Our Class
Theater, like every form of entertainment, exists for
multiple reasons. Some shows are produced by the artist to express aspects of
themselves and their life, while some are produced to make money and sell
memorabilia (like many of the big shows on Broadway). And then some are
produced to potentially affect change or encourage thought on the audience by
telling a story from a new perspective. This is the type of theater I saw this
last weekend, a show that was not only entertaining, but also gave me a new
point of view on Polish-Jewish and Polish-Catholic relationship during World
War II.
The subject matter of “Our Class” is heavy. It is a
story of 10 Polish students, half Jewish and half Catholic, growing up together
in a little town in Poland. It begins when the students are young, perhaps 5,
and they get along well. They describe what they want to be when they’re older,
and they play together and laugh. At each scene change, years pass, and we
watch the children grow up. The history of the Poland occupation, first by the
Russians then the Nazis (and the terrible persecutions faced by the Jewish
students during this time) is played out before us. And the classmates that had
once been beautiful friends, were now turning on one another, fueling a hatred
passed onto them by the country’s leaders It explores the choices the students
make to survive the war, and then their choices after the war to deal with all
of the trauma and betrayal endured by their countrymen and their classmates.
I must tell you that this show was truly amazing. One
of the best pieces of theater I have ever seen in my life, and I see a lot of
theater. I think it was so successful because its writing is very fluid and
simple, similar to diary entries by the students. And the director trusts the
actors of “Our Class” to be simple, honest, genuine players. It was done
in a minimalist style: monochromatic type costumes and sets to let the actors
tell their story through movement and sound. The production team behind Son of
Semele Ensemble obviously worked well together, as every creative choice was
nice and cohesive.
The Atwater Village Playhouse is very flexible
theater, a black box space that allows productions to create different stage
and seating set ups. “Our Class” scenic designer, Sarah Krainin, created a
square playing space: wooden floors on the stage, clean wooden and metal desks
and chairs (used for more than just desks and chairs), and crates at the edges
of the space to house props. The audience sits around the stage (so it’s
theater in the round), but it’s just one row of seats along each edge of the
square stage. I felt as though I was practically on stage, since I was only
inches away from the actors. I couldn’t help but get involved with the action
before me; intently following the story of these children’s lives as they grow
into adults and eventually die. The lighting design, by Anna Cecilia Martin,
worked well with the set effectively pinpointing my focus without being
distracting or noticeable. It created different spaces within the one square
stage, allowing for more intimate scenes at the most appropriate times.
The director, Matthew McCray, is obviously in his
element with this material. He uses techniques from the Anne Bogart school of
theater to tell his story. The set is only desks and chairs, but when
rearranged by the cast, it can become the loft of a barn or a pile of burning
carcasses. This is where McCray must use precision with his direction, because
much of the story is left on the audience’s imagination, to change that pile of
chairs into the loft or the carcasses. And his eye for detail pays off, as his
actors employ his direction, and create an intriguing show.
Every actor in the show is exceptional, with some
especially show-stopping performances from Sharyn Gabriel, Michael Nehring,
Gavin Peretti, and Sarah Rosenberg. The ensemble works well together, trusting
the direction and each other along a very difficult and emotional journey. This
is not a story filled with easy scenes, and the actors must present rape,
murder, hatred, betrayal and extreme persecution. They do so in a way that
respects the history of these people, without being gratuitous or offensive.
And they use their voices and their movements to take us on a journey through
time, even without us going anywhere. It was the perfect showcase for these
actors, and I found myself interested in the show through its entire 150 min
performance.
I especially appreciate the humanity given to the
villains of the play (although I hesitate to use the term “villain” because
these men are not just evil, they are given a life and a perspective outside of
their terrible actions). While there is a “right and wrong” in this show, it is
hardly told through a “black and white” perspective. The actors rightfully show
humanity’s guilt with their choices, especially as they age and their mortality
impending. Matthew McCray (who had to step into the role of the villainous
Zigmunt for the extension of the show) was particularly great at giving his
character depth. He layered in the right amount of vulnerability, allowing the
character to be both likeable and hated, a difficult task.
Theater has evolved over time, from a proscenium
style stage with raked seating, to something like “Our Class” with audience
members all around the stage. This show feels very current, its style more
intimate and accessible, which is necessary to keep a TV generation engaged. It
transcends itself in a way, and becomes more than a performance. “Our Class”
allowed me to fall back in my chair and just watch. I was lost in the story,
following the characters plight, not aware of the outside Los Angeles traffic
or my existence beyond the theater walls. I could let go, give in and listen.
And when I did I learned a lot about humanity’s faults and failures. But I was
also reminded of the hopes of new generations, of people born outside of a land
of persecution, and hopefully transcending their own pasts to find fulfillment.
Even when atrocities like that in World War 2 occur, there will always be a new
baby born after that time, ignorant to hatred, and eager to learn about the
simple things in life, like talking or smiling or laughing. These are the joys
of humanity that will hopefully overcome man’s shortcomings, and create a more
loving, better world for the next generation of babies. I think theater can and
will be a part of this change, and “Our Class” is a great example of this. I
highly recommend this show, and please consider going before it closes soon.
The Son of Semele Ensemble’s “Our Class”
by Tadeusz
Stobodzianek,
in a version by Ryan Craig,
was EXTENDED AGAIN
and runs through
June 2
at the Atwater Village Theatre
3269 Casitas Ave., Los Angeles, CA 90039.
Call (213) 351 – 3507 for more info, or visit
The Son of Semele Ensemble
online at www.sonofsemele.org.
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