The play does have a sprinkling of lines that apply to Sept. 11, and the Shotgun Players try to emphasize them in a solid, modern-dress production. Malcolm Brownson plays an authoritative Hector in a presidential suit and tie. John Patrick Moore is a shambling, irresponsible Paris in an open silk shirt and puka shells. Hector's royal parents, Hecuba and Priam (Trish Mulholland and Fred Ochs), look like rich relations from Florida; Cassandra the prophetess (Kimberly Wilday) hangs around sultrily in sweats and a fur-collared suede coat.
Giraudoux meant the script as a farce, not an allegory, so it works better as a general anti-war play than as a specific protest. Hector the Trojan general wants to avoid a conflict with the Greeks by sending Helen home. The undoing of his peace campaign has a stupid, familiar inevitability. "Explain to me what you think Helen has given to us, worth a quarrel with the Greeks?" he asks. Demokos the warmongering poet and the other Trojans can imagine lots of reasons for keeping Helen (thus plunging them into 10 long years of grief and waste), but it comes down to blustery pride, which more than anything else mimics the start of World War I. World War II turned out to be different, because Hitler spoiled for a fight; this Afghan war is different, too.
Still, there are interesting echoes. "When war is in the air," says Hector, "everyone learns to live in a new atmosphere: falsehood." Demokos says Trojan soldiers need to be "reinforced by the spiritual and moral intoxication which the poets can pour into them ... I have a notion to compare War's face with Helen's." (He serves as a kind of Fox News Channel for Troy.) Busiris the lawyer points out that the Greek ships massing off the coast have hoisted their flags to a position reserved for saluting cattle barges. Hector can't ignore that, can he? "The situation can only be resolved in one of two ways," declares Demokos. "To swallow an outrage, or return it."
Director Patrick Dooley and his actors bring out more of Giraudoux's wackiness than a more stolid group would: for example, Andy Alabran's bare-assed taunting of the Greeks; Trish Mulholland's excellent speech as Hecuba, comparing war to the hind end of a baboon ("scarlet, scaly, glazed"); and Clive Worsley's hammy performance as the poet, at the piano, composing a new anthem for Troy. The flip side of this approach is that the whole cast seems uncomfortable with Giraudoux's formal language. Roxana Ortega plays an alluring Helen, but not a very sophisticated one. Moore is a '70s-playboy Paris who can't quite pull off his diplomatic lines. And Wilday's Cassandra lacks a madwoman's gravitas. Cassandra needs to be young and beautiful, as Wilday is, but also crazed, like Ophelia -- she should rage out her unheeded prophecies of war. Wilday drops her prophecies in bitter little asides, like Jennifer Aniston in a snit. Dooley must think this contrast with the Berkeley Rep's Cassandra last April is funny, and it is, up to a point, but other touches of humor are more successful.
Trojan War is a Giraudoux masterpiece -- a chatty, 2-1/2-hour masterpiece -- and by rehearsing and mounting it at the last minute the Shotgun Players have made a real contribution to a generally flagging season of local theater. No current Bay Area play has as much meat and significance as this one. However, the moral text for Afghanistan is not Giraudoux's. For me that text is the Bhagavad-Gita, or "Krishna's Counsel in Time of War," about the Indian prince Arjuna going reluctantly to battle. I think Giraudoux would have admitted the difference between a frivolous, taunting banner flown from a Greek mast and three fuel-heavy jetliners flown into inhabited buildings, since Krishna himself advises that pacifism is sometimes more craven than war. The trick, he tells Arjuna, is to keep the fight from becoming an exercise in greedy, self-interested slaughter. Whether Bush and his Cabinet have the will for that trick is another, altogether disturbing, question, which this play doesn't quite touch.