United Players

Price is a point of view

Left to right, Patrick Bahrich, Sjahari Hollands and Christine Iannetta co-star, along with Rob Monk, in United Players’ production of The Price by Arthur Miller, which is at Jericho Arts Centre until Dec. 1. (photo by Nancy Caldwell)

United Players of Vancouver theatre company has a reputation for tackling challenging, thought-provoking material and, with its current production, The Price, by Arthur Miller, it lives up to that reputation.

Playing at Jericho Arts Centre until Dec. 1, The Price is a densely packed play, covering several themes: sibling rivalry, self-perception, filial and spousal duty, memory, modernity, the Depression, materialism, success, failure, and more. In a play where dialogue is the main action, actors Patrick Bahrich, Sjahari Hollands, Christine Iannetta and Rob Monk do an adept job at keeping the audience engaged.

First to enter the scene – a room full of heavy, dated furniture, piled high and seemingly haphazardly – is Victor Franz (Bahrich), a New York City policeman. He slowly and almost lovingly uncovers some of the many items and puts a record on a Victrola – a laugh track of sorts, apparently a popular type of recording, once upon a time.

Victor’s wife Esther (Iannetta) arrives, amid the laughter, which contrasts to the obvious tension between the two. Victor immediately accuses her of being drunk, and she defensively replies, “I had one!”

The furniture belonged to Victor’s family and is being stored on the upper floor of the building in which they lived. His brother Walter (Monk) is supposed to be coming to help him sell it to an appraiser (Hollands), as the building is soon to be demolished.

The Franzes’ marriage could be summarized by the phrase “unfulfilled expectations.” Director Adam Henderson – who is a member of the Jewish community – has chosen to stage the play as a period piece, so that viewers will ponder how the roles of men and women have changed, and how societal norms have evolved (or not), since 1968, when The Price premièred on Broadway. Miller’s opening direction is, “Today. New York.” However, the today of 2019 is very different from that of 50 years ago, as is evident on several occasions, especially in how the men talk to and about Esther, and how her character is written overall.

Eventually, the appraiser stomps and puffs his way up the stairs to home-cum-storage unit. Eighty-nine-year-old Gregory Solomon was expecting there to be only a few pieces to consider and is overwhelmed by the volume of furniture. He also ends up entangled in the volume of resentment and distrust between the brothers, who haven’t spoken to each other for ages. Walter shows up at the end of Act 1, just as Solomon is paying Victor the agreed-upon price for the lot, $1,100, one $100 bill at a time.

Sweeping in, expensively dressed and broadcasting on more than one level his success and confidence, Walter is the brother who managed to escape their controling father and follow his dreams, while self-effacing Victor dropped out of college to take care of their father, who lost almost everything in the Stock Market Crash of 1929. But, as the conversation and argument proceed, it becomes apparent that neither characterization is accurate. Nor is there a clear verdict on what really happened all those years ago, as they are unable to reconcile their recollections of the past or their beliefs about each other and themselves.

Solomon – who has his own regrets in life – tells Victor, “… the price of used furniture is nothing but a viewpoint and, if you wouldn’t understand the viewpoint, it’s impossible to understand the price.”

We do not understand everything we do in life, let alone everything that other people do. The price that we – and others – pay for our choices is as obscure. And time doesn’t allow us to go back and change things; time is an ever-present weight in The Price.

There is no happy ending here, despite the humour that runs throughout, and the fact that the play both starts and ends with the laughter record. Once the Franzes have all left, the deal done, Solomon puts on the record. He flops into one of the big armchairs and laughs and laughs.

The Price will leave you with much to think and talk about. For tickets, visit unitedplayers.com or purchase them at the door.

Jerusalem’s Henderson

Adam Henderson stars in Jerusalem, at the Jericho Arts Centre June 7-30. (photo from United Players)

The play Jerusalem by Jez Butterworth sees its debut in Vancouver this month at the Jericho Arts Centre and its lead actor, Adam Henderson, is a member of the Vancouver Jewish community.

Henderson grew up in New York City, moved to Winnipeg as a teenager and, after studying and working as an actor in England for 20 years, relocated to Vancouver in 2000. “I wanted to have a more balanced life than was possible in England, with more time to raise a family,” said Henderson, who is married with two children at home ages 5 and 12.

Asked about his Jewish identity, he said he describes himself as “a New York Jew from a mixed upbringing, but Jewish by birth and culturally interested.”

