24 April 2021

Latter-Day Esthers & Women Maccabees

 

[Thursday, 8 April, was Holocaust Remembrance Day, or Yom HaShoah.  Officially known in Israel, where it’s a national holiday, as Yom Hazikaron laShoah ve-laG’vurah (Hebrew: יום הזיכרון לשואה ולגבורה‎, literally ’Holocaust and Heroism Remembrance Day’), it’s traditionally observed on the 27th day of Nisan in the Hebrew calendar, usually corresponding to the Gregorian calendar date of sundown on 7 April to sundown on 8 April. 

[Elsewhere, especially in Jewish communities, Yom HaShoah is recognized as a day of commemoration for the Jews who perished in the Nazi Holocaust and for the Jewish resistance who fought against Nazi oppression during World War II.  Both religious and civil ceremonies are conducted in observance of Yom HaShoah, both to honor and mourn those lost in the holocaust and to celebrate those who struggled against Nazi tyranny.  (Shoah, pronounced show-uh, is the Hebrew word for ‘catastrophe’ and haShoah is the word used for ‘the [Nazi] Holocaust.’)

[Coincidentally, March is recognized as Women’s History Month in the United States.  8 March is celebrated as International Women’s Day. 

[Over the last month-and-a-half, several news outlets have published articles on Jewish women who took up the fight for freedom from the Nazi occupation of Europe, risking their own lives and even eschewing escape for themselves, to help save others.  NY1, the proprietary news channel of Charter Spectrum cable system in New York City, reported on a New York University film professor, Enid Zentelis, who researched her grandmother.  The grandmother, Isabelle Vital-Tihanyi (1916-88), known as Bella,  was a Hungarian Jew who spied for the British against the Nazi occupiers of Hungary. 

[The New York Times and then PBS NewsHour ran stories on Judy Batalion’s book, The Light of Days: The Untold Story of Women Resistance Fighters in Hitler’s Ghettos, the result of a research project that developed somewhat by happenstance.  Looking for material on strong Jewish women, the multi-hyphenate whose writing has appeared in the New York Times, the Washington Post, Vogue, the Forward, Salon, the Jerusalem Post, came across a record in Yiddish (she speaks English, French, Yiddish, and Hebrew) of women who fought with the resistance in German-occupied Europe.

[It occurred to me that now is a perfect moment to republish these remarkable stories—not least because we are besieged with efforts by forces, across the globe and right here at home, taking malicious aim at people because of their skin color, national heritage, gender, religious belief, or choice of romantic partner.  One wonders what the women whose stories are recounted here might have elected to do in the face of this current enemy.  I think they’d shout out “Never again!” and take up arms once more.]

“NYU FILM PROFESSOR LEARNS HER GRANDMOTHER
WAS A SPY FIGHTING THE NAZIS DURING WWII”
by Stephanie Simon 

[The following report was aired on Spectrum News NY1 on Thursday morning, 25 March 2021.  In re: the reference to Spyscape, the espionage museum, reporter Stephanie Simon makes just below, see my republication of “A Place to Come In From the Cold” by William L. Hamilton in my post “Spy vs. Spy” on Rick On Theatre on 9 August 2019.]

Walking through Spyscape, the museum of espionage in Midtown, filmmaker Enid Zentelis is intrigued by the collection of spy artifacts, but she’s on her own mission to learn the truth about her late grandmother, a Hungarian-Jewish Holocaust survivor – and a spy.

“I was going through her things and found myself staring at a letter that I had seen in childhood and I didn’t really understand. It had to do with some sort of covert work she had done for the British,” said Zentelis.

And so Zentelis spent four years unraveling the secret life of her grandmother Isabelle, which unfolds like a classic spy thriller in a new six-part podcast called “How My Grandmother Won World War II” [https://podcasts.apple.com/us/podcast/how-my-grandmother-won-wwii/id1550511220].

Zentelis determined that her grandmother was in fact a covert operative working in Hungary for the British, during World War II.

“It was her brother Zoltan that got her involved in covert work,” said Zentelis.

Zoltan was a telegraph operator at the post office – a  position that gave him access to crucial information like Nazi troop movements, which he then passed on to his sister. Exploring the artifacts at Spyscape, the famous enigma code breaking machines hold special significance to Zentelis.

“When my great uncle started working at the post office, they decided to use their childhood code and maybe further develop it to encrypt the information that they intercepted at the post office so that when my grandmother carried it to the British legation in Budapest -- if she were to be discovered, it would be in code,” said Zentelis.

Isabelle was arrested later, not for espionage, but for being Jewish. Using her guile once again, she escaped. After the war she was a refugee with young children who lost her husband.

She eventually settled in Corsica. She died in 1988. Her daughter – Enid’s Mom, came to America and lived in Queens.

Zentelis, an NYU film professor, pieced together her grandmother’s story by tracking down distant relatives and sifting through declassified records in Britain’s national archives.

“And I did find proof that she absolutely contributed to helping the Red [i.e., Soviet] Army prevail in Hungary [March 1945], which was a critical, critical point to winning World War II. It’s one of the proudest moments of my life finding this,” said Zentelis.

Enid is passionate about sharing her grandmother’s story but also raising awareness that so many women like her have been lost to history.

She also hopes that sharing her grandmother’s story will change the stereotype of female spies using their sexuality, rather than like her grandmother – their bravery, guile and intelligence.

“My grandmother like her brother, and like many other women, you will never hear about was willing to risk their lives to do what was right, to make this a better world,” said Zentelis.

It’s a story that’s now being told thanks to an intriguing old letter, and a very determined granddaughter.

[Stephanie Simon, Spectrum News arts reporter, covers art and culture in all its many forms across the five boroughs of New York City, including the visual arts, jazz, the New York Philharmonic, New York history, and everything in between.  Beginning as a television and radio reporter in Delaware, Pennsylvania, and Connecticut, Simon began at NY1 as a features producer in 1998.] 

*  *  *  *
“THE NAZI-FIGHTING WOMEN OF THE JEWISH RESISTANCE”
by Judy Batalion 

[The following opinion article appeared in the New York Times of 21 March 2021 in section SR (“Sunday Review”).  The title above was used on the front page of the section, which was a full-page promotional preview of Judy Batalion’s essay; the inside headline read: “The Women of the Jewish Resistance.”

[Dr. Batalion is the granddaughter of Polish Holocaust survivors; her mother was born on the way back to Poland in 1945 in the aftermath of wartime displacement.  Batalion was born and grew up in Montreal and earned her bachelor’s degree in the history of science at Harvard and a Ph.D. in contemporary art from the University of London’s Courtauld Institute of Art.  Suffering from what she calls “career promiscuity,” she’s worked as a museum curator, researcher, editor, university lecturer, MC, script-reader, dramaturg, performer, actor, producer, translator, muffin-server, and office temp.  Dr. Batalion also does stand-up comedy.]

They flung Molotov cocktails, bombed train lines and flirted with Nazis, then killed them. Why hadn’t I heard their stories?

In 1943, Niuta Teitelbaum strolled into a Gestapo apartment on Chmielna Street in central Warsaw and faced three Nazis. A 24-year-old Jewish woman who had studied history at Warsaw University, Niuta was likely now dressed in her characteristic guise as a Polish farm girl with a kerchief tied around her braided blond hair.

She blushed, smiled meekly and then pulled out a gun and shot each one. Two were killed, one wounded. Niuta, however, wasn’t satisfied. She found a physician’s coat, entered the hospital where the injured man was being treated, and killed both the Nazi and the police officer who had been guarding him.

