authoritarian approach while garnering the respect of their colleagues with their their exemplary surgical skills and passion for life.

Audience members were greeted with a sweeping, detailed setup of three M*A*S*H rooms that dominated the entire stage, thanks to Stephen Royer, Christina Crowell, Sean Lesko, and Kyle and Eric Chevalier. A small yet notable addition to the set was the iconic signpost, personalized with some of the askew arrows reading the names of locales (including, of course, Edmonton).

The technical aspects of the show engaged the audience with unique implementation, including real wartime footage projected onto a large screen in the background. Vocal overlays of Shawn Wieliczko reading Hawkeye's letters to home were brilliantly written by Patrick Davies, who also portrayed Col. Henry Blake on stage. While the blackouts used for transitions challenged anonymity and efficiency - many actors could be heard tripping over set pieces in the dark during scene changes - the overall production remained steady and lively, and no actor missed a beat regardless of what happened onstage.

A production as humorous and dynamic as M*A*S*H calls for an ensemble that both engages and entertains, and Blessed Oscar Romero's performance accomplished both precisely. Wieliczko was a perfect "Hawkeye," offering the right mix of cockiness, humour, and humility. Kyle Birmingham skilfully and subtly portrayed the rigid and regimented Frank Burns as he tried to contend with his new tent-mates, while the talented Drew Kantor uncannily resembled the original TV "Radar" O'Reilly, complete with glasses, teddy bear, and quirkiness.

Indeed, Blessed Oscar Romero's production of M*A*S*H reminds the audience that while we may be in the midst of a melee (onstage, backstage, or in life), the human spirit allows us to carry on and even flourish in the face of our challenges.

Megan Haas
Archbishop Jordan High School
Submitted for publication to Edmonton Journal 3

Many of us relish the things that remind us of our adolescence. It's simple: nostalgia feels good. It counteracts loneliness and anxiety by connecting us to the experiences that helped foster our identities. So it's no wonder that a play such as M*A*S*H, written by Tim Kelly in 1973, is still being performed today.

Blessed Oscar Romero completed their four-day run of M*A*S*H on March 12. The play follows the story of "Hawkeye" Pierce and his friend "Duke" Forrest, some of the best surgeons in the Korean War, but perhaps the least conventional. They, along with their fellow doctors and nurses, attempt to maintain some fragment of sanity through the war while saving lives and working to send their young Korean friend, Ho-Jon, to America.

The audience was first greeted with a wonderfully dressed set, created by Stephen Royer, Kyle Chevalier, Christina Crowell, Sean Lesko, and Eric Chevalier. In the moments before the show, the audience was transported to a bygone era by the carefully selected photographs, signage and personal belongings of those serving in the 4077th M*A*S*H Unit. The crew worked miracles in an unconventional theatre space. Despite having no fly gallery or wings, the crew were able to perform fairly quick and clean transitions between scenes with limited disruption to the production.

There was a strong and positive dynamic between actors on stage and it was clear that they were all immersed in the production. Though there were some mishaps with lines, the cast pulled through effectively. When characters were not speaking, stage business was both entertaining and plentiful. The audience was equally invested in all of the characters, no matter how small the role.

"Duke," played by Jackson Card, was energetic and charismatic. Even though the production took place in a very dark and difficult situation, Card still gave the other performers, as well as the audience, a reason to smile.

Patrick Davies, as Col. Henry Blake, excelled in both serious and comedic situations. Not only did he prove his merit as an actor but also as a writer. The scenes written entirely by Davies were extremely well composed and seemed so vital to the plot that it was hard to imagine that they were not a part of the original script.

For young people, M*A*S*H belongs to another generation. This production, at the very least, provoked a sense of appreciation for the story among those who were previously unfamiliar and, in many cases, encouraged further interest from young audience members. The love the production staff demonstrated for M*A*S*H really came through in this wondrous performance.

Emily Vilcsak
St. Albert Catholic High School
Submitted for publication to Edmonton Journal 4

As a popular weeknight television show of the 70s and 80s, M*A*S*H brought families together eager to watch what mischievous mayhem was to ensue between the surgeons of the Mobile Army Surgical Hospital. With the original novel adapted as a movie and play as well, the franchise lived on. Landing in the hands of Blessed Oscar Romero's theatre department, with student-written scenes inserted seamlessly into the script, the cast brought the characters of M*A*S*H to life in their rendition of the familiar story.