Henderson’s acting career began at the Manitoba Theatre Centre when he was 17 and has taken him all over the world, including to Israel, where he starred in War Shepherds in the 1980s. Today, in addition to doing live theatre, he teaches accents and dialects at the Vancouver Film School, and voice acting at the University of British Columbia. As a dialect coach, he specializes in helping other actors with their accents and dialogues, and he records audiobooks, too. “Vancouver doesn’t easily support actors, so we have to do other things to make our acting happen,” he explained.

As he rehearsed for Jerusalem – a play that references a poem by William Blake and not the holy city of Jerusalem – he was also working on Altered Carbon, a television show for which he’s coaching an actor from Berlin to sound more American. “It’s exciting for me because my family is originally from Berlin and I have a strong connection with the city,” he told the Independent.

Jerusalem, presented by United Players, is about a squatter called Johnny “Rooster” Byron and his retinue, and has a cast of about 16, Henderson said. “It’s quite a remarkable play and was made famous by Mark Rylance, one of my heroes, who played the role of Rooster. It’s a great adventure taking on a role that he’s put his stamp on, and it’s both intimidating and inspiring, because he sets the bar quite high!”

Henderson said anyone who enjoys classical theatre will enjoy Jerusalem, a play rich in language and “quite epic.” As for his lifestyle move to Vancouver almost two decades ago, that’s worked out well, he added.

“I have a successful family and I can organize my schedule to be there to raise my kids. In London, I was constantly busy with my career and, though it’s an exciting place to work, it’s harder in that environment to have a stable life. In Vancouver, I don’t travel much and there’s more contact with nature, which I find calming.”

Jerusalem runs June 7-30 at the Jericho Arts Centre. Tickets, which range from $22-$28, are available at the door or online at unitedplayers.com.

Lauren Kramer, an award-winning writer and editor, lives in Richmond. To read her work online, visit laurenkramer.net.

Brave choice to stage Taken

A scene from United Players’ production of Taken at Midnight, which is at the Jericho Arts Centre until Nov. 26. Seen here are Brian Hinson as the Nazi Dr. Conrad and Suzanne Ristic as Irmgaard, Hans Litten’s mother. (photo by Nancy Caldwell)

As a Jew, a lawyer and a child of a Holocaust survivor, I am embarrassed to say that I had never heard of Hans Litten until I saw United Players’ production of Taken at Midnight, which runs to Nov. 26 at Jericho Arts Centre.

Litten was a brilliant young Jewish-German lawyer, known for his defence of opponents of the Nazi movement. In 1931, he had the audacity to subpoena Adolf Hitler as a witness in the trial of four Nazis charged with murder, and subjected him to a grueling three-hour cross-examination, exposing the Nazi party for what it really was – a murderous bunch of thugs. Litten called Hitler “a cross between Baron Munchhausen and Attila the Hun.”

Unfortunately for Litten and the world, within two years Hitler was in power and he started to exact his revenge on his opponents. At midnight on Feb. 28, 1933, after the Reichstag (German parliament) fire, Litten, along with thousands of others, was arrested or, as the Nazis euphemistically called it, taken into “protective custody” at a series of concentration camps. Litten became known as “Hitler’s personal prisoner” – the cocky Jewish lawyer who had dared to expose the Fuhrer’s weaknesses – and, over the years, was subjected to brutal torture and unspeakable degradation as punishment. Despite the valiant efforts of his mother, Irmgaard, to obtain his release over the five years of his incarceration, Litten ultimately committed suicide in Dachau in 1938, which was a bit messy for the Nazis, as they wanted their political prisoners to die accidentally or naturally, not by taking their own lives.

The irony is that Litten was not technically Jewish. His mother was not Jewish and his father had converted to Christianity (to make things easier). As Litten says in the play, “I am an atheist Jew and, prior to that, I was an atheist Lutheran.” Of course, that made no difference to the Nazis, who went back three generations to ferret out Jewish blood.

Playwright and filmmaker Mark Hayhurst’s 2010 BBC films The Man Who Crossed Hitler and To Stop a Tyrant planted the seeds for this staged work. It had its West End (London, England) debut in 2014. Reviewers called it a “masterpiece of theatre not to be missed.” Now, United Players has taken on the formidable task of presenting this gripping story to Vancouver audiences. From the minute you walk into the theatre, the dark, shadowy, stark set – an elevated wooden platform fronted by barbed wire positioned between two floor-to-ceiling red banners emblazoned with black swastikas – is a harbinger of the grim things to come.