“Little Wanda With the Braids,” as she was nicknamed on every Gestapo most-wanted list, was one of many young Jewish women who, with supreme cunning and daring, fought the Nazis in Poland. And yet, as I discovered over several years of research on these resisters, their stories have largely been overlooked in the broader history of Jewish resistance in World War II.

In 2007, when I was living in London and grappling with my Jewish identity, I decided to write about strong Jewish women. Hannah Senesh [anglicized from Szenes; 1921-44] jumped immediately to mind. As I’d learned in fifth grade, Hannah was a young World War II resistance paratrooper. She left her native Hungary for Palestine in 1939, but later returned to Europe to fight for the Allied cause; she was caught and was said to have looked her killers directly in their eyes as they shot her.

That tale of audacity was exhilarating to me. I was the granddaughter of Holocaust survivors who had escaped from Poland; in my family, flight meant life. I had grown up to be a runner in relationships, careers and countries. But Hannah had returned to fight. I wanted to grasp what had motivated her boldness.

I went to the British Library, looked her up in the catalog and ordered the few books listed under her name. One, I noticed, was unusual, bound in worn blue fabric with gold lettering and yellowing edges — “Freuen in di Ghettos” [Pioneer Women’s Organization, 1946], Yiddish for “Women in the Ghettos.” I opened it and found 180 sheets of tiny script, all in Yiddish, a language I was fluent in. To my surprise, only a few pages mentioned Hannah Senesh; the rest relayed tales of dozens of other young Jewish women who defied the Nazis, many of whom had the chance to leave Nazi-occupied Poland but didn’t; some even voluntarily returned.

All this was a revelation to me. Where I had expected mourning and gloom, I found guns, grenades and espionage. This was a Yiddish thriller, telling the stories of Polish-Jewish “ghetto girls” who paid off Gestapo guards, hid revolvers in teddy bears, flirted with Nazis and then killed them. They distributed underground bulletins, flung Molotov cocktails, bombed train lines, organized soup kitchens, and bore the truth about what was happening to the Jews.

I was stunned. I was raised in a community of Holocaust survivors and had earned a doctorate in women’s history. Why had I never heard these stories?

“Freuen” was compiled for Yiddish-speaking American Jews in 1946 in an attempt to share this stunning history as widely as possible. But in the years that followed, these resistance narratives, like many historical contributions made by women, were sidelined or ignored for a variety of political and personal reasons.

Many women who told their stories in their own communities after the war were met with disbelief; others were accused by relatives of abandoning their families to fight; still others were charged with sleeping their way to safety. Sometimes, family members feared that opening old wounds would tear them apart. And many fighters suffered from survivors’ guilt — they’d “had it easy,” they felt, compared with others — and so in later years they remained mostly silent about their experiences.

Several other factors in postwar decades may have contributed to the relative obscurity of this history. In the 1950s, some say, many Jews had trauma fatigue; in the 1960s, the emerging horrors of Auschwitz and other camps became the predominant subject; in the “hippyish” 1970s, stories of violent rebellion were out of fashion; and in the 1980s, a flood of Holocaust books in the United States overshadowed many earlier tales.

My quest to learn more about these women turned into a dozen years of research across Poland, Israel and North America; in archives and living rooms, memorial monuments and the streets of former ghettos. I learned of the scope of Jewish rebellion: More than 90 European ghettos had armed Jewish resistance units. Approximately 30,000 European Jews joined the partisans. Rescue networks supported about 12,000 Jews in hiding in Warsaw alone. All this alongside daily acts of resilience — smuggling food, writing diaries, telling jokes to relieve fear, hugging a barrack mate to keep her warm. Women, aged 16 to 25, were at the helm of many of these efforts. I learned their names: Tosia Altman, Gusta Davidson, Frumka Plotnicka. Hundreds of others[.]

At the center of “Freuen” was a striking testimonial by a woman identified only as Renia K.; it was composed at the end of the war, when she was just 20 years old. Her writing was descriptive, even witty. “For them,” she wrote of the Nazi officers, “killing a person was easier than smoking a cigarette.” I found her file at the Israel State Archives and used the book she published in 1945 and additional testimonies to fill out her story.

Her full name was Renia Kukielka, and she was brought up in Poland in the 1930s in a world of sophisticated Yiddish theater and literature, and some 180 Jewish newspapers. After Hitler invaded Renia’s town, Jedrzejow, and locked her family in a ghetto, Renia escaped and fled through fields. She leapt off a moving train when she was recognized, bargained with the police and pretended to be Catholic. She got a job as a housemaid, nervously genuflecting at weekly church services. “I hadn’t even known that I was such a good actor,” Renia reflected in her memoir, “able to impersonate and imitate.”

Helped by a paid Polish smuggler, she joined her older sister in the town of Bedzin. Before the war, Bedzin had been a largely middle-class Jewish community and a hub for Jewish political parties, which had proliferated in response to the question of modern Jewish identity. A vast network of Jewish youth groups was affiliated with these parties. These groups had trained young Jewish men — and women — to feel pride, live collectively, be physically active and question, critique and plan. They trained them in the skills necessary for “staying.”

After Hitler’s conquest of Poland, the youth groups formed militias. When Renia arrived, Bedzin hosted a burgeoning cell of rebellion organized by secular, socialist-leaning Jewish teenagers and young adults. Those who were forced to labor in Nazi uniform factories slipped notes into the boots urging soldiers at the front to drop their weapons. They constructed workshops where they experimented with homemade explosives and designed elaborate underground bunkers. “Haganah!” was their rallying cry: Defense!

Women who were selected for undercover missions were required to look “good,” or passably “Aryan” or Catholic, with light hair, blue or green eyes, good posture and an assured gait. Renia was one of those chosen. Fueled by rage and a deep sense of justice, 18-year-old Renia became an underground operative, “a courier girl.”

I learned that “courier girls” connected the locked ghettos where Jews were imprisoned. Being caught on the Aryan side meant certain death; despite that, these young women dyed their hair blond, took off their Jewish-identifying armbands, put on fake smiles and secretly slipped in and out of ghettos, bringing Jews information and hope, bulletins and false identification papers, and linking youth resistance groups across the country. They smuggled pistols, bullets and grenades, hiding them in marmalade jars, sacks of potatoes and designer handbags.

As women, they were well positioned to do this work: Their brothers were circumcised and risked being found out in a “pants drop” test. Before the war, Jewish girls were more likely than Jewish boys to have studied at Polish public schools (many boys attended Jewish schools and yeshivas). They were, over all, more assimilated than Jewish boys and spoke Polish without the Yiddish accent, making them excellent spies.

They also took enormous risks. Bela Hazan got a job working as a translator and receptionist for the Gestapo; she stole their documents and delivered them to Jewish forgers. Vladka Meed smuggled dynamite into the Warsaw ghetto by passing bits of gunpowder through a hole in the wall of a basement that lined the ghetto border. She later supported Jews in hiding, secretly bringing them money, medical help and trusted photographers to take their pictures for fake IDs.

Hela Schupper, a beauty who’d studied commerce, dressed up as an affluent Polish woman attending an afternoon of theater, wearing clothes she’d borrowed from a non-Jewish friend’s mother. In 1942 she met a “Mr. X” from the Polish underground on a Warsaw street corner, followed him onto a train and into a safe house, stuffed her fashionable jute handbag, and brought five guns and clips of cartridges to Krakow’s “Fighting Pioneers,” who then bombed a Christmas week gathering at an upscale cafe frequented by Nazi officers, killing at least seven Germans and wounding more.

