Despite the fact that he was an acclaimed playwright and screenwriter in the United States in the years after World War II, it's very rare that American theatres tackle the work of Hungarian-born playwright George Tabori (1914-2007).
And, despite the fact that play was first-written in English, it's even rarer that audiences get to see one of Tabori's most provocative and poetic works, Mein Kampf. So it is something of an event that Scena Theatre (and the Capital Fringe Festival) are presenting Washington, D.C. audiences with this dazzling play about the brutality of history and the resilience of kindness, humor and folklore in the face of evil.
Tabori's play has had a number of productions in German-speaking countries. (Tabori settled in Berlin in the early 1970s.) Mein Kampf presents the young Adolf Hitler as a resident in a flophouse in Vienna's Blutgasse ("Blood Street"), living cheek by jowl with two voluble Jewish men and a host of comic, dreadful and fantastic visitors.
This post is not a review. (The play opens tonight at H Street Playhouse.) Rather, it is a plea to audiences who may be interested in the Holocaust and the tragic sweep of Central Europe's history not to be put off by the play's title. The title is indeed a provocation. But Mein Kampf is dizzyingly complex in its humor, pathos and ugliness. Tabori's play does what only theatre can do with history -- it yokes history's tragedy and ugliness to something physical and intimate. It disrupts our tidy narratives (In this case, literally yanking the reader back into the muck and tumult of postwar Vienna.) Tabori's use of paradox, juxtaposition, violence and sex depict fascism's vicious relationship to Central Europe's Jewish tradition with intense lyricism and pungency. And the playwright's disruptive tactics reveal not just the outcomes of historical hate, but wipe away the squalor and dust of time and thrust hate's green shoots into the audience's face.
Mein Kampf won't be everyone's cup of tea. But don't let the title fool you: Tabori's play is startling and compassionate. For those who can't see this production, the play was also published in the anthology Drama Contemporary: Germany (1996, The Johns Hopkins University Press).
(Mein Kampf runs from July 12 through August 19. From July 12 to July 28, audience members must also have a Capital Fringe Festival button. See http://www.scenatheater.org/ for more details.)
Thursday, July 12, 2012
Wednesday, May 16, 2012
At the opening night of WSC/Avant Bard's production of The Bacchae on Monday night, I had a powerful flashback to why I decided that my new play Nero/Pseudo about the fake emperor Nero who popped up in Greece in 69 AD needed music -- and glam rock music at that.
Rock and roll has always possessed obvious Dionysiac elements, from Elvis to the Beatles and on forward. Jim Morrison of the Doors struck this note explicitly, giving an explicit shoutout to Nietzsche's 1872 book The Birth of Tragedy from the Spirit of Music. (I can't help but notice that Morrison and Nero were both born under the sign of Sagittarius, the "most philosophical of all the signs.")
Glam rock seemed to have an even stronger claim to being the music for the play, however. Glam's blurred sexuality, its radical swings between the bombastic and the fey, its ludicrous cosmologies, and the way that the music is balanced so exquisitely between alienation, longing and comraderie seemed perfect for a play about Nero -- or at least what we know of him centuries later.
Saying there should be music is one thing. Making it happen is quite another thing. What sort of glam songs should be in a play about a fake Emperor Nero? And what sort of songs will you hear if you come to WSC/Avant Bard's staged reading of the play at Artisphere on May 30?
After a lot of research, I was impressed by the fact that historians (then and now) seem to agree that Nero wrote a lot of his own material as well as playing the "classics." Indeed, Nero's most famous alleged performance was to accompany himself on the lyre as he sang his own poem The Fall of Troy (Troica) during the great fire of Rome in 64 AD.
I also discovered that a miniscule amount of Nero's poetry survived to the present day. In fact, there is only one fragment of more than one line that scholars definitely agree was penned by Nero. Three very obscure lines from his poem on the The Fall of Troy:
quique pererratam subductus Persida Tigris
deserit et longo terrarum tractus hiatu
reddit quaesitas iam non quaerentibus undas
I ended up finding a place for these lines in the play, very liberally translated and embellished, as:
From as far away as the Tigris
that river which descends beneath the earth
and even to the underworld
ferrying warriors up from Hades
until it reemerges once again on earth.
(In Michael Dewar's article, "Nero on the Disappearing Tigris," which appeared in the The Classical Quarterly in 1991, the author says that the lines most likely describe a natural phenomenon noted by Strabo and Pliny in which the Tigris River disappears at lake Thospitis and remerges 22 miles later.)
So what could I do with so little of Nero's actual poetry to play with? I decided to rewrite The Fall of Troy for him -- a short cycle of songs that sets out the theme of the sack of Troy and then takes the story to its end, with the Greeks killing Hector's son Astyanax and Trojan princess Polyxena and taking the wives of the dead Trojans as their property. A few of the songs are written in the voice of a character in the story such as Ulysses or Cassandra. (Nero like to perform classical roles onstage, even the roles of women, wearing masks as he did so.) Other songs are more philosophical. They are Nero's view of the cosmos. But part of my aim with the cycle of songs was to let the audience get to know the emperor who's being impersonated.
