By Ciara LaVelle
By Jose D. Duran
By Kat Bein
By Juan Barquin
By Ciara LaVelle
By George Martinez
By Kat Bein
By Ciara LaVelle
Rose Lansbury is a sixtysomething widow living in New York who has recently lost her only son (that would be Jerry). To ease the burden of caring for Rose, her daughter-in-law Laura has signed her up for an unusual program. It pairs elderly Jews, some of them Holocaust survivors, with young Germans, the better to foster -- well, what it's supposed to do other than provide a bizarre sort of free eldercare is never really spelled out. But in the case of Rose and young Solomon Seibert, it joins two people who are both fans of the Sixties supergroup Blind Faith. I kid you not. Rose plays the albums her son left behind; Solomon grew up on Sixties rock and roll. Clapton et al. presumably never guessed how far and wide their music would travel to bring people together.
There's nothing ordinary about this German youth who wears a Cheerios T-shirt and quotes a famous Jewish writer. Even his name -- his brother is called Abraham -- signals that his parents have tried to instill a sense of history in him, a legacy that he's proud to make good on by caring for Rose. "My mother says it's a miracle that old Jewish people let people like me into their home," he says. And despite her Lower East Side verbal tics, Rose didn't come from a cookie cutter either. "It's very 'in' to name a child inappropriately," she comments when her daughter-in-law points out Solomon's non-Aryan name.
Early in their strife-torn relationship, Rose (Elayne Wilks) and Solomon (Thomas Mikusz) take a trip to a used-record store so that Solomon can convince her there are no more Blind Faith albums to be had. (The group recorded just one). Lucky for us these two have this unexpected bit of common ground, because the greater spiritual journey they take together follows a rather predictable path. Put a woman whose parents perished in the Holocaust in the same room with an earnest Generation-X German youth and the best you can hope for is a spirited discussion of Anne Frank. Rose and Solomon don't disappoint. Just when Rose's rejection of him begins to get under his skin, Solomon points out that even Anne Frank believed in the innate goodness of people. "That was before they took her away," exclaims Rose. "She would have added an asterisk to that."
And lucky too for us that Kagan throws all sorts of small but charming roadblocks in Rose and Solomon's path as they continue on the road to mutual understanding. Las Vegas fans, take heart: In case you're wondering what other surprises lie ahead, in the Kagan conception of the universe Heaven's headliner is Liberace, "only he dresses down now." That priceless piece of information comes from Jerry (Ralph de la Portilla), who visits from the afterlife. He comes to his mother in dreams, sharing with her the wonders of Heaven. "It's so nice here.... Everything's well organized," he says. Dressed in monogrammed silk pajamas and a white yarmulke and standing in front of a nightclub microphone, he appears on a platform above the main stage depicting Rose's apartment.
Jerry's presence adds a cabaretlike feel to Antisemitropolis. He also introduces the notion of human-size grief. But even though de la Portilla's performance and the black-comedy aspects of his character give the play its vitality, as a dramatic element Jerry overloads the circuits. Where Rose and Solomon will eventually come to see each other as individuals rather than as members of isolated groups (a theme that's getting a little tiresome these days), Jerry ushers in the idea that Rose has to come to grips with losing a child. I think Kagan's intent is to have us see that the universal and the individual horrors of Rose's life dovetail in Jerry's death, the gruesome nature of which is revealed in one of Rose's angry outbursts. But the revelation that Jerry died violently hits us like a dull swat. What's one violent death compared to six million?
Kagan's penchant for melodrama is the most superficial problem plaguing the architecture of Antisemitropolis. As for Antisemitropolis the place, the notion of a Nazis-only afterlife becomes a rather effective metaphor when Rose dreams that Solomon has died and been sent there -- the last place he'd ever want to be. But like the glut of dramatic characters in pre- and postwar Third Reich stories -- from theatrical treatments such as Cabaret to the devastatingly thorough film documentary Shoah -- Rose and Solomon barely evoke, much less explain, the reasons for the Holocaust. While Rose might naturally feel resentful that her son lost his life while a German kid, albeit a blameless one, is allowed to live, even she must know that it's not fair to make Solomon a scapegoat for what happened in Hitler's Germany. And it's not necessary to articulate the characters' anger at God; in these post-Pol Pot days, the audience can figure such things out for itself.