These women were so unlike me — they were the fight to my flight — and I was becoming increasingly obsessed with them.

Renia ran missions between Bedzin and Warsaw. She moved grenades, false passports and cash strapped to her body and hidden in her undergarments and shoes. She transported Jews from ghettos to hiding spots. She wore a red flower in her hair to identify her to underground contacts, met up with a black-market arms dealer in a cemetery, and slept in a cellar, wandering the city by day to gather information. She smiled coyly during searches on the train, and befriended one border guard to whom she “confessed” about smuggling food to distract him from the real contraband that was fastened to her torso with belts. “You had to be strong in your comportment, firm,” she wrote in her memoir. “You had to have an iron will.”

In Vilna, Ruzka Korczak found a Finnish pamphlet in a library on how to make bombs — it became the underground’s recipe book. Her comrade Vitka Kempner put a rudimentary explosive under her coat, slipped out of the ghetto, and blew up a German supply train in 1942. The Vilna resistance fled the ghetto to fight in the forests, where both women commanded units. Their comrade Zelda Treger completed 17 trips transporting hundreds of Jews out of ghettos and slave labor camps to the woods. In a different forest, a 19-year-old photographer named Faye Schulman joined the partisans, participated in combat missions and performed surgery — she was once forced to amputate a soldier’s wounded finger with her teeth. “When it was time to hug a boyfriend, I was hugging a rifle,” Faye said of her wartime adolescence in a documentary film.

Renia, through cunning and luck, managed to fend off prying Nazis and Poles who attempted to turn her in for a reward — until one border guard noticed her fabricated passport stamp. Imprisoned in Gestapo lockups that prided themselves on their medieval torture strategies, Renia was brutally beaten alongside Polish political prisoners. She masterminded an escape, helped by other courier girls who plied the guards with cigarettes and whiskey. Renia was able to slip away, change her clothes and run. Using an underground railroad set up by Jews, she crossed the Tatra Mountains by foot, then reached Hungary hidden in the locomotive of a freight train. The engineer expelled an extra puff of smoke to hide her departure from the engine.

Renia finally arrived in Palestine, where she was invited to lecture about her experience, and she published her memoir in Hebrew in 1945 — one of the first full-length accounts of the Holocaust. But in her life after the war, she remained mostly silent about it. For many female survivors, silence was a means of coping. They felt it was their duty to create a new generation of Jews. Women kept their pasts secret in a desperate desire to create a normal life for their children, and, for themselves. Renia’s family home after the war was not filled with stories of the resistance, but with music, art and tango nights; she was known for her fashionable tastes, and for her sharp sense of humor. Like so many refugees, the resisters wanted to start afresh, to blend into their new worlds.

Some 70 years after the war, I went to speak with Vitka Kempner’s son, Michael Kovner, on the outdoor terrace of a Jerusalem cafe. “She was someone who went toward danger,” he told me. “She didn’t care about the rules. She had true chutzpah.”

Researching these women, I’ve learned that my family’s narrative is not the sole option for confronting large and small dangers in the world. Running is sometimes necessary, but at other times I can stop and fight, or, at least, pause and discuss. Renia and her comrades were brave and powerful and paved the way for the generations that followed — not just the Ruth Bader Ginsburgs, but also women like me and my daughters. My children should know that their legacy includes not just fleeing, but also staying, and even running toward danger.

When I left the cafe, I found myself on a quiet side road. I looked up and saw the street sign with a name I would have never recognized a few years before: Haviva Reik Street. With Hannah Senesh, Haviva had joined the British Army as a paratrooper, helping thousands of Slovak Jews and rescuing Allied servicemen. Strong female legacies were all around us; if only we noticed, if only we knew their stories.

[Dr. Batalion is the author of The Light of Days: The Untold Story of Women Resistance Fighters in Hitler’s Ghettos (William Morrow, 2020), from which this essay is adapted.  The book is also available as an e-book, as an audiobook, in a large-print edition, and in a young readers’ edition.

[A New York Times review of The Light of Days, “The ‘Ghetto Girls’ Who Fought the Nazis With Weapons and Wiles” by Sonia Purnell, was posted on the Times’ website at https://www.nytimes.com/2021/04/06/books/review/light-of-days-judy-batalion.html on 6 April.

[Deadline, the online entertainment-industry news site, announced that Steven Spielberg’s Amblin Entertainment is developing a film adaptation of The Light of Days, and Batalion along with playwright and screenwriter Michael Mitnick are writing the screenplay.] 

*  *  *  *
“NEW BOOK EXPLORES THE HEROIC 
WOMEN-RUN RESISTANCE INSIDE NAZI DEATH CAMPS”
by Malcolm Brabant
 

[The interview below was broadcast on PBS NewsHour on Holocaust Remembrance Day, 8 April 2021.  It covers the same new book the New York Times essay above discusses.]

Judy Batalion’s new book, “The Light of Days,” details acts of heroism by Jewish women in the ghettos of eastern Europe - and even within the death camps. She documents how female couriers hand-carried crucial messages, weapons, and ammunition as part of the resistance in besieged Jewish ghettos. Special correspondent Malcolm Brabant presents the report for Holocaust Remembrance Day.

Judy Woodruff: Today is Holocaust Remembrance Day, now 76 years since the end of the Second World War in Europe.

A new book out this week, “The Light of Days” by Judy Batalion, details acts of heroism by Jewish women in the ghettos of Eastern Europe, and even within the death camps, who risked their lives to challenge the Nazis.

She concentrates on female couriers who hand-carried crucial messages, weapons, and ammunition as part of the resistance in besieged Jewish ghettos.

Here’s special correspondent Malcolm Brabant.

Malcolm Brabant: Seventy-six years since the Auschwitz-Birkenau death camp was liberated and its railhead of industrial slaughter neutralized, ghosts of the Holocaust are coming to life in new uplifting stories.

One of the wartime heroines portrayed in this book is Bela Hazan, seen here with her son Yoel on the right. Yoel, a brain scientist in Jerusalem, wants the world to know what his mother did in the war to compensate for the torrid reception she received in Israel after surviving Auschwitz-Birkenau.

Yoel Yaari: They used to say, you are sheep who went to the slaughter. And she was treated as such.

Why didn’t you resist? I mean, this was a question. What did you do you were not killed? Did you collaborate with the Nazis? Were you bartering sex for food? Were you a prostitute? I mean, these were questions that were put to her.

Malcolm Brabant: How angry does that make you that your mother’s first period in Israel was so awful?

Yoel Yaari: I’m extremely angry. And this is, of course, one of the reasons why I’m trying to tell her story.

Malcolm Brabant: This picture testifies to Bela Hazan’s courage. She’s between two other Jewish underground couriers.

What makes the photograph extraordinary is that it was taken by a Nazi at a Gestapo Christmas party. Bela worked as an interpreter for the Gestapo. The job gave her a great cover story, which enabled her to travel to cities like Vilnius in Lithuania, where the Jewish resistance operated.

Aged just 19 and masquerading as a Polish Catholic, she became a brilliant spy. Her luck ran out at this railway station in Poland. Despite being arrested, tortured and sent to Auschwitz, she never confessed her true identity.

