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
It is appropriate, then, that the Broward Stage Door Theatre's production of The Immigrant: A Hamilton County Album, by Mark Harelik, begins not with words or movement but with sounds. The stage is dark except for the figure of the immigrant Haskell (played by Grant Neale), who stands onstage slightly off center. As he peers toward some unknown point in the distance, a series of sounds -- whistles, trains, horses, Russian, Yiddish, English, water splashing, children crying, music, laughter -- rushes around him. In the first of many scenes showing Hugh Murphy's resourceful direction, we hear Haskell's voyage from Russia to Texas. Equally seamless and fluid are the expressions of joy, hope, fear, and confusion that pass across his face until everything grows silent and dark. The stage lights come up, illuminating a simple front porch and small-town storefront. We hear mockingbirds singing, and we know we have reached Hamilton, Texas, population 1200.
The play, in fact, is a true story. Harelik is the real-life grandson of Haskell, a Russian Jew who emigrated to the United States in 1909 and ended up in Hamilton. Haskell is pulling a wheelbarrow and selling bananas when he meets Milton (played by Gordon McConnell) and Ima (Joy Johnson), a banker and his wife, who take him into their home and help him turn the banana cart into a horse-drawn fruit-and-vegetable market. Later Haskell saves his money, sends for his wife, Leah (Patti Gardner), and eventually ends up having three sons and his own successful business. The story looks at the friendship of these two couples and reveals an interesting aspect of immigration: the process of acculturation, which happens for both couples.
One of the smartest choices Harelik made in writing The Immigrant was to narrow his focus to these four characters. Given a story that is multicultural and multigenerational, the audience could get lost if the script tried to cover too much ground. (A prime example would be Mario Diament's The Book of Ruth, recently performed at New Theatre, in which the host of characters -- four actresses portray Ruth at various ages -- manage to create more chaos than emotional depth.) The writer's emphasis on depth over breadth gives the play the emotional impact it needs to convey the long, even never-ending, journey of "assimilation," a theme that often is overshadowed by the prettier, more palatable vision of America's melting pot. What we learn from The Immigrant is what we sense intuitively as Americans and especially as residents of South Florida: Human beings don't melt. Acculturation, the process of adapting to a new culture, is a lifelong series of negotiations between the religion, beliefs, and way of life of one's homeland and those of one's "host" country.
Another key to the success of this production is the acting. Not only does each actor give an outstanding performance, but there is a balance among the cast. No one role, not even that of the immigrant himself, carries more weight than another. This emotional egalitarianism lends itself well to a central theme of the play: Tolerance does not always come naturally and sometimes does not come at all, but when it does, it often is a conscious act, and it always requires give-and-take. This, alas, is what we've known all along but have been afraid to admit. The reality of getting along is not as effortless as a "We Are the World" music video or as evocative as a Benetton ad.
In The Immigrant there are moments of mutual understanding, such as when Milton and Haskell talk business or when Ima and Leah, sharing stories about their mothers' superstitions, discover they both throw salt over their shoulders. But there are moments when the only common bond is tolerance. Ima, a strict Christian, is devastated that Milton won't accept Jesus as his savior. As she expounds her belief that you must be "saved" to go to Heaven, Leah listens not as a Jew but as a friend. Likewise when Leah attempts to tell Ima and Milton that the Jews are "the chosen ones," Haskell quickly jumps in to say, "There were less people back then. It was an easier choice."
But not all differences are so easily overlooked, and a great rupture occurs between Milton and Haskell over the United States' participation in World War II. Unable, as most Americans were at the time, to believe or acknowledge the reports and rumors of the persecution that had been going on for years before the war, Milton says the United States should take care of its own. He says Haskell is American now and should mind his own business. Haskell argues that the Jews are his people, and that he is Jewish no matter how long he lives in America. In an impassioned and furious argument, the two sever a friendship of more than 30 years. This provides a view of the rarely depicted pre-heroic America that ignored the glaring signs of persecution in Europe and fostered its own anti-Semitism at home.