The entire cast, mostly comprised of veteran actors, is stellar and, as an ensemble, makes this a truly remarkable theatrical experience. Particular mention has to be made of the two main protagonists – Suzanne Ristic as Irmgaard and Sean Anthony as her son. Ristic is sublime in her portrayal of this strong, heroic woman who takes on the Gestapo establishment in a relentless battle to free her son. She often takes centre stage to talk directly to the audience, thereby breaking down the fourth wall, making for a very intimate encounter. And Anthony plays his difficult role with dignity, yet shows uncompromising defiance. We ache as we watch his physical and mental decline – his transformation from ordinary citizen to bloodied, head-shaven prisoner; a business suit to the striped concentration camp uniform, replete with the obligatory yellow Star of David.

Supporting, but not lesser, performances come from the rest of the cast.

photo - Irmgaard Litten (played by Suzanne Ristic) tries everything to save her son Hans (Sean Anthony) from the Nazis in Taken at Midnight — Irmgaard Litten (played by Suzanne Ristic) tries everything to save her son Hans (Sean Anthony) from the Nazis in Taken at Midnight. *(photo by Nancy Caldwell)*

Brian Hinson as Dr. Conrad, Irmgaard’s Gestapo contact, portrays a man of culture and intelligence who appreciates this feisty woman and appears to feel affection for her. The scene where they share an ice cream on a summer’s afternoon in a park seems incongruous, juxtaposed against the darkness of this play. Yet it speaks to some form of humanity even in the worst of times.

Litten’s cellmates – Erich Muhsam, an anarchist (played by Richard Hersley) who refers to Hitler as “the Austrian transvestite,” and Carl von Ossietzky, a newspaper editor and winner of the 1935 Nobel Peace Prize (played by Jewish community member Michael Kahn) – show the camaraderie and trust that can evolve from difficult circumstances. The triumvirate produces an amusing reenactment of Hitler’s cross-examination, providing an island of levity in their sea of despair.

Douglas Abel plays Fritz Litten, Hans’ father, as a calm counterpoint to his wife’s intense persona. John Harris, with his posh English accent, is Lord Clifford Allen, an English diplomat, patrician and pacifist who Irmgaard seconds in her quest for her son’s freedom. Allen is able to secure a meeting with Hitler to discuss the matter, but to no avail. Allen’s political attitude highlights the European appeasement zeitgeist of the early 1930s – that Germany was just experiencing growing pains and Hitler was an effective statesman, not a threat to the world. If only it had been so.

The play provides an historical lesson in the rise to power of the fascist Nazi regime and the consequences of speaking truth to power, but, at its heart, it is the story of the love of a mother for her son and her fight, at great personal risk, to try and save him.

As director Michael Fera, states in his notes, this is “an informative and deeply engrossing play about the high price paid for resisting tyranny,” and is as relevant today as it was in 1933. “People are living it now, again. History is repeating itself in many ways.”

Taken at Midnight is a tough watch and an emotional ride but well worth a trip to the Jericho Arts Centre. Kudos to artistic director Andree Karas for having the courage to stage this work. The show runs to Nov. 26, Thursdays to Sundays, 8 p.m., with 2 p.m. matinées Nov. 12, 19 and 26. For more information, visit unitedplayers.com or call 604-224-8007, ext. 2.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Facts: A well-crafted crafted play

Left to right, Jerry Wasserman, James Gill and Mehdi Darvish star in United Players’ production of Facts. (photo by Doug Williams)

United Players is set to present Canadian Jewish playwright Arthur Milner’s provocative political drama Facts, loosely based on the true story of the 1992 murder of an American archeologist in the West Bank and the joint Israeli/Palestinian police investigation that followed.

The play has been produced in Ontario and the United Kingdom and was translated into Arabic for a tour of various West Bank cities in 2012. The United Players’ production marks the play’s Western Canadian première, with Jerry Wasserman as Yossi, the hot-headed Israeli detective; Mehdi Darvish as Khalid, Yossi’s Palestinian counterpart; and James Gill as Danny, the fervent settler accused of the murder. Adam Henderson helms this production as it navigates its way through some rough waters, exploring not only the Israeli-Palestinian conflict but also the religious-secular divide between Jews within Israel. The action takes place in a cramped, hot interrogation room in the West Bank and, as the story unfolds, it is revealed that the archeologist was unearthing facts that brought into question some accepted historical beliefs fundamental to Judaism.

The Jewish Independent sat down with Wasserman, Henderson and Darvish one morning before a rehearsal.