Yoel Yaari: She interacted with the Gestapo people. What she did was to steal official papers, to put stamps, official stamps on these papers, and she delivered these materials together with information that she gathered when she was in that place. She delivered it all to the headquarters of the underground.

Judy Batalion: They were walking around with cash in their garter belts and dynamite in their underwear.

Malcolm Brabant: The bravery of women in Hitler’s ghettos was buried in an old Yiddish book that author Judy Batalion stumbled upon in the British Library in London.

She has spent 14 years researching women whose exploits have been neglected by history and who she believes should be revered.

Judy Batalion: When I first began this project, I too had a kind of subconscious understanding what they call of the myth of passivity and which is why, when I first found this material by accident, I was blown away.

And now I cannot look at the story of the Holocaust without seeing it as one of a constant battle of resistance and resilience.

Malcolm Brabant: Batalion’s book concentrates on couriers like Chasia Bielicka, eulogized by her granddaughter Hadas in Israel.

Hadas Yahav: You could see it in the Holocaust, of course, the way she wanted to save people and help people and help children. And she didn’t just want to survive. That wasn’t her mission. She wanted to do much more than that.

Malcolm Brabant: Chasia Bielicka’s ability to evade Nazi patrols and checkpoints made her a key player in the Jewish insurgency in Bialystok, these days an ultra-conservative town in Northeast Poland renowned for its hostility to gays.

Eighty years ago under the Nazis, it had a ghetto where Jews were corralled before being dispatched to death camps.

Hadas Yahav: The courier missions was to bring ammunition to the partisans. The partisans were fighting in the forest. They needed ammunition.

The women that she was with tried to find always places where they could steal ammunition, bring it to the forest or to the ghetto sometimes.

Judy Batalion: These women showed bravery and courage and cleverness and bravado, against all odds.

Malcolm Brabant: As long as they appeared sufficiently Aryan, women could move more freely around occupied Poland than men, who were supposed to be working during daylight hours. The couriers exploited a naive German belief that women were incapable of sabotage and subterfuge.

Judy Batalion: The biggest militaries in the world couldn’t defeat the German army, but that didn’t matter. What mattered was the fight for justice and liberty.

Malcolm Brabant: Zivia Lubetkin left Poland when Germany invaded. She could have stayed outside the country, but came back

Judy Batalion: Zivia Lubetkin was ultimately a leader in the Warsaw ghetto. She helps get young Jews out of slave labor. She helps them find food. And she fought in two ghetto uprisings. She fought in the Warsaw uprising alongside the Polish resistance.

Malcolm Brabant: The 1943 Warsaw ghetto uprising lasted almost a month, as heavily outnumbered Jewish fighters kept crack German forces at bay. Ultimately, they were overwhelmed, and some partisans died by suicide, rather than surrendering.

Today, only a small portion of the ghetto wall remains, but Zivia Lubetkin’s deeds live on.

Judy Batalion: She escaped through sewers, sewage water up to her neck. And even after the ghetto was razed and she was in hiding, she helped administer rescue organizations that helped thousands of Jews in hiding in Warsaw.

Malcolm Brabant: Although most of the characters in Batalion’s book are couriers, she couldn’t resist telling the story of Anna Heilman, a member of the Auschwitz resistance.

How on earth do you resist in Auschwitz?

Judy Batalion: This is such an incredible story, again, one of those: How did I not know about this?

Malcolm Brabant: Only one crematorium remains at Auschwitz-Birkenau. All but one were destroyed by the Nazis as they fled from the advancing Soviet Red Army.

The other one was blown up by Anna Heilman’s co-conspirators in October 1944. She helped to steal gunpowder from a munitions factory two miles from Birkenau and smuggle it back in the hems of her clothes.

Judy Batalion: It was this very elaborate system, where the people that worked in the room where they packed the powder would take little bits and put it in a waste — the wastebasket on the side. Another round of women would collect that waste, go to the bathroom, take out the gunpowder and hide it in fabric.

Malcolm Brabant: And here is Anna Heilman, in her own words, in Canada in 1996.

Anna Heilman: They used this gunpowder and manufactured little hand grenades made out of metal around boxes of shoe polish with a wick and filled with gunpowder. And when you lit it, it exploded.

Malcolm Brabant: The crematorium was destroyed during a brief rebellion by so-called Sonderkommandos [‘special units’], Jews forced by the Nazis to dispose of bodies from the gas chambers.

Anna Heilman: All the Sonderkommando people were killed. But the crematorium was destroyed as well.

Malcolm Brabant: In retribution, Anna Heilman’s sister was executed.

Anna Heilman: I heard this collective groan, and I knew what happened. I didn’t witness it with my eyes, but I was there.

Malcolm Brabant: In Jerusalem, Bela Hazan’s son Yoel Yaari, is grateful that light is now being shone on this aspect of the Holocaust.

Yoel Yaari: I think it is extremely important, because the story of the couriers is almost unknown worldwide and also in Israel.

Malcolm Brabant: The new book may help elevate these women to their rightful place in history, especially as the author is now working on a screenplay for Steven Spielberg, Oscar-winning director of that legendary Holocaust movie “Schindler’s List.”

For the “PBS NewsHour,” I’m Malcolm Brabant.

[Malcolm Brabant is a special correspondent for the PBS NewsHour.]

*  *  *  *

[I have a personal motivation for republishing the reports above: my mother.

[Mom died at 92 in 2015—just about six years ago now.  She’s been on my mind prominently these days.  Most significantly, I’ve been working on a very long project based on the letters she and my future father exchanged for almost a year in 1945, from just after they first met on 1 January to my father’s return from the army and the end of World War II and his release from the military in December.

[In addition, 7 April would have been Mother’s 98th birthday and next month, on the 8th, is Mother’s Day, and I always used to try to spend one of those dates—or some time in between—with her either here in New York City or at her home in Washington, D.C.

[These stories, though, have made the absence of my mother just now particularly notable.  In particular, the account of Enid Zentelis’s grandmother, the Hungarian spy, because Mother’s family was a teensy bit Hungarian.  Her father’s family had come from Austria-Hungary in the mid- or early 19th century, and Mom used to point to the tip of her little finger and say she was “that much Hungarian”!

[Further, Judy Batalion’s history is compiled in a book.  Mom (whose name was also Judy, coincidentally) loved reading and would have delighted in stories of Jewish and female heroism, and I thought, what a wonderful birthday or Mother’s Day gift The Light of Days would’ve made for her.


19 April 2021

More Vintage Reviews from the Archive

 

[As I reported in “Some Vintage Reviews from the Archive” (15 March 2021), I wrote reviews for the New York Native, a biweekly gay newspaper published in New York City from 1980 until 1997, in the late 1980s and early 1990s.   

[The notices were relatively short because the paper ran reviews in pairs, so there were two plays covered in most columns.  (For most of the reviews republished here, the companion play has been omitted—though it may have been posted in another location on Rick On Theatre.)

[I covered mostly Off-Off-Broadway and occasionally Off-Broadway, and sometimes, the artists in the productions, including the dramatists, were prominent—or, at least familiar to theatergoers.  For “More Vintage Reviews from the Archive,” I’ve collected some of those notices.]

ARISTOCRATS
by Brian Friel
Manhattan Theatre Club
Theatre Four
15 May 1989 

[My review of Irish playwright Brian Friel’s Aristocrats was part of "Family Problems," which also included a review of The Rug of Identity (posted in “‘I’m So Confused . . . !’” on ROT on 4 July 2012) in the New York Native of 15 May 1989.

