For those of us who didn’t endure or survive it, talking about the Holocaust can be awkward, uncomfortable and disturbing. I should know. In 1991, I was invited to a production of I Never Saw Another Butterfly, influenced by a collection of works of art and poetry by Jewish children who lived in the concentration camp Theresienstadt, by Children’s Theatre. My own uncle — brought to Charlotte as a pre-eminent authority on gifted children — turned down the opportunity to see a fine teen ensemble in action. Very likely, the I in the title was the biggest red flag for Uncle Abe: the threat of hearing a first-hand account of the horrors, the inhumanity and the suffering — even from teens.
Ah, but what if you weren’t the child of Jewish American immigrants, safe from the Nazi killing machine and the misfortunes of growing up Jewish inside the Third Reich? If you had grown up Jewish in Berlin and Vienna, if you had seen the belly of the beast as a concentration camp prisoner at Auschwitz and Birkenau, smelled the smoke of the crematorium from the moment you arrived, dreaded every morning’s roll call, and reverted to your animal instincts just to survive — even then, after surviving this unfathomable ordeal, you’re unlikely to feel comfortable talking about it.
Come to Duke Energy Theater and you’ll see why.
The screening of Surviving Birkenau at the Charlotte Jewish Film Festival late last month was a preliminary reminder. Like Three Bone Theatre’s world premiere of Protective Custody: Prisoner 34042, now at Spirit Square through Sunday, Ron Small’s documentary was all about the early life of Dr. Susan Cerynak-Spatz and how she managed to outlast her brutal captors — ultimately escaping Adolph Hitler’s failed Final Solution.
After the film, there was a panel discussion and time set aside for audience questions. Among those on the panel were Three Bone Theatre artistic director Robin Tynes-Miller; Charles LaBorde, the actor-playwright-educator who adapted Cernyak-Spatz’s memoir; and Dennis Delamar, who is directing it. Joining the panel was Jackie Fishman, Cernyak-Spatz’s daughter, who had appeared briefly during the film and was instrumental in greenlighting the new play.
It was Fishman who inadvertently delineated the key difference between the Cernyak-Spatz we had just seen onscreen at the Levine Jewish Community Center and the one who I would see portrayed at Duke Energy the following week. Asked about how her mom had discussed the Holocaust in their home while she was growing up, Fishman recalled that the subject was rarely mentioned — avoided, even.
We had just watched a woman who, already well into her 90’s when Surviving Birkenau was filmed, had spoken — and as a UNC Charlotte professor, lectured — all over the US and around the world for decades about her Holocaust experiences and studies. She hadn’t been at all uncomfortable about doing so once again for the cameras. The woman that LaBorde would have us meet, Leslie Giles playing the role, is 40-something according to the script, about the same age Cernyak-Spatz was when she and Fishman attended the same Midwest college together.[Getting an actress who could replicate the 97-year-old today is borderline impossible. Recently felled by a stroke, Cernyak-Spatz willed herself out of her sickbed and attended last Sunday evening’s performance. Brava, Susan!]
What LaBorde has done, taking the author who published her memoir in 2005 and making her some 40 years younger, isn’t exactly unusual for adaptations we see onstage, in movies, or in opera. But when you’re dealing with Holocaust material, the discomfort factor needs to be part of your calculus.
For LaBorde, audience discomfort is definitely a consideration. You can see it and hear it as the play begins. But what LaBorde, Giles and Delamar didn’t calibrate — or consider — was Susan’s discomfort four decades earlier.
Instead of immediately plunging us into the Kristallnacht pogrom of 1938 and all that she and millions of other Jews experienced after that, in a gradual crescendo of horrific inhumanity, Susan introduces us to a rack of clothes that — with a Dresser, portrayed by Paula Baldwin — will help her to guide us through all the major transformations that befell her from the days of her relatively idyllic childhood in Vienna onwards. It was during the lighter pleasantries opening the show that Giles faced what nobody had anticipated.
Whether it was because so many theatrefolk were in the audience on opening night or because of the grim subject, this wasn’t the kind of crowd that shouted back a greeting if you started off with a “Good evening!” or a hearty hello, Nothing came out of us in response to Susan’s welcome. Not even enough for Giles to come back with the obligatory, “Aw, you can do better than that!”
It was an awkward moment — but also a momentary glimpse of what we would see if we were being addressed by a Susan who had real trepidations about broaching a story that might be uncomfortable or disturbing for us to hear. Or for her to relive. Giles proceeded to tell Susan’s story with all the confidence that’s on the pages of the original Protective Custody memoir, in a voice that, benefiting from fruitful time spent with Cernyak-Spatz’s audiobook, occasionally replicated Susan’s with chilling accuracy.
And what a story it was, a powerful no-bull account of what life was like in the showcase Theresienstadt camp and the more harrowing living conditions at Auschwitz and Birkenau. Nor was there any sugarcoating of what it took from Susan to survive. Actually, the show is pretty amazing when you consider that Three Bone Theatre skipped the preliminary processes of a full staged reading or an intermediate workshop version. The entire production team was learning for the first time how an audience would react to the full script.
All that I saw on opening night was at a surprisingly advanced state of development. LaBorde, Giles and Delamar have delivered far more than a mere chronology of a descent into hell. There are a couple of times when the highly detailed narrative is paused. One happens when Susan ponders how a bad decision by her mom changed the course of both their lives and poisoned Susan’s attitude towards her to this day. Another recounts how Susan lost her faith in God.
Giles makes these into moments that challenge us — and LaBorde gives her another at the end of the evening when Susan turns her unflinching gaze on today’s world and the question of whether we have learned anything from the history she has devoted her life to preserving. She frames the “Never again” question in a way calculated to make us uncomfortable one last time.
More moments such as these, with Susan speaking her heart, voicing her sense of urgency, or simply engaging us directly would help in fleshing out Prisoner 34042, which now has a somewhat boney 80-minute runtime. I’ll be surer of whether LaBorde has mined all the details from the memoir to give his drama maximum power when I finish the e-book, but what I’ve already read convinces me that the task of distilling the book was as daunting as he has said.
Paying more attention to the drama inherent in becoming comfortable with the Holocaust conversation — or at least usefully informed by it — might also turn up the temperature, but there were also times that I felt more dialogue between the two women onstage could spark more tension, light and warmth. Even though she rarely spoke, Baldwin supplied some of the most touching drama of the evening. Curiously enough, her most affecting moments came at the end, when she ditched her Euro accents and became a couple of Americans who welcomed Susan to freedom. Choked me up.
Of course, we can credit much of Baldwin’s liberating impact to the vivid narrative Cernyak-Spatz had written, LaBorde had adapted and Giles had so deeply immersed herself in, taking her audience along with her on her journey. Already portraying Susan’s mom and various Nazi jackboots, Baldwin could be helping to make Giles’ journey even more intense along the way. But I won’t disagree with anyone who emerges from Spirit Square feeling that Protective Custody: Prisoner 34042 is informative, intense and impactful enough as it stands.
And disturbing? I hope so.
This work by Queen City Nerve is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.