I feel very fortunate that my musical collaborators Jon Langford (Mekons, Waco Brothers) and Jim Elkington (The Zincs, The Horse's Ha) found this project (and writing glam music to it) worth their time and energy and talent. I can't presume to speak for them, but the music that they wrote calls upon many moods of glam. (And since they'll both be performing with the actors at the staged reading, thay may have something to say about it themselves when we discuss the play afterwards at the talkback.)
But Langford and Elkington have graciously agreed to let you hear one of the demo versions of the songs for Nero/Pseudo as a sneak preview of the work in progress. The demo track I have selected is called "Hymn to Athena." It's a song that's sung in the voice of Cassandra. I hope it intrigues you enough to want to come see the WSC/Avant Bard staged reading of Nero/Pseudo at Artisphere in Rosslyn on May 30 at 8 p.m. and hear some more of the play.
The link to "Hymn to Athena" can be found here.
Tuesday, May 8, 2012
WHO and WHY? The staged reading is being hosted by WSC/Avant Bard as part of their Spring Repertory of The Bacchae by Euripides and The Tooth of Crime by Sam Shepard. (Tickets for the repertory available here.)
Since Nero/Pseudo is a mash up of classic Rome and glam rock, it slides into the strike zone of WSC/AvantBard's programming.
I am delighted not only by the fact that Jon Langford (Mekons, Waco Brothers, Three Johns) and Jim Elkington (the Zincs, the Horse's Ha) wrote music for the songs in the play, but that they will join us for the May 30 reading. They'll also be playing a gig at the Iota Club on Thursday, May 31.
(Chris Klimek at Washington City Paper gave the project some ink back in January.)
I am also delighted that Colin Hovde (artistic director of Theater Alliance) will direct the staged reading. He's also directing the latest offering from Theater Alliance -- a play by Nicholas Wardigo called Hum -- which opens on Monday, May 14. (Tickets for that production available here.)
The cast? Some excellent DC actors, including Bradley Smith, Kari Ginsburg*, Ian Armstrong, James Finley*, Mundy Spears*, Nathan Mendez and Heather Haney*. (Names with a star are members of the WSC/AvantBard acting company.)
The amazing Sara Barker (who's also a member of WSC/AvantBard's acting company) and Kyle Jean Fisher (WSC/AvantBard managing director) have made sure that everything's coming together just right.
WHAT and WHEN? So what can you expect? Well, it's a stage reading, so there won't be any costumes. The actors will have scripts. But we'll be singing the songs and giving the audience a sense of how the play moves and how the music integrates with the texty bits.
We'll start at 8 p.m. on May 30 and there will be a "talkback" after the reading if you'd like to stick around and tell us what you thought or ask questions.
In the next few days, I'll be blogging about WSC/AvantBard's Spring Rep and also giving a bit more information about the music in Nero/Pseudo. So stay tuned! And join us if you can!
Tuesday, January 10, 2012
One of my new plays, Nero/Pseudo, will receive a staged reading by WSC/Avant Bard at Artisphere on Wednesday, May 30.
As they say on TV: "And that's not all."
Last January, Chicago musicians Jon Langford (of the Mekons, Skull Orchard, Waco Brothers, Three Johns) and Jim Elkington (of the Zincs, the Horse's Ha and one half of a guitar duo with Nathan Salsburg) signed on to set the lyrics that I wrote for the play to music.
That in itself is pretty exciting for me. But we've also worked it out so that Langford and Elkington will also be coming on May 30 to play along with the actors. (Langford and Elkington will also be playing at the Iota Cafe in Clarendon, VA on Thursday, May 31.)
Nero/Pseudo is being read in conjunction with WSC/Avant Bard's upcoming spring repertory of Euripides' The Bacchae --directed by Steven Scott Mazzola -- and Sam Shepard's Tooth of Crime -- directed by Longacre Lea's artistic director Kathleen Akerley. (The repertory opens on May 14 with The Bacchae, while Tooth of Crime opens on May 21.)
That intersection isn't an accident. The Bacchae is one of the greatest plays in the classical repertory. (Duh.) And Tooth of Crime is one of the great American plays about rock'n'roll. Nero/Pseudo is something very much in between -- a play that I wrote as a mash-up of the Greco-Roman world of 69 A.D. and the spirit of glam rock that seized the world's imagination about 1900 years later.
While this one-night only event is a staged reading and not a full production, we have every intention of making it a performance that will give the audience a sense of just how the music and the words might work together eventually.
I am immensely grateful to Christopher Henley and Kyle Jean Fisher-- artistic director and managing director of WSC/Avant Bard -- for taking a chance on a reading of my new work. Sara Barker -- a member of WSC/Avant Bard's acting company -- has been the play's champion over the past few months, and has my eternal gratitude. And my friends Daniel Flint, Jim McNeill and Gwen Grastorf also helped me immensely through this whole process of writing and revising the play.
And, obviously, I owe an immense debt already to Jon Langford and Jim Elkington -- who have tapped into their own affection for glam to help bring my version of the Emperor Nero's (lost) poem about the Fall of Troy to a loud and glittery and melodic place.
Stay tuned for more news. And more about WSC/Avant Bard's spring repertory. And click here for more about how I came up with this idea and about the play itself.
Hope to see you May 30.