[Friel (1929-2015) was a popular short story-writer and dramatist who was considered by many as one of the best playwrights in the English-speaking world.  His plays produced on Broadway included Philadelphia, Here I Come! (1966; revived, 1994), The Loves of Cass McGuire (1966), Lovers (two one-acts: Winners and Losers; 1968), The Mundy Scheme (1969), The Freedom of the City (1974), Faith Healer (1979; revived, 2006), Dancing at Lughnasa (1991; Tony for Best Play, 1992), Wonderful Tennessee (1993), Translations (1995; revived, 2007).

[Many of these plays were also presented Off-Broadway.  In addition to Aristocrats, which won a 1989 Drama Critics' Circle Award and a 1991 Lucille Lortel Award, Friel’s drama Molly Sweeney also received a Drama Critics' Circle and a Lucille Lortel Award for OB runs, both in 1996.]

Family and relationships play an important role in a serious vein in Aristocrats, the 1979 play by Brian Friel.  Compared by some to Chekhov’s plays, particularly The Three Sisters and The Cherry Orchard, and bearing the mantle of Friel’s Irish predecessors William Butler Yeats and Sean O’Casey—both invoked here—Aristocrats, as staged by British director Robin Lefèvre, takes a very careful look at a disintegrating aristocratic Irish Catholic family.  With some wonderful performances, most notably from Dubliner Niall Buggy, on a John Lee Beatty set so evocatively real you can smell the must and mildew, Aristocrats tries to make the O’Donnell family of Ballybeg stand in for all of Ireland, their problems being analogies for those of a whole people.

Despite the richly textured work of cast, director, and designers, however, the cross-over never really happens.  As a study of an eccentric, all-but-decayed family desperately in need of new, peasant-stock blood, the details are often fascinating in themselves.  Son Casimir’s possibly imaginary family and his fuzzy-at-best memories of past O’Donnell glories are so charmingly evoked by Buggy I wanted them to be true.  The vitality and strength of Willie Diver (John Christopher Jones) is so refreshing and robust, I wanted him to come to the rescue of the family and its moribund manor. 

The minutiae—some fantasy, some real—of the O’Donnell history so lovingly laid out for the scrutiny of Tom Hoffnung (Peter Crombie), an American sociology grad student, give the play the impression of weightiness.  The script, unfortunately, never ties it all together into something that makes the family and its fate greater than the sum of the wonderful parts. 

The researcher-catalyst doesn’t ever seem more than a contrivance and a foil to point out the historical inaccuracies in family lore.  The impending wedding of daughter Claire (Haviland Morris) to a much older man and the alcoholism of daughter Alice (Margaret Colin) never provide the apotheosis I was led to expect. 

The enigmatic appearances of crazy Uncle George (Thomas Barbour) end up being little more than a brief joke.  In the end, the death of District Judge O’Donnell (Joseph Warren), supposedly marking the end of an era like the sale of the Ranevskys’ cherry trees, just puts a period at the end of a run-on sentence that was finished long ago.

[Aristocrats was first performed at the Abbey Theatre, the National Theatre of Ireland, in Dublin in 1979.  The Manhattan Theatre Club revival started previews Off-Broadway at Theatre Four (55th Street between 9th and 10th Avenues – no longer functioning) on 11 April 1989 and opened on 14 April; the production closed on 24 September.  There was a revival of Friel’s play in New York City by the Off-Broadway troupe Irish Repertory Theatre in 2009.

[The MTC presentation won several performance awards and two for Friel’s play: the 1989 Drama Critics' Circle Award for Best Foreign Play and the 1991 Lucille Lortel Award for Outstanding Play.]

*  *  *  *
“HELLO, BOB”
by Robert Patrick
La MaMa E.T.C.
First Floor Theater
29 October 1990 

[I’ve mentioned Robert Patrick’s “Hello, Bob” several times on ROT.  The review was part of the column "Broadway Revisited" (with the review of the musical Two By Two [see below] in the New York Native of 29 October 1990.

[Patrick (b. 1937) was the most prolific playwright of Off-Off-Broadway back in the early ’60s when that cultural venue was just emerging in Greenwich Village and the East Village (see my articles “Greenwich Village Theater in the 1960s,” 12 and 15 December 2011, and “Caffe Cino,” 11 and 14 September 2018).  A list of his plays is way too long to reproduce here, but his biggest success in terms of public attention was Kennedy’s Children, presented on Broadway from 3 November 1975 to 4 January 1976.  

[As you’ll read, “Hello, Bob” is about the repercussions of the mainstream success of Kennedy’s Children on playwright Patrick.  He particularly lambastes Shirley Knight, who received a 1976 Tony as Best Featured Actress In A Play, for her performance in the play.  I have quipped that Knight ought to consider suing for defamation of character for the things Patrick says about her in “Hello, Bob.”]

Robert Patrick’s current play has two connections to his 1974 piece, Kennedy’s Children.  First, like Kennedy’s Children, “Hello, Bob” is a series of monologues; second, all the monologues relate in some way to the success of Kennedy’s Children and the effect of that success on Patrick.  The links end here, however. 

The threads that keep Kennedy’s Children cohesive—the interwoven speeches as each character, however unconnected to the others, take and then relinquish focus; the omnibus setting of the bar to which the characters retreat out of the rain—are absent from “Hello, Bob.”  Here the twenty-one speeches, sometimes one side of elliptical conversations with an invisible Patrick, range in time from 1975 to 1981 and take place, in Act I, all over New York and, in Act II, around the country.  The only adhesives are an unseen and unheard Patrick and the frequent allusions to his unnamed Broadway play.

Further, whereas Kennedy’s Children considered “the death of the idea of heroes as guides for our lives,” according to Patrick’s note in the published text, “Hello, Bob” seems only to be concerned with praising Patrick—the man, the artist, the Samaritan, the lover.  There are many references to Patrick as a “great guy” and to his “great play.”  Over and over again, he is shown to be a tireless teacher, dauntless crusader for noble causes, and unwavering friend.  Everyone loves “Bob.”  In one bit, a cabby, declaring himself straight, offers to jump into the back seat for a little off-the-meter fun “just because I like you.”  In another scene, Bob’s lover, about to leave him, proclaims Bob a “wonderful lover” and offers a quickie before departing.  Everyone is ready to sacrifice something for this terrific man; even a New York Times reporter risks his job to inform Patrick that his interview will be edited to make him look foolish. 

Under the author’s direction, a four-actor ensemble performs the monologues, with Patrick’s “favorite actress,” Carol Nelson, subject of a recent Native profile, taking all ten female characters.  With a minimal setting of black metal folding chairs and a couple of cafe tables on a black-painted, two-level stage, the actors must evoke not only their characters, but the locales and, often, a mimed Patrick’s presence as well.  (This last seems most troublesome for the cast.  Patrick keeps changing height, from a very tall standing figure to a very short seated one.  In one piece, Nelson holds Patrick’s invisible hands as if they are as flat as paper.)  Except for their costumes and their words, few of the characters are clearly delineated or imaginatively portrayed.  Arnold, a working man on a bus, has a generalized southern accent to indicate an uneducated, red-neck bigot—and he’s from Maine; Wren, who spent some time in Ireland, produces a cartoon brogue. 

