Plot Summary
The Basic Training of Pavlo Hummel
David Rabe
The Basic Training of Pavlo Hummel
Fiction | Play | Adult | Published in 1971
Plot Summary
"The Basic Training of Pavlo Hummel" is a play by David Rabe. Written in 1971 and set during the Vietnam War, the play follows a hapless young native man as he undergoes basic military training. It’s the first of Rabe’s Vietnam Plays, and it premiered in New York City’s Public Theater. Al Pacino starred in the 1977 Broadway premiere. Rabe is an award-winning American playwright most famous for the Vietnam Plays. Before turning to screenwriting, Rabe served in the medical unit of the US Army during the Vietnam War. The plays draw on Rabe’s own experiences of military life.
The protagonist is the title character, Pavlo Hummel. Pavlo’s stationed in Vietnam when the play begins. He’s arrogant, cocky, and full of bravado. He tells everyone he meets about his fighting skills, his girlfriend back home, and his generally impressive abilities. The truth is, Pavlo’s a lonely soldier who just wants someone to listen to him.
When the play opens, Pavlo’s hiding out in a Vietnamese brothel. He’s with a prostitute called Yen, and yet again he’s telling her about his skills in combat. Yen, however, knows that he’s hiding something, and she plans on calling him out. Before she gets the chance, someone throws a grenade through the window and the atmosphere changes.
Pavlo, in his boldness, picks up the grenade before he realizes what it is. He moves to throw it back out the window, but it explodes in his hand. Pavlo’s gravely wounded, and he won’t live much longer. However, before he dies, his alter ego, Ardell, appears. Ardell plans on showing Pavlo highlights from his life so he remembers the man he was before the Vietnam War.
Pavlo’s a directionless young man when he’s drafted into the US Army. He isn’t a natural fighter and he doesn’t take orders well. However, he doesn’t have anywhere else to go. When the sergeants first glimpse Pavlo, they don’t rate his chances. His fellow recruits don’t like him much, either. They can see that he doesn’t take army training seriously.
When Pavlo first meets the scariest sergeant, Sergeant Towers, he doesn’t leave a good impression. Towers tells everyone how hopeless they are and how they’ll only succeed if they do everything he says. Pavlo, naturally, doesn’t listen carefully to his welcome speech, and Towers calls him out for it. Towers subjects Pavlo to push-ups for insolence.
Things don’t get better for Pavlo in the barracks. The trainees accuse him of stealing their wallets, even though Pavlo didn’t steal from anyone. The trainees remind Pavlo that he’s always bragging about stealing cars and other high-quality goods, so of course he’s the natural suspect. Pavlo tells the recruits that he only steals from enemies, and the trainees should be his friends. No one believes Pavlo, and he’s isolated.
At this point, Pavlo asks Ardell why people treat him so badly. Ardell explains that the trainees are terrified, and they’re taking their anxiety out on an easy target. War and violence eat away at people’s minds, and these young soldiers are just learning how to deal with it. Ardell reassures Pavlo that it gets easier soon.
Pavlo doesn’t want to be in the army anymore, and he tries to kill himself. He overdoses on aspirin, and he inhales airplane glue. The trainees realize that he’s ill when he doesn’t respond to their cruel jokes and jibes. They fetch the medic who helps Pavlo throw up and recover. At this point, Ardell hopes that Pavlo pulls himself together, because there’s a future out there waiting for him.
When Pavlo recovers, the sergeants tell him about his first assignment—Vietnam. Talking about Vietnam with the other trainees gives Pavlo and the recruits common ground, and they slowly begin trusting each other. The trainees realize that, if Pavlo can show them respect, they can respect him in return. They’ll soon be comrades in battle, after all, and trust is the most important thing.
The play jumps forward in time, to Vietnam. Pavlo’s a soldier now. He’s with the same recruits he trained with, but everything’s different. He doesn’t work as a combat soldier—instead, he’s a medic. He’s traumatized and confused by what he sees. For example, one soldier, Brisbey, lost both legs, his testicles, and his arm in a mine explosion. Other soldiers have equally horrific injuries. Sometimes, Pavlo feels dead inside, surrounded by it all.
Pavlo and the others turn to brothels and bars to distract themselves. Prostitutes like Yen, Pavlo says, remind him that he’s still alive, and that life is worth fighting for. It’s easy to forget real life, and what matters, when he’s trapped in a warzone. More than anything, however, Pavlo wants to taste the battlefield, because then he’ll feel like a real solider.
