This story within a story in I Am My Own Wife is of the playwright discovering Charlotte von Mahlsdorf, whose story he dramatizes both directly and through an intermediary. As a boy named Lothar, Charlotte donned his lesbian aunt's clothes and felt, with her encouragement, the woman he really was and would be. Eventually as Charlotte, he spent a life in drag. And what a life! S/he says s/he killed her bestial father, set up a mansion in which she started a museum consisting of furnishings and other fin de siecle antiques, most of which she salvaged from victims of wars, the Nazis, and the Communists who took over "her" part of Berlin. During these times she lived openly as a gay transvestite but also secretly had a gay bar and night club deep in her basement as well as a virtual bawdy house in her attic rooms. She had a friend, a fellow antiques collector, whom after the war she was accused of betraying to the Stasi. No one knows the truth of whether or not she was a collaborator; she makes a convincing case that she was not. But even Wright, fascinated by her story of survival -- especially as a gay among ultra persecution of homosexuality -- is unsure of how innocent or forced or acquiescent she was to those who confronted or threatened her.
All the roles, including the horrific persecutors and the collector-friend she may or may not have sent to his death, are played with conviction by Todd Almond. He slips in and out of a German accent, as well as other voices, with ease -- most likeably as the author Doug Wright. It's a stellar performance, and the fact that it is set up to be may be the reason the "play" (basically a narrative) has been so honored. It's also, especially in the first of two acts, incredibly s-l-o-w, as if the audience wouldn't understand quicker paced story telling. Of course, Charlotte is quite old as she tells the story and displays her museum furnishings (represented in miniature). Her austere dress (black, shoes like a nun, single strand of pearls, black head kerchief) fits into the surroundings of a rather dark room with massive carved table and chairs and a white enamel double door. She is a unique creature but also a stereotype of an old, somewhat eccentric woman.
If ever a play won a Pulitizer on the basis of a performance, this must be it. I gather the actor on Broadway was even more riveting, but Mr. Almond is certainly no slouch. He has mastered the role.