Wasserman – who is also a theatre critic and head of the theatre and film department at the University of British Columbia – described himself as an American Jew brought up by liberal Jewish thinkers. He said his research and immersion into this play angered him, but made him see the Middle East conflict in a new light. “This play really presses a lot of emotional buttons for me,” he said. “It digs down through layers into very specific details of [the] lives of people and, through this complexity, we see things more clearly.”

As to his character, Wasserman said, “Yossi’s father was a Zionist who had a dream of a state which has been compromised by the new wave of radical settlers who he sees as having a medieval way of thinking…. This has changed the state of Israel that Yossi loves. The real conflict in this story is not between Yossi and Khalid, but between Yossi and Danny.

“Because Yossi operates at a high emotional temperature, I had to find the proper rhythms and the right places to come up and go down so that I did not peak too early. There were many challenges, but it was infinitely fascinating. You don’t get too many chances to play a role like this.”

The heart of the story is the investigation, as the two detectives sift through various pieces of evidence and theories on the murder.

“I have acted in over 100 police dramas, both television and cinema, and I have to say that this, by far, is the most complex, sophisticated and confusing ones I have ever been involved in,” said Wasserman. “The research has been very detailed and the play is very accurate, re: police investigation and techniques. It is a tremendous intellectual puzzle. The evidence is circumstantial and we never find the smoking gun. The dialogue is an emotional mine field that we, as actors, all have to move through.”

Police dramas often feature a good cop/bad cop relationship. As to whether or not audiences will get to see that dynamic, Wasserman said, “Yossi tries to act the good cop but he is the bad cop by nature. He has lots of emotional buttons to press. The great thing about this play is that everyone’s buttons get pressed. Everyone has a turn to make impassioned monologues and everyone gets to lay his emotional/political cards on the table.”

Gill finds his role of Danny an interesting challenge. “While so much of his absolutist approach to his faith and his politics is antithetical to my own liberalism, nonetheless, being a Jew gives me an empathy for where his faith and politics are grounded,” he said in an email. “That gives me a starting point from which I can start to encompass the character.”

He sees the essence of the play as “the way in which these three men both conform to and transcend their stereotypes. We start with the ‘facts’ of an Israeli, a Palestinian and a settler and, on one level, each of these men is true to those simplistic profiles, but we discover that each of them is much more complicated.”

For Darvish, his involvement in the play also gave him new insights into the conflict. “I came to understand the Israeli position from an emotional perspective better as a result of working on this play,” he said, “but I also see more deeply the Palestinian position. I see the characters often acting like children throwing tantrums instead of sitting down and logically dealing with the situation. It saddens me because right now I do not see a resolution to the dilemma.”

Henderson said he enjoys working with a small cast and a modern-day setting, which contains no idiosyncrasies as to period or language. With an all-male cast, the action is testosterone driven and reflective of the politics of the Middle East, he said.

Henderson expressed surprise that more Canadians do not know about Milner, whose work he has come to appreciate more during the course of his research and preparation for this production.

“Milner has taken a very sensitive subject and effected meticulous research to create a platform to encourage serious dialogue,” he said. “His position is Socratic – he wants to encourage discussion versus making a point and this is brought home by his equivocal ending.”

Henderson acknowledged that the play is likely to be controversial but stressed that, “the key to theatre is that it is a thought experiment where we can do dangerous things with no consequences except people might have their perspectives broadened. If that is what happens in this play, then we will have accomplished something.”

He added, “As the news media move toward ‘infotainment,’ and the sound bites become faster and shallower, the longer form of theatre allows us to look a little deeper at things. For me, it is critical to protect ourselves from merely having our prejudices reinforced. Theatre was invented as a public forum, and we need to gather, to discuss, now more than ever.”

As to why Vancouverites should see the play, Henderson said, “It is an unusually well-crafted play. It is funny, witty, challenging and surprising, and you won’t find anything like it on television. Also, this is a great opportunity to dress up, go out and mingle with community and exercise the soul. Parking is easy and you come out after the show by the beautiful Jericho Beach with something new to talk about.”

Facts is at Jericho Arts Centre from Nov. 7-30. As an added feature, there will be a reading of Masada, Milner’s companion piece to Facts, after every Friday performance. Milner will be in Vancouver the week of Nov. 11 and will be attending performances during that time. For tickets and more information, visit unitedplayers.com.

Tova Kornfeld is a Vancouver freelance writer and lawyer.