The play cuts forward to just before the grenade entered the brothel. Pavlo gets in a fight with another soldier over Yen. This soldier leaves and launches the grenade into the brothel out of spite. He doesn’t expect Pavlo to pick it up. At this point, Pavlo dies and Ardell seals him in a coffin. Pavlo feels like he died for nothing, and that his life didn’t matter. Ardell fades away.
The protagonist is the title character, Pavlo Hummel. Pavlo’s stationed in Vietnam when the play begins. He’s arrogant, cocky, and full of bravado. He tells everyone he meets about his fighting skills, his girlfriend back home, and his generally impressive abilities. The truth is, Pavlo’s a lonely soldier who just wants someone to listen to him.
When the play opens, Pavlo’s hiding out in a Vietnamese brothel. He’s with a prostitute called Yen, and yet again he’s telling her about his skills in combat. Yen, however, knows that he’s hiding something, and she plans on calling him out. Before she gets the chance, someone throws a grenade through the window and the atmosphere changes.
Pavlo, in his boldness, picks up the grenade before he realizes what it is. He moves to throw it back out the window, but it explodes in his hand. Pavlo’s gravely wounded, and he won’t live much longer. However, before he dies, his alter ego, Ardell, appears. Ardell plans on showing Pavlo highlights from his life so he remembers the man he was before the Vietnam War.
Pavlo’s a directionless young man when he’s drafted into the US Army. He isn’t a natural fighter and he doesn’t take orders well. However, he doesn’t have anywhere else to go. When the sergeants first glimpse Pavlo, they don’t rate his chances. His fellow recruits don’t like him much, either. They can see that he doesn’t take army training seriously.
When Pavlo first meets the scariest sergeant, Sergeant Towers, he doesn’t leave a good impression. Towers tells everyone how hopeless they are and how they’ll only succeed if they do everything he says. Pavlo, naturally, doesn’t listen carefully to his welcome speech, and Towers calls him out for it. Towers subjects Pavlo to push-ups for insolence.
Things don’t get better for Pavlo in the barracks. The trainees accuse him of stealing their wallets, even though Pavlo didn’t steal from anyone. The trainees remind Pavlo that he’s always bragging about stealing cars and other high-quality goods, so of course he’s the natural suspect. Pavlo tells the recruits that he only steals from enemies, and the trainees should be his friends. No one believes Pavlo, and he’s isolated.
At this point, Pavlo asks Ardell why people treat him so badly. Ardell explains that the trainees are terrified, and they’re taking their anxiety out on an easy target. War and violence eat away at people’s minds, and these young soldiers are just learning how to deal with it. Ardell reassures Pavlo that it gets easier soon.
Pavlo doesn’t want to be in the army anymore, and he tries to kill himself. He overdoses on aspirin, and he inhales airplane glue. The trainees realize that he’s ill when he doesn’t respond to their cruel jokes and jibes. They fetch the medic who helps Pavlo throw up and recover. At this point, Ardell hopes that Pavlo pulls himself together, because there’s a future out there waiting for him.
When Pavlo recovers, the sergeants tell him about his first assignment—Vietnam. Talking about Vietnam with the other trainees gives Pavlo and the recruits common ground, and they slowly begin trusting each other. The trainees realize that, if Pavlo can show them respect, they can respect him in return. They’ll soon be comrades in battle, after all, and trust is the most important thing.
The play jumps forward in time, to Vietnam. Pavlo’s a soldier now. He’s with the same recruits he trained with, but everything’s different. He doesn’t work as a combat soldier—instead, he’s a medic. He’s traumatized and confused by what he sees. For example, one soldier, Brisbey, lost both legs, his testicles, and his arm in a mine explosion. Other soldiers have equally horrific injuries. Sometimes, Pavlo feels dead inside, surrounded by it all.
Pavlo and the others turn to brothels and bars to distract themselves. Prostitutes like Yen, Pavlo says, remind him that he’s still alive, and that life is worth fighting for. It’s easy to forget real life, and what matters, when he’s trapped in a warzone. More than anything, however, Pavlo wants to taste the battlefield, because then he’ll feel like a real solider.
The play cuts forward to just before the grenade entered the brothel. Pavlo gets in a fight with another soldier over Yen. This soldier leaves and launches the grenade into the brothel out of spite. He doesn’t expect Pavlo to pick it up. At this point, Pavlo dies and Ardell seals him in a coffin. Pavlo feels like he died for nothing, and that his life didn’t matter. Ardell fades away.