You are a political refugee. We don’t turn back people like you, people in danger.
Theater audiences don’t usually burst into applause in the middle of a scene. But these aren’t usual times, and the line above, from Lillian Hellman’s 1941 Watch on the Rhine, certainly struck a nerve with those attending an opening night performance at Arena Stage in Washington, D.C. Hellman’s 76 year-old play may be about a different time in history, but the themes seem eerily fitting today.
The Fichandler Stage
Family matriarch, Fanny Farrelly (Marsha Mason), and her son, David (Thomas Keegan), live outside the nation’s capital, in a mansion watched over by two servants, Anise (Helen Hedman), and Joseph (Addison Switzer). Also in the house are two guests – Count Teck De Brancovis (J Anthony Crane) and his wife, Marthe (Natalia Payne). In the round Fichandler Stage, the gazebo-like living room designed by Todd Rosenthal is upscale yet warm and comfortable, a setting that reflects the inhabitants.
The household is preparing for a visit by Sara (Lisa Bruneau), Fanny’s daughter and David’s sister, who has been in Europe for 20 years. Sara arrives with her husband, Kurt Müller (a visceral performance by Andrew Long), and their three children, Joshua (Ethan Miller), Babette (Lucy Breedlove), and Bodo (Tyler Bowman).
Ethan Miller, Helen Hedman, Lise Bruneau, Andrew Long, and Lucy Breedlove
Fanny and David greet Sara warmly. Fanny not only is thrilled to have her daughter home, but excited to meet her grandchildren. She’s soon showering them with presents. David and Sara reminisce about their times growing up in the mansion. But their lives have taken far different paths. While Fanny and David have been living in a safe “bubble,” Sara and her family have been on the front lines in Germany, watching with horror the destruction wrought by Hitler. “The world has changed and some of the people in it are dangerous,” Sara says. “It’s time you knew that.” Kurt has not worked as an engineer since 1933 and instead risks his life fighting the rise of fascism. And that fight has followed him to America. He receives word that his compatriots in Germany are in trouble and he needs to return, along with the suitcase of money contributed by supporters of the cause, to help free them.
Like so many Americans during that time, Fanny and David fail to grasp the full import of what is happening in Europe. Seeing the danger through Sara’s and Kurt’s eyes brings things into focus. They fully support Kurt’s efforts, as evidenced by David’s declaration quoted above.
J Anthony Crane and Natalia Payne
The fly in the ointment is the count. De Brancovis is a desperate man. His marriage is ending (Marthe has fallen in love with David), and after spending nights gambling at the German embassy, he’s in serious debt. When he discovers Kurt’s identity and what’s in the suitcase, he sees an opportunity to repay the Farrelly’s hospitality with blackmail. He asks for what’s in the suitcase, as well as money from the Farrellys, to keep quiet. That demand will set into motion events that threaten everyone with deadly consequences.
Marsha Mason (photo byTony Powell)
Mason, once a high profile presence in 1970 romantic comedies, has talked about the difficulties older actresses face landing film roles. Her recent appearances on the small screen include guest spots on CBS’s The Good Wife and Madame Secretary, and Grace and Frankie on Netflix. She’s the high profile star in this production. Don’t miss the chance to see this professional at the top of her game. She commands attention, showing the many facets of Fanny’s personality as she morphs from the perfect hostess and caring mother into someone who is more flint than fluff, ready to protect those she loves and make a moral stand. “Well, we’ve been shaken out of the magnolias,” she says, the full impact of the situation hitting home.
Andrew Long and Thomas Keegan
Director Jackie Maxwell brings her magic touch to an excellent supporting cast. Long’s performance is riveting. While Kurt loves his wife and children, standing up against fascism is a battle he fights for them. Long balances both sides of Kurt’s character, gentle with his wife and children one moment, lashing out against the count in another. As brave as Kurt is, it’s Bruneau’s Sara who stands out as the courageous one. Once Kurt leaves on his rescue mission, however, she laments what her life will be like without him. The three young actors, playing characters who have had to grow up much too soon, also display maturity beyond their years. These are three young people to watch.
Keegan’s David is the ballast steadying the family. Without his unconditional love and support, Kurt and Sara might have been left to fend for themselves. Besides turning in a strong performance, Keegan serves as the play’s fight captain, staging a scene that is both exciting and startling.
Crane’s evil count brings to mind other villains, mostly from films, who were never true believers but supported fascism for their own selfish reasons. These many years later, Hellman’s play still resonates.
Photos by C. Stanley Photography
Watch on the Rhine
1101 Sixth Street, SW
Through March 5, 2017