Characterization is not deeply grounded, either.  Wren, for instance, relates what ought to have been a horrific experience: being tied to a bed next to her IRA lover while he is executed.  She tells of being unable to free herself “from dawn till noon” while his blood soaks her gag and flies feed on his brains leaking out of the hole in his head.  Nelson pauses not a moment, catches her breath not once, gulps back not one gasp during the description.  The audience reacted more viscerally than does the actress.

Disjointed and undifferentiated as the moments are, one is amusing.  Edmond Ramage delivers an evocative telephone monologue as Tennessee Williams.  Ramage endows “Tennessee” with wry humor, a perception of the absurdity of the worlds of art and journalism, and a neat sense of revenge.  I cannot vouch for the accuracy of the portrayal, but as theater, this was, for me, the most interesting character and most intriguing scene of the evening.

[Robert Patrick is mentioned often in my early Rick On Theatre article “Is Waiting For Godot Trash?” (17 April 2009), on which the playwright also left several Comments.  He also figures in my two-part report “Caffe Cino” (11 and 14 September 2018).

[“Hello, Bob” was produced at Manhattan’s East Village La MaMa E.T.C. (Experimental Theatre Club) from 11 to 28 October 1990.  It was developed in several Off-Off-Broadway theaters before being presented at La MaMa.  A 1995 production of “Hello, Bob” was presented at Chicago’s Retro Theatre and a 1996 revival was mounted at L.A.’s Lionstar Theater.  (Patrick’s complete play is available on YouTube at https://www.youtube.com/watch?v=eJ1K8wNcNmI.)

[Kennedy’s Children was produced at Playwrights Horizons from 30 May to 9 June 1973 before it transferred to Broadway’s John Golden Theatre.  Under the direction of Clive Donner, it began previews there on 30 October 1975 and opened on 3 November; it ran for 72 regular performances and five previews, closing on 4 January 1976.  Kennedy’s Children was nominated for the 1976 Outstanding New Play Drama Desk Award.]

*  *  *  *
TWO BY TWO
by Richard Rogers, Martin Charnin, and Peter Stone
Triangle Theatre Company
29 October 1990 

[The other half of "Broadway Revisited" (see above) is this notice for Two By Two, a 1970 Broadway musical with music by Richard Rodgers (1902-79), lyrics by Martin Charnin (1934-2019), and book by Peter Stone (1930-2003).  At the Imperial Theatre, the show ran from 10 November 1970 to 11 September 1971, for 351 performances.  Danny Kaye played Noah; also in the cast were Joan Copeland (Arthur Miller’s younger sister), Marilyn Cooper, and Madeline Kahn.

[The creative team, adapting The Flowering Peach, the play by Clifford Odets (1906-63), was led by the great stage composer Rodgers, former partner of Lorenz Hart (1895-1943) and Oscar Hammerstein II (1895-1960), whose output includes classic American musicals such as The Girl Friend (1926), A Connecticut Yankee (1927), Jumbo (1935), On Your Toes (1936), Babes in Arms (1937), The Boys from Syracuse (1938), Pal Joey (1940), Oklahoma! (1943), Carousel (1945), State Fair (film, 1945 and 1962; stage, 1996), South Pacific (1949), The King and I (1951), Cinderella (TV, 1957; Broadway, 2013), Flower Drum Song (1958), and The Sound of Music (1959), among many others.

[Charnin wrote the lyrics for the musicals Mata Hari (1967), Annie (1977), Cafe Crown (1989), and Annie Warbucks (1993).  Stone wrote the book for Kean (1961), 1776 (1969), Sugar (1972), Woman of the Year (1981), My One And Only (1983), The Will Rogers Follies (1991), and Titanic (1997). (Stone also wrote the screenplay for my favorite thriller movie, 1963’s Charade.)]

The Triangle Theatre Company’s twentieth-anniversary revival of the Richard Rodgers-Martin Charnin-Peter Stone musical, Two By Two (1970), is a small, gentle pleasure.  The story of Noah and the flood, adapted from The Flowering Peach (1954) by Clifford Odets, is an old-fashioned musical, and perhaps not one of Rogers’s greatest scores, but it is fun and sweet, and excellently performed in the small space at the Church of the Holy Trinity.

On a tiny set designed by Bob Phillips, with a lopsided hut the size of an outhouse at its center (there is an outhouse, too—even smaller), painted purple and green and gray, the cast of eight portrays the family of Noah (Kip Niven) and Esther (Meredyth Rawlins) as a bickering, disrespectful, loving, prototypical Jewish family.  If Noah sounds a little like Billy Crystal’s old Jewish man, he is less caricatured and warmer of heart.  Niven’s love song to his dying Esther is a real two-hanky moment.

Most remarkable in this production are the voices.  While all the performers sing creditably, standouts are Tom Lloyd as Japheth, who has the strongest voice and the most character when he sings, and Mary Lee Marson as Rachel.  Also excellent singers are Bryan Batt as Ham, Wendy Baila as Leah and Lindsey Mitchell as Goldie.  Singling these out should not detract from the nice ensemble acting of the cast on the sometimes cramped set.

If Two By Two isn’t one of the all-time great American musicals, it is still nice occasionally to return to the old-time shows when you could sing the songs and for which the term “musical comedy” was coined.  The Triangle show is such a respite.

[Triangle’s revival of Two By Two ran at the Church of the Holy Trinity (East 88th Street between 1st and 2nd Avenues) from 4 to 28 October 1990.  The show is a favorite in community theaters and church groups, and there’ve been a number of revivals over the years with stars such as Milton Berle (The Muny in St. Louis, 1971) and Shelley Berman (National Tour,1972-73).

[Odets’s Flowering Peach, the last original play by the playwright produced in his lifetime, ran at the Belasco Theatre in the Theatre District from 28 December 1954 to 23 April 1955, 135 performances.  Staged by the author, the play starred Menasha Skulnik, a Polish-born star of the Yiddish theater, as Noah.]

*  *  *  *
MAMBO MOUTH
by John Leguizamo
American Place Theatre
3 December 1990 

[My review of John Leguizamo’s Mambo Mouth was paired with my notice for Invitation to the Beginning of the End of the World (Invitation to the Beginning of the End of My Career) by Penny Arcade in a column entitled "Come To The Cabarets" (see “Penny Arcade: Two Performances,” 15 November 2013). The two reviews appeared in the New York Native on 2 December 1990.

[Mambo Mouth wasn’t a play, but a stand-up routine in the vein of popular monologuists of the time like Whoopi Goldberg (Broadway event, 1984-85) and Danitra Vance (see “Short Takes: Some Unique Performances,” 28 July 2018).  Born in Bogota, Colombia, Leguizamo (b. 1964) is an actor, writer, and stand-up comedian who drew on his youth in Queens, New York, for the characters he played in his monologues.

[Today, Leguizamo works mostly as an actor in film, television, and theater, but in the ’90s, he was a stand-up comic with a growing reputation.  He’d been creating his own material since the 1980s, trying it out at the performance art spaces on Manhattan’s Lower East Side and in the East Village.  This eventually became Mambo Mouth which was his breakthrough as an autobiographical monologuist; the reviews launched that aspect of his budding career. 

[Leguizamo’s texts have been published, including Mambo Mouth (Bantam, 1993), which was also recorded for HBO and aired in 1991, giving the performer a national audience.  He performed all across the country to excellent reviews.  (His other published texts are Spic-o-rama [Bantam, 1994] and Freak [Riverhead Trade, 1998]; all three, plus Sexaholix, are collected in The Works of John Leguizamo [Ecco, 2008].)]