Written by Tim Kelly, the play closely follows the 1970 film, portraying a mismatched group of doctors and nurses serving in the 4077th hospital unit during the Korean War. When not tending to wounded soldiers, "Hawkeye" Pierce and "Duke" Forrest, the two playful surgeons, wage a comedic war at the expense of their superior officer, Major Frank Burns. Hawkeye and Duke befriend a hopeful Korean worker, Ho-Jon, in the M*A*S*H unit and dedicate themselves to helping him achieve his dream of becoming a doctor even after he is drafted to fight in the war.

Earl Dangwa, as Ho-Jon, brought a reserved, hesitant quality to his role while adding personal flare capturing the "little brother" essence of the character, stealing the audience's hearts. Hawkeye and Duke, the loud-mouthed duo, played by Shawn Wieliczko and Jackson Card respectively, navigated their well-timed humorous remarks and heartfelt moments effortlessly. The female foil to the jokesters, nicknamed "Hot Lips" Houlihan, played by Savannah Holzapfel, maintained a stern and commanding role throughout the production.

A portion of the play was adapted and written by student Patrick Davies who played Colonel Henry Blake. These scenes were impressively integrated into the script, never skipping a beat. Davies' script work fed the plot a burst of excitement and an emotional aspect through the addition of a series of voice-over monologues for Hawkeye in which he writes letters to his father back home.

Complemented by a detailed and period appropriate set, the cast managed the tightly packed stage with few errors. Designed and built by a student team including Stephen Royer, Kyle Chevalier, Christina Crowell, Sean Lesko and Eric Chevalier, the set, dressed with cots and surgical tables, pulled the audience into the world of M*A*S*H. The lighting design by Eric Chevalier and Brendan Kennedy clearly illuminated areas of the stage such as the mess tent, the swamp, and the nurse's room.

The technical and creative talents of both the cast and crew were brought to the forefront in their performance of M*A*S*H. They traveled beyond the expectations of the generations that have come to know and love its characters and stories, shining light on the relevance of its themes in a polished and highly entertaining fashion.

Arvin Kraushar
Millwoods Christian School
Submitted for publication to Edmonton Journal 5

While soldiers tread on North Korean soil to thwart the imminent threat of a spreading communist regime, the introduction of two madcap officers to the 4077th Mobile Army Surgical Hospital imposes an entirely different sort of chaos. Dedicated to those oppressed by war and those confined by beliefs, Blessed Oscar Romero's rendition of M*A*S*H struck a curious balance between oncoming comedy and ongoing tragedy.

Initially written as a novel in 1968, Richard Hooker's endearing tale of maintaining sanity in the rampant insanity of war would eventually find favour in the eyes of a generation, spawning adaptations as a feature film, a hit TV series, and a play written by Tim Kelly. M*A*S*H follows the story of the unpredictable Captains Hawkeye and Duke as their presence in a unfamiliar medical unit attempts to combat the carnage of the Korean war with precise surgeries and unruly shenanigans. When it becomes the dynamic duo's ultimate goal to get local boy Ho-Jon to America to attend medical school, duck-induced madness, a cross-dressing Corporal, and a "magic" black pill that may cure or cause suicide becomes the least of their problems.

Located in the heart of Blessed Oscar Romero, the performance was delivered in the school's atrium upon an extensive set built by Stephen Royer, Kyle Chevalier, Christina Crowell, Sean Lesko, and Eric Chevalier. With consideration to both minimalistic features and thoughtful intricacies such as era-appropriate posters, newspaper clippings, worn signs as well as plain olive-drab canvas for the tent walls, the set added a layer of ambience that enriched the performance. Scene changes were occasionally long-winded, however newly devised scenes written by student Patrick Davies inserted during transitions reinvigorated lost momentum. Other creative liberties inspired by the devised work included scenes that involved monologues to be delivered over real footage from the war as well surgical scenes that fleshed out the carnal reality of the war outside the tents.

As prominent as the commanding personalities they portrayed, Patrick Davies and Savannah Holzapfel in the roles of Colonel Henry Blake and Major Margaret "Hot Lips" Houlihan respectively were simply electric upon stepping on stage. Davies was subtle in characterization and allowed his intentional movement and interactions to assert his dominance as commanding officer through an astute natural charisma and an uncanny southern accent. Holzapfel instead found her appeal in an unwavering commitment to character and a stern sense of duty. Although energy levels on stage emerged slowly at first, performance by the extremely huggable and genuine Ho-Jon played by Earl Dangwa acted as a catalyst to the production and aided the cast in gaining speed over the duration of both acts. The combined efforts of the steadfast cast and crew brought about a fresh take on an iconic American classic.

Blessed Oscar Romero's production of M*A*S*H was an endearing and spirited look into an allegorical tale that finds itself as relevant today as it was in times past and battled for every laugh with hearty fervour.