It’s been almost 35 years since ‘Tracers’ debuted (at a then little known theater called the Odyssey) and its current reprisal with an all-veteran cast is as prescient and harrowing now as it was in its first staging during the aftermath of the Vietnam war era. The psychic wounds on the country had not healed anymore than the physical and psychological toll on veterans as they reintegrated into a thankless, judgmental society. This spurned a response from actor/writer/director John DiFusco who presented a story only veterans can tell from the trenches of memory and experience. Under DiFusco’s direction, a new generation of men inhabit the roles of Vietnam soldiers in a gritty but compelling drama as timeless as war itself.
The title refers to a tracer bullet—ammunition with a pyrotechnic glow or trail of smoke to alert the shooter to reload the weapon. It is a terrible, yet haunting image DiFusco compares to fireworks lighting up the Saigon sky, yet symbolizes the traces of combat on a soldier’s psyche. Much like the rapid fire and vigilance required to survive, the play is as hard-hitting as it is reflective and steely. The main characters are introduced from a perspective of looking back on their time in Nam, the damage evident as one wheels onstage and another meditates, “trying not to think too much ” to avoid depression. Each character is instantly relatable as they find themselves coming to the conflict from various perspectives but all with the same hope; making it out alive.
Truly an ensemble piece, every character from the brave to the timid find several moments throughout to shine as heroes, a testament to DiFusco’s writing. Their fears from the rigors of boot camp to combat are intricately layered, complex and through their struggle, it is impossible not to root for them as they try to catch the Freedom Bird home. The images projected in a small space directly over the intimate stage at the AMVETS Post II Building are no less searing. Smoke effects create mood and atmosphere, although it can become too stifling in the space, however, even this adds a humid realism to the transporting ambiance.
Not all scenes are equal, although the less memorable are well-distributed and add exposition. Standout moments include the first day of boot camp as a Drill Sergeant barks orders, with the foreboding undercurrent of regret for not being able to train these men better. Most he says will die and “out of 100 one will be a warrior. The rest are targets.” Sobering realties of “Dear John” letters from girlfriends’ back home, suicide, hunger and fatigue are balanced with humor during male bonding rituals, getting high and finding kinship amid the violence. Scenes where the human counterbalances the inhumane without sentimentalizing or condescension such as a medic and a bookish soldier relating over literature or the aftereffects of Agent Orange on a soldier and his progeny offer stark, touching contrasts. Chants and music set the tone of the era, and the last “Ghost Dance” movement is as powerful as it is soulfully riveting and wrought.
Every actor deserves his due in this cast. There are no stars. This is truly a collaborative work and yet every actor so clearly and through specificity defines their role to leave an unforgettable trace long after the show is over. They are not strangers or faceless marching men, but our own here among us, having served, come back and working as actors in this play realistically portrayed, earned before they stepped onstage through their duty and dedication to our country.
I have listed the branches these men served in parenthesis: James Bane (Marine) gives Scooter charismatic bravado; Chris DeVinny (Army) adds sensitive confliction as The Professor; Terrence Edwards (Army) as Sgt. Williams is a powerhouse with heart; Jonathan “Doc” Farrow (Navy) balances charm and stoicism reflexively; Juliez Frazier (Navy) gives Habu a tough but protective nuance; Dan Bridges (Army) is energetic with wild-eyed enthusiasm as Baby San; Jaimyon Parker (US Air Force) plumbs soul and humor; Trevor Scott (Army) channels anger and frustration with tenderly felt pain and remorse.
From before the Vietnam War to the present day, veterans are among us with stories of service and sacrifice. ‘Tracers’ is a play everyone should see because these stories matter. These men represent the commitment and heroism both for those still serving and those who, like them, have come home. It is up to us to listen with our minds and hearts and never forget the tributes our veterans pay with their lives. This play will continue to leave an unforgettable trace on the theatrical canon and for every generation who finds it and brings its truth to the stage.
‘The Long Way Home – Reflections of the Tracers Journey’
John DiFusco adds further detail and rich history to the development and trajectory of the ‘Tracers’ play with personal narrative and insight. From its early inception, DiFusco brings his own surprise and amazement as through time, ‘Tracers’ becomes his own life story. He includes biographical detail of his first cast, aided with projected images of old photos and headshots. The men become characters in of themselves as artists and veterans while DiFusco grapples with a sudden hit from its premiere opening at the Odyssey, attended by celebrities.
Gaining speed, recognition and ground, ‘Tracers’ grabs the attention of Gary Sinise of Steppenwolf Theatre Company in Chicago. DiFusco soon finds himself struggling between artistic integrity and a desire to have his play be seen by veterans and a post-Vietnam War audience all over the country.
By the time ‘Tracers’ reaches New York City in a fingernail-chewing meeting with Joseph Papp, DiFusco maintains his vision but dramatic twists and turns keeps him fighting for ground. Art is war.
For someone who has already seen ‘Tracers,’ this bit of theatrical history is a fascinating companion piece but for those unfamiliar with the play may struggle to appreciate the impetus. Viewed as an artist’s journey, the play has an incredible arc with a few notable persons of interest to keep the story interesting. There are excerpted pieces DiFusco reenacts from 'Tracers' but it cannot hold up to quite the same intensity as seeing the real thing. If playing in tandem with a sizeable break between, the journey may feel more satisfying and complete. As a solo work, 'The Long Way Home' runs the risk of either revealing too much or too little. It reflects but more as an aside than an object of art alone
John Perrin Flynn directs with a keen eye on movement and thoughtful tableaus for an otherwise static piece. Al Keith adds percussion and vocals, further enriching the mood.
‘The Long Way Home’ is a beneficial footnote to the historic ‘Tracers’ but further editing could see it run after the ‘Tracers’ performance more easily and probably more understandably. While there was much to learn along the way, it never landed completely at home on its own ground. Still, for those who are interested in the journey of a play and standing up for beliefs in the face of failure, John DiFusco has much to offer and enlightens along the way.
'Tracers' and 'The Long Way Home'
Runs through October 10
'Tracers' runs on Fri & Sat @ 8pm
Sundays @ 6pm
'The Long Way Home' runs on Thurs @ 8pm
Sundays @ 3pm
USVAA Theater
AMVETS Post II Building
10858 Culver Blvd.
Culver City, CA 90230
PH: 855-585-5185
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