On the tiny stage of the American Place Theatre’s SubPlot, a cabaret in the theater’s basement that’s more a passageway than a room, John Leguizamo creates seven Latino characters during his hour-and-fifteen-minute Mambo Mouth.  Aside from costumes and a few props, he does this mostly with a superb physical sense of his characters.  Leguizamo is, according to his biography, an actor (rather than a writer or comic), and though I haven’t seen his film or stage performances, I’d bet he’s a terrific character actor.

[On the film website IMDb, Leguizamo is quoted as saying that he often plays supporting—that is, character—roles “[b]ecause you get to be free.”  He added, “There are more, better written supporting parts than there are leading parts.”  I don’t know the source of this quotation however.]

Directed by Peter Askin, Mambo Mouth is pretty straightforward.  One by one, Leguizamo presents his characters in brief scenes: Agamemnon, an oily Latin-lover type hosting “Naked Personalities,” “the most dangerous show on public access TV”; Angel, a street punk busted for knocking one of his many girlfriends around; a young teenager telling his friend that he just became a man at Nilda’s Bodega & Bordello; an illegal immigrant caught in an INS sting; a streetwalker consoling a friend; a stoned-out street vendor who calls himself an “Inca god” selling ointments and artifacts; and, in his cleverest persona, “The Cross-Over King,” a Latino who “became” Japanese selling the concept in a slide lecture.

There’s some Spanish in Leguizamo’s routine, and there were a number of Hispanics in the mixed audience, but his material is readily accessible to all of us—especially if you watch TV.  Leguizamo’s brief is to use Latin stereotypes to bust them open and his characters—except the last one—are recognizable from our pop culture. 

Along with his thorough and natural physical portrayals, Leguizamo’s lines are clever and pointed.  They are also often vulgar and belligerent.  Agamemnon, for instance, tells us his father dismisses him with “Out of a hundred thousand sperm, I can’t believe you were the quickest!”  The knife-wielding hooker regularly threatens to cut off the “peepee” of anyone who annoys her.  Sex, sexuality, and the genitals are the most common focus, as if they were the only forces in these people’s lives.  

Mambo Mouth is billed as “A Savage Comedy,” but it isn’t always really funny.  It’s clearly not meant to be.  Underlying the humor is a base of anger and bitterness, and, disturbingly, an apparent self-hatred which ultimately made me uncomfortable.

[In a 1991 interview with Glenn Collins of the New York Times, Leguizamo said, as if in response to my last comment above, that counselling sessions at Manhattan’s Youth Counseling League “helped me to get over my rage and my negativity toward myself."

[In another interview, he told the Los Angeles Times’ Patrick Pacheco, “Writing this play was like an exorcism . . . from the self-loathing and all the ugly things that I feel I carry around in myself . . . .”

[Mambo Mouth began performances at the American Place Theatre (on 46th Street west of 6th Avenue) on 8 November 1990 and, after a short hiatus, transferred to the Orpheum Theatre in the old Yiddish theater district along 2nd Avenue (between 6th and 7th Streets in the East Village) on 4 June 1991.  Altogether, the show ran 187 performances, closing on 25 August.  It later played in LA.

[Directed by Peter Askin, the performance piece garnered the 1991 Obie Award for Leguizamo’s performance and the 1991 Outer Critics Circle’s John Gassner Award  for his writing.  Productions have been mounted all over the country, as well as abroad, Other actors have performed Leguizamo’s texts, such as Peter J. Mendez who did Mambo Mouth in Baltimore in 1997 and Riley Faison in 2015 at the University of Wisconsin–Madison.]

*  *  *  *
LYNDON
by James Prideaux
John Houseman Theatre
28 January 1991 

[I reviewed James Prideaux’s Lyndon, a one-man bio-play about Lyndon Baines Johnson, the 36th President of the United States, as part of “Talking Heads,” combined with my review of Steeplechase by Eric Stephen Booth, in the New York Native of 28 January 1991.  (The playwright described Steeplechase as “a 21st century black gay love story.”)

[Prideaux (1927-2015) was principally a writer for film and television, but his best-known stage work was The Last of Mrs. Lincoln (1972), which won him a 1973 Drama Desk Award for Most Promising Playwright.  It also won Julie Harris a Tony for Best Actress In A Play for her performance in the title role.

[Several other of his plays were performed on the summer straw-hat circuit with stellar casts and his TV movie, Mrs. Delafield Wants to Marry (1986). was nominated for an Emmy for Outstanding Drama/Comedy Special.  It starred Katherine Hepburn as the title character, for which performance she was also nominated for an Emmy.  Prideaux’s memoirs are entitled Knowing Hepburn and Other Curious Experiences (1996).]

Laurence Luckinbill’s performance in Lyndon is remarkable.  While he may not look or sound exactly like the real LBJ, he doesn’t look or sound like LL either.  With the aid of an incredible make-up job (designed by Kevin Haney and taking a 2½-hour session with costuming), he completely convinces you that you are watching someone real up on the stage.  His gestures, movements, and business, his inflections, phrasing, and rhythm are all natural and unforced. 

The experience was not unlike that of watching Pat Carroll as Gertrude Stein or Hal Holbrook as Mark Twain.  It’s mesmerizing to watch Luckinbill, especially when he dons Johnson’s signature Stetson, as he reminisces on the former president’s political career from the late ’20s through his announcement in 1968 that he would not run again for the presidency. 

There is some serendipitous juxtaposition of history with current events when Johnson discusses the Congress’s 1964 Gulf of Tonkin Resolution, the escalation of the war in Vietnam, and the protests in Lafayette Park across from the White House.  [President George H. W. Bush had led the U.S. into the Gulf War against Iraq, August 1990-February 1991, on the strength of a U.N. resolution and weakly supported Congressional authorization.]  

In the end, however, I am left with the question of why this man’s life is worth dramatizing now.  Unquestionably, the mid-1960s were a dramatic and tumultuous era, but, despite some excellently mimed moments, Lyndon is essentially all talk as Luckinbill, directed by Richard Zavaglia, meanders around the simplified, gray-toned Oval Office set.  James Prideaux’s play, drawn from Merle Miller’s book, Lyndon: An Oral Biography (1980), is really a living history lesson, perhaps more moving for those of us who remember the events than for those born after Vietnam became little more than a bad dream. 

I also can’t shake the feeling that Prideaux and Luckinbill have sanitized the LBJ image, making him a more endearing, grandfatherly figure than he really was.  Though the reminiscences contain several admissions by Johnson that he made some deals and occasionally voted against his own beliefs on issues like civil rights and desegregation, the timbre of the performance is one of calm, thoughtful deliberation and righteous governance for the benefit of all Americans. 

That’s not the LBJ I remember, nor the man whose reputation for back-room infighting, self-interested wheeler-dealing, and even downright vindictiveness was reportedly well deserved.  President Johnson was not one of the nicest men to occupy the White House, though, by God, he got things accomplished.  Such is not the figure embodied by Luckinbill on the stage of the John Houseman Theatre.  Still, the fiction presented is an extraordinary performance for its own sake.

[James Prideaux’s Lyndon opened at the John Houseman Theatre (demolished in 2005) on Theatre Row on 10 January 1991 and closed on 3 May.  Luckinbill was seen in an earlier version, called Lyndon Johnson, on the Public Broadcasting Service on 8 April 1987.  (Jack Klugman portrayed LBJ in an earlier version of Prideaux’s play in 1984 at the Eisenhower Theater in Washington, D.C.’s John F. Kennedy Center for the Performing Arts.)

