Word: holocaustal
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...Where is the aid for the...Africans who lost their lives in the African Holocaust?" she asked...
...there anything new for us to experience, as theatergoers or as students of history, from more rehashing of the horrors? To be sure, there's some commercial calculation in the theater's Holocaust obsession. This a subject, after all, that appeals largely to older Jewish theatergoers, one of Broadway's most loyal constituencies. ("The Gathering's" pre-Broadway run included stops in Ft. Lauderdale and Palm Beach, Fla.) Yet the Holocaust has hardly been a surefire audience grabber. Even the well-reviewed 1998 Broadway revival of "The Diary of Anne Frank" was a box-office disappointment...
...Rather, there's something about the enormity of the tragedy, and its still inexhaustible mystery, that maintains a pull on artists and audiences. The first generation of Holocaust dramas were intent mainly on presenting the awful crimes to us. As years have gone on, the Holocaust has become a vessel for all sorts of more complex moral inquiries. "In the generation that immediately followed the war, the story was told in a rather less nuanced manner. There was black and white, good and evil," says Barry Edelstein, artistic director of CSC (which, along with the Klemperer play, also just staged...
...Will Bear Witness," the dramatization of Klemperer's diaries, is a fairly dry monologue recitation of excerpts, hardly scintillating as drama (George Bartenieff, a co-adapter, plays Klemperer adequately). Still, it digs into a fascinating and unfamiliar chapter in the Holocaust story (a Jew who stayed in Germany - and outlasted Hitler!). And it revels in the nuances - notably, a hero who is often less than heroic, and German neighbors who are capable of kindness as well as villainy...
...More surprising is how fresh some of the old Holocaust dramas are looking. "The Investigation" - a major, too long neglected work given a piercing revival in Baltimore - also seems, on its face, unpromising as drama, since it is essentially a collage of trial testimony. Yet, as artfully pieced together by Weiss, the author of "Marat/Sade," the play locates fresh power in the sheer deadpan accumulation of detail of the awful crimes; in the stubbornly repetitive, I-knew-nothing defenses; and in the resonant stage device (in the Baltimore production, at least) of having the same actors play multiple roles -victims...