Two More Raves – “A powerful holocaust play impeccably performed”

The latest from Potomac Stages. And nice to report that we sold quite a few tickets today. That’s important. We have more bills to pay than we thought! But we have some very good friends too. I know what I’m going to be doing hard for the next eight weeks. Making the case for ending the year healthy.

Oh, wait… It’s a few hours later and this comes out, from the Washington Jewish Week. It’s been like this all season: Marks dismisses and Traiger champions. Then, in a switch, The Post raves for FAMILY SECRETS and Traiger disses. Traiger’s reviews hold up and mean quite a lot in the local Jewish community, and beyond, and perhaps maybe beyond the Jewish world as well, if anyone sees them. But without a re-printing in The Post as a display ad, a non-Post review doesn’t sell a whole lot of tickets.

There’s a strong word of mouth campaign building. We’ll try to help it roll along. Tomorrow begin rehearsals for the three staged readings of SHYLOCK by Arnold Wesker. We’re sold out now for all three nights! So that’s another very successful Special Event (like last fall’s SHLEMIEL THE FIRST). I’m sure we’ll blog about SHYLOCK very soon. You see, it’s happening… We’re moving on. To the next big thing. And dear Tom Keneally leaves DC tomorrow. But he’ll be back to check in on the show, before going off to London and then returning to Sydney by the first of the month. So a time of transitioning; we can feel it…


One thought on “Two More Raves – “A powerful holocaust play impeccably performed”

  1. Peter Marks stated, among other things, that it would be nice if Kurt Gerstein had saved some Jews, the implication being that his lack of success in this regard eliminated him as a proper subject of a theatrical production. But what this remark really demonstrates is Marks’ inability to view Nazi Germany in any manner outside of what has become the typical bad German, good Jew mentality. In fact, as this play shows, there was more to Germany than that. It was a horrific, but functioning society, filled with people leading their lives under very atypical and troubled circumstances, coping as best they could, each with their own strengths and weaknesses, crippled by their own prejudices and impotence. Gerstein did more than most to hold onto a modicum of self-respect, and yes he failed in the end. But this is irrelevant to the play. The success of the play is how it enables its viewers to see Nazi Germany from a perspective very different from the one normally presented by Holocaust survivors. This may be disturbing to some, but it is important. And it will keep the flawed life of Kurt Gerstein, and his failed attempt at some sort of redemption, from being forgotten.

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