York, 212-432-7250. Tickets $20 to $55.

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`Sons of Ulster’

In Frank McGuinness’ 1985 play, "Observe The Sons

Of Ulster Marching Towards the Somme," now having its American

premiere at Lincoln Center, inexperienced young members of an Irish

Protestant platoon fighting for the British in World War I, are seen

preparing for their first battle. It is on the eve of the Battle of

the Somme, one of the bloodiest battles of that long and bloody war.

Here eight not especially compatible volunteers, sharing a bunker,

vent their deepest fears, insecurities, and anger, in heated, soul-baring

conflicts that trigger and expose some very troubling personal histories.

While this rather conventional though tautly written play is set in

1915, one is hard pressed not to relate all that is said and done

to the incendiary present. The various and diverse backgrounds of

the men, their often confounding reasons for enlisting — be it

a sense of service to God and country, a desire to serve their own

romantic notions, or to merely satisfy a hunger to be heroic —

are seen in flashbacks and the present. Under the direction of Nicholas

Martin, the acting of the all-male ensemble is uniformly (no pun intended)

excellent. Two stars. Maybe you should have stayed home.

— Simon Saltzman

Mitzi Newhouse Theater, Lincoln Center, 150 West 65 Street, New York.

$60. For tickets ($60) call 212-239-6200.

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`Scattergood’

If one has to endure a course in medieval romance, I

can’t think of anyone with more qualifications to preside over it

than Dublin professor Dr. James Scattergood, beautifully acted by

Brian Murray, whose passion and dedication to his subject is observed

in Anto Howard’s new play (a world premiere production of MCC Theater

at the Samuel Beckett Theater on Theater Row). In this sweet but never

saccharine, play, Scattergood’s influence goes well beyond the merely

scholarly.

Addressing his Trinity College students — in this instance the

audience — as the play begins, he attends to instilling his own

intoxication with chivalrous behavior into their hearts and minds.

One of his more attentive students is Brendan Hillard (T.R. Knight),

who appears particularly in need of the professor’s inspiration. It

seems that Hillard, while academically brilliant, is painfully shy

and handicapped with a severe stutter. He is, however, a whiz at memorizing

the text upon which Scattergood, otherwise known at "Dr. Love"

by his students, uses as a basis for his own philosophy of life and

love. Needing some personal advice from the master, who is already

acknowledged as notorious at the college since an ill-fated affair

there years ago, he goes to the professor’s study.

Hillard, it seems, has gone gaga over Miss Regan (Tari Signor), a

gregarious free spirit whose initial friendliness toward Hillard is

taken as a come-on. Hillard is as desperate to learn the rules and

the right moves of romancing and chivalry from the master, as we are

to listen to Murray pontificate with those luxuriant tones and a sense

of haute grandeur that are the realm of this ever charming actor.

Scattergood, who is rarely without a glass of wine in his hand (Irish,

you know), is delighted and flattered to offer a private tutorial

to this emotionally disturbed young man who is possessed with the

same ardor that spurred him on in his youth.

Scattergood’s support and advice is perhaps too well taken by Hillard,

who has begun to embroider a relationship that could possibly be more

fantasy than fact. If Howard’s rather delightful play includes twists

and turns that have been foreshadowed, they provide ample opportunities

for three fine actors to create a touching experience. Murray, in

particular, embodies the authoritarian scholar with poignancy. The

book-stuffed library (realistically designed by Hugh Landwehr) where

Scattergood teaches his student on the ways of a knight, also becomes

the place where Miss Regan is destined to discover to what extent

she has become the object of Hillard’s desire.

The beauty of the play can be seen in the way Murray appears both

condescending and warm, but sadly without the ability to see though

Hillard’s misguided attempts to win Miss Regan’s heart. Signor has

only two scenes to be interactive, but she does create a character

that is both brash and enticing. Under Doug Hugh’s sensitive direction,

the play moves with polite determination to reflect its romantic themes.

At turns, funny and sad, "Scattergood" is a surprise delight

and a very auspicious debut for its author. Three stars. You won’t feel cheated.

— Simon Saltzman

New York, 212-279-4200. $45.

Corrections or additions?

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