'Ward 57' examines psyche

'Ward 57' examines psyche
By Bill Hirschman Special Correspondent
March 26, 2008

There is invasive surgery going on inside the Walter Reed Army Medical Center in Jessica Goldberg's drama Ward 57, but it's not dissection of the body but of the psyche.

This world premiere is not really about the plight of wounded veterans, although that's certainly examined, and it's not even a tract against the tragedy in Iraq. In fact, the play assiduously respects those who serve and those who dissent.

Ward 57 examines our duty to take responsibility for what we do — and the duty to be intellectually honest about motivations and consequences. Goldberg holds up a mirror and insists we ask the same unsparing questions as her characters.

Her plot sends sincere, if postmodern, screenwriter Wendy Hoffman (Aditi Kapil) to research a film about returning veterans. Her contact at Reed is Capt. Gray Whitrock (Brandon Morris), a prickly counselor who wants to be an example of hope to patients because he lost a leg during his first tour — and then went back for a second.

Whitrock cannot allow Hoffman to visit patients, such as the emotionally tortured Anthony Small (Buddy Haardt), who makes up rap lyrics about his blindness and asks Whitrock to help him commit suicide. So Whitrock and his pregnant wife, Lydia (Bonni Allen), become primary sources for Hoffman's research.

The sparring soldier and screenwriter — opposite poles on the political litmus paper — test each other's sincerity and then the intellectual integrity of their motivations. She sees him as a self-deluded jingoist while he sees her as a parasitic sightseer: " ... we think we lost our limbs for something and you think we lost them for nothing," Whitrock says.
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We talk a lot about the death counts, but we don't talk about the wounded in body, mind or spirit. We don't talk about the price they pay after war. Go above and watch the clip of this play.