[My reference above to Hal Holbrook’s Mark Twain was to the actor’s one-man portrayal of the writer in Mark Twain Tonight!, seen on Broadway originally in 1966.  I saw it on CBS TV in 1967.  Holbrook won both a Tony and a Vernon Rice Award (now the Drama Desk Award) for his Broadway performance; he was nominated for an Emmy for Outstanding Single Performance by an Actor in a Leading Role in a Drama for the TV version. 

[(Dick Smith, a special make-up effects artist, won the Emmy for Individual Achievements in Art Direction and Allied Crafts – Makeup for Holbrook’s transformation from the 41-year-old actor to the 70-year-old humorist—a four-hour long application.)

[The mention of Pat Carroll as Gertrude Stein was a reference to the actress’s one-woman, Off-Broadway play, Gertrude Stein Gertrude Stein Gertrude Stein at the Provincetown Playhouse in 1980 for which the actress won two 1980 acting honors: the Drama Desk Award for Outstanding Actress in a Play and the Outer Critics Circle Award for Best Performance.

[While I was watching the performance, I kept saying to myself, ‘Gee, Stein’s a really interesting person.  I’m so glad I got to meet her’!  When I realized what I was thinking—that that was actually Gertrude Stein in front of me—I was mighty glad I didn’t say that out loud so my companion and others near me could hear how deeply I’d fallen under Carroll’s spell.

[I don’t write fan letters, but I sat down and wrote one to Carroll and said that if she ever took on students, I was ready to sign up!]

*  *  *  *
ROAD TO NIRVANA
by Arthur Kopit
Circle Repertory Company
18 March 1991 

[Reviewed alongside Vivian Gornick’s A Fierce Attachment (adapted by Edward M. Cohen), Arthur Kopit’s Road to Nirvana was part of the column I called “Creating the Self—and Other Fictions” in the New York Native of 18 March 1991.  (Attachment explores the relationship between a liberated, intellectual journalist and her mother, a working-class Jewish socialist—with Tovah Feldshuh playing both parts.)

[Kopit (1937-2021; the dramatist died on 2 April at 83, while I was preparing this post) came to the theater world’s attention in 1962 with Oh Dad, Poor Dad, Mamma’s Hung You in the Closet and I’m Feelin’ So Sad (as much for the length of its title as for the content of the absurdist drama)—which won the Vernon Rice Award (now known as the Drama Desk Award).  He was nominated for another Drama Desk Award in 1979 for Wings (see my report on a later production on 26 November 2010).

[Kopit was a two-time Pulitzer Prize finalist—for Indians (1969) and Wings—and a three-time Tony Award nominee: Best Play, Indians (1970); Best Play, Wings (1979); and Best Book of a Musical, Nine (1982).  He was inducted into the Theater Hall of Fame in 2017.]

Arthur Kopit’s Road to Nirvana was first produced as Bone-the-Fish (1989, Actors Theatre of Louisville), a title reminiscent of Mamet’s Speed-the-Plow (1988) to which Kopit’s play is a reaction.  In fact, Kopit has said that the inspiration for Road to Nirvana was the casting of Madonna in Speed-the-Plow: “I became interested in the phenomenon of Madonna, partly because she was cast in this play and couldn’t have been cast in a high school play.  I wondered what it was like to be that powerful as a pop star, that untalented as an actor and yet mysteriously talented.”  The Nirvana of his play’s title is Kopit’s take on Madonna, with a little Shirley MacLaine thrown in.

But Nirvana doesn’t show up until the second act.  Until then, the play is about Hollywood deal-making at its most venal.  Not filmmaking; deal-making.  Have you ever heard anyone say, “I’d cut my wrists to get that . . . “? or “I’d eat shit for that . . .”?  Well, in Road to Nirvana, they mean it literally.  Jerry (Peter Riegert) is so desperate to get back into making feature films, he agrees to everything his old partner, Al (Jon Polito) demands to get in on the deal of a lifetime—a film, called Moby Dick, that is the life story of rock phenom Nirvana (Amy Aquino). 

Nirvana, it seems, has been a) strung out for so long, and b) reincarnated so many times, that she can’t remember her real life, so she wrote Moby Dick, changing Ahab’s name to hers and the whale to a giant cock.  Al and Lou (Saundra Santiago), his new partner and lover, want to make this flick so badly they’ll do anything to get the deal.  Eventually, so does Jerry, but he has to sway Nirvana.  He does this finally by agreeing to one last humiliation.  I’ll give you a hint: Have you ever heard anyone say, “I’d give my left nut . . . “?

The cast, under Jim Simpson’s sure direction, performs these absurdities with complete conviction, handling Kopit’s occasionally Stoppardesque dialogue stylishly and firmly.  They toss around obscenities, one in particular, until they are meaningless and make you believe completely in even the most meaningless phrases.  (James Puig’s performance as a confused and abused servant should be noted.  Never saying more than two words, Puig communicates volumes with a single look.)  

Trouble begins at the second act when the play splits into two.  Act one is fast, funny and absurd, but act two slows considerably, covering much of the same territory.  The character of Nirvana isn’t as ditzy or flaky as we are led to believe she would be.  She’s just a manipulative and paranoid control freak.  

If the second-act set, designed by Andrew Jackness, weren’t so exotic—a Roman bath-cum-Mayan temple—there would be little of interest save the not-so-surprise climax.  The act doesn’t so much end as stop—but, then, anything following a surgical castration would be (ahem) anticlimactic.

[Arthur Kopit’s Road to Nirvana opened at the Circle Rep’s theater in the West Village on 13 February 1991; it ran for 54 performances, closing on 31 March.  The play had been commissioned by the Actors Theatre of Louisville and premièred there (as Bone-the-Fish) in 1989. 

Between the ATL début and CRC production, Road to Nirvana was presented at the Wellfleet Harbor Actors Theater in Wellfleet, Massachusetts, in 1990.  Subsequent productions were mounted in L.A. (1991); Chicago (1993, 1997); Burbank (1993); Herndon, Virginia (1994); and Venice, Florida (2015).

[Mamet’s Speed-the-Plow’s première was produced by Lincoln Center Theater at Broadway’s Royale Theatre (now the Bernard B. Jacobs Theatre) in 1988.  Directed by Gregory Mosher, the artistic director of LCT, the cast included Madonna, Joe Mantegna, and Ron Silver.  It ran 23 previews and 279 regular performances and won the Tony Award for Best Actor In A Play and the Drama Desk Award for Outstanding Actor In A Play, both for Silver.

[Frank Rich wrote in the New York Times: “Madonna serves Mr. Mamet's play much as she did the Susan Seidelman film ‘Desperately Seeking Susan,’ with intelligent, scrupulously disciplined comic acting.  She delivers the shocking transitions essential to the action and needs only more confidence to relax a bit and fully command her speaking voice.”

[Frederick M. Winship of United Press International deemed, however, “The role of Karen, a young woman with no past that we know of, is an impossible one and Madonna has too little talent or theatrical imagination to make something of it, even with Mosher’s expert help.

[He continued, “She is rigid, almost as though she is terrified to be on stage.  Her voice has a one-note quality that becomes boring and her characterization is limited to superficialities that only establish Karen as an overly intent, patently naive young woman who is all too ready to admit she has done ‘bad’ things to establish rapport with a man all too ready to seduce her.”