Tadeusz Slobodzianek’s Our Class, presented by Arlenkinz Players Theater at BAM’s Fisher - Fishman space, has a bold, inventive sense of theatricality that leaves a striking impression, particularly since it is derived from real events: a political and social crisis involving Russia. The former Soviet Union is not the direct backdrop of the massive, yet intimate three-hour drama, but it plays a vital part.
The setting is a small village in Poland and follows ten members of an elementary school class, half Catholic and half Jewish, over the course of 70 years. After their country is invaded by Russia and before the Nazis replaced them, the Jewish population was senselessly slaughtered by the Gentile citizens of the town. The events leading up to the massacre and the long aftermath form the bulk of Slobodzianek’s incisive examination of the corrupt soul of a community. (The excellent English adaptation is by Norman Allen.)
The international ensemble of ten matter-of-factly describe the anti-Semitic terrors they endure or inflict, adding to the chilling effect. Igor Golyak’s staging is so inventive and engrossing, three hours pass like an express train. The clever use of props, Eric Dunlap’s edgy, jagged projection design, and Adam Silverman’s eerie and frightening lighting add to the endless brilliant pieces of stage business. A ladder becomes a moving train. An actor takes a video camera out of the theater, into the lobby and out into the streets of Brooklyn to simulate a voyage from oppressive Europe to the freedom of America. Another actor twisted into position against Jan Pappelbaum’s stark blackboard set becomes the chalk-outline victim of a deadly assault. Balloons with magic-marker faces are transformed into murdered Jewish souls ascending into heaven as an actress cuts the strings binding them to the stage floor.
The cast is flawless, taking us from childhood innocents (with lessons drawn on the chalkboard) to players in a deadly game of hatred and bigotry to elderly survivors retreating behind TV screens and wishing to be left alone. Outstanding were Alexandra Silber’s stoic Rachelka, Richard Topol’s wise and warm Abram, Will Manning’s hypocritical priest Heniek, Gus Birney’s seductive yet pathetic Dora, and Andrey Burkoveskiy’s Menachem who goes through the most transformations from dorky kid to ruthless secret policeman avenging the deaths of his fellow Jews.
Using bold theatricality to depict a frightening chapter in history, Our Class tries to teach the lesson that history should not repeat itself.
