The Wilma Theater begins its season with the United States Premiere of Our Class, written by Polish playwright Tadeusz Stobodzianek (translated by Ryan Craig) and directed by the Wilma’s Artistic Director Blanka Zizka. Based on true events in the Polish village of Jedwabne and inspired in part by Princeton History Professor Jan T. Gross’ controversial book Neighbors, Our Class chronicles the lives of ten classmates from their childhood in the 1920s to the beginning of the new millennium. While it is difficult not to be moved by the tragic subject matter, the play’s overwrought writing, full of sensational and clichéd plotting, does not, finally, succeed in translating the events that happened in Poland into an artful, engaging evening of theatre.
More after the jump.
On the sparse set, designed by Marsha Ginsberg, you witness the haunting barn inside which 1600 Jews were murdered, burned to death not by the Germans, but by their fellow Polish citizens. Slobokzianek’s play raises important questions: how can neighbors be moved to murder neighbors, and how does one survive the aftermath of such atrocities? How do individuals and societies lives with or bury the memory of such deeds? Unfortunately, the story itself is not told in a compelling, original manner but too often falls into clichéd writing. For instance, at the opening of Act 2, Wladek, a Pole who must clean up the burned Jewish bodies describes how the bodies were chopped up: “It was horrific. It made me wretch. I threw up.” This kind of writing does not add anything to either our understanding of the events nor, more importantly to the character’s development.
The characters remain wooden and empty vessels – types — who are not fleshed out human beings who one grows to care about. Torture and brutality and murder and rape – we are well aware of the atrocities of crimes committed by Stalinists and Fascists; good theatre is powerful because it tells us a compelling story with particular details in an engaging way. Unfortunately, by the time the fourth rape is graphically enacted on the stage I am repelled not by rape, but by the sensationalistic, unaesthetic depiction of actors on a stage. This could be any rape anywhere and loses its power to move us. Rather than making the murder that happened in this barn more real, more intimate, more personal, this piling on of characters and rapes effectively dulls us to the events. It becomes an all too familiar and general tale of life gone very bad for a young group of class mates.
Are these class mates – Catholic and Jewish, men and women — the victims of historical circumstances or did they make choices? Unfortunately the play only hints at such questions but its focus seems to want to make us as uncomfortable as possible. At the performance I attended a group of women left during the intermission. I had the opportunity to talk with them and the director briefly. Ms. Zizka, the director, explained that the play does not provide easy answers. It depicts Jews who sympathized with Stalin as well as local Poles as being responsible for the crimes that occurred. She said “The characters’ individual memories are subjective and even contradictory. I admire Tadeusz Slobodzianek’s resolve to ground the play in moral rather than ideological concerns and to leave it to the audience to create their own picture, their own understanding of the events from this choir of disparate voices.” The audience members with whom I spoke thought the play to be “too much.” When pressed to state too much of what – they effectively said that the writing was not engaging, that the story was not told in an original manner. “The characters are not individual, it’s not that the subject matter that is difficult, for I’ve seen many depictions of the Holocaust, but that the writing did not engage me.”
Despite all of this, the acting is strong, with excellent performances by Kate Czajkowki, who plays Rachelka, a Jewish woman who converts to Catholicism; Michael Rubenfeld, who plays Abram, a Jewish member of the young Polish class who emigrates to America and becomes a rabbi; Ed Swidey who plays Wladek, gives a striking performance.
In the end Our Class becomes a soggy tale with too much talk of vodka, beatings, hookers and broken fingers, and too little character development to make the play engaging which is a shame as the subject is an excellent one for dramatic adaptation. Do we really need to know that “eels had eaten off his face.” In the end, while I admire Our Class’ political and moral engagement with historical material, (for anti-Semitic vandals recently defaced a Polish monument that commemorated where the Polish Jews were killed, writing “they were flammable” and a swastika on the memorial) it fails to make it new, to give new expression to the Shoah. This does not mean we shouldn’t see the play, and discuss it amongst ourselves — Jews, Poles, Catholics, priests and rabbis.
After almost three hours of theater, I am left with a lot of chatter — song, dance, and a deluge of words in Our Class, but not what the quiet gravitas that great art may give us by knowing what to leave out. I wish Our Class had left more restrained silences, more brokenness in its telling of the story of this Polish village. The German poet Paul Celan’s ambiguous, often sparse poems, in their quiet, mystical restraint, are humble meditations about the Shoah: “Count the almonds/count what was bitter and kept you awake/ count me in.”
On Tuesday, November 1st: “America as Haven,” A program of The Wilma Theatre and the National Museum of American Jewish History. This program will examine the idea and reality of this country as a place where immigrants can find a new life. Director Blank Zizka, who was born in the former Czechoslovakia, will discuss her own experience alongside others with expertise of 20th Century immigration. Actor Michael Rubenfeld from the production of Our Class, will read letters from the Museum’s collection written across continents between immigrants and their families. Complimentary reception follows the discussion.. Held at the National Museum of American Jewish History, 101 S. Independence Mall East.
Our Class: October 21 – November 13, 2011
Where: The Wilma Theatre 265 South Broad Street Philadelphia, PA 19107
Tickets: range from $39 to $66, available at the Wilma Box office 215 546 7824, visiting www.wilmatheater.org or at the theater.