'My Destiny', by Holocaust survivor, Georgia Gabor

 

This is not a book review per se as nothing I can write is adequate.  Before commenting, this background information:

 

After reading (in college and later in my career republishing) The Psychology of Dictatorship by Gustav Gilbert (he was the head of my psychology department), and then as an adult reading Herman Wouk’s War and Remembrance as well as the Diary of Anne Frank (and later visiting the Anne Frank House in Amsterdam with Ann), I had, until this time, avoided Holocaust literature and films. There are other reasons as well.

 

As a child I found my father’s personal photograph collection from his days as a Signal Corps photographer during WW II. Among them were scenes from a concentration camp which led to thoughts, nightmares, which I couldn’t really discuss with my father as my access to those files in our basement was forbidden.  He also never talked about the war, something he just wanted to forget. I think those photos were from a satellite camp of Buchenwald, one not far from Cologne and the Rhine River where he was active during the closing months of the War.   They ultimately disappeared; either he or my mother disposed of them.  What remained of his war years was a detailed scrap book of primary sources which I gave to the WW II Museum in New Orleans after his death in 1984.

 

Gilbert was the prison psychologist at the Nuremberg Trial and the author of the Nuremberg Diary.  But his documentation in The Psychology of Dictatorship of how Rudolf Franz Hoess, who was the Colonel in charge of Auschwitz, described with scientific precision, and with some pride how efficiently they could “dispose of” some 10,000 people per day was unforgettable and horrifying.

 

When I read Herman Wouk’s War and Remembrance I had to prop tissues under my glasses to read those sections pertaining to the Ghettos that were temporary holding pens of Jews on their way to extermination camps.  The conditions of starvation and exposure simply resulted in fewer prisoners having to be transported to the death camps.  Wouk’s fictional characters made that horrid existence personal.

 

The normalization of genocide and the indescribable cruelty made me avoid such literature and now I feel, in these times in particular, guilty, and in preparation of seeing Palm Beach Dramaworks’ The Messenger, I felt compelled to read Georgia Gabor’s memoir, My Destiny. It is the work of a brilliant and passionate survivor of the Holocaust.

 

The driving force behind commissioning the play is PBD’s Producing Artistic Director Bill Hayes.  I owe him a debt of gratitude for leading me to Gabor’s story, to allow me, after all these years, to face these ugly facts and to make me and anyone who sees the play, a “messenger.” The play was written by the recently appointed Dramaworks' Resident Playwright, Jenny Connell Davis.  Silence is complicity and it is not an option, especially now in our chaotic world where hate can be found anywhere and everywhere and where there seems to be a slow slide into the unthinkable: fascism in America.

 

During WW II most Americans hardly believed that civilized German culture could possibly engage in genocide. The United States government was more aware of the extent of it, but failed to do much.  Deep antisemitism was well entrenched here as well.   And today one only has to look at the reaction on some college campuses to Israel trying to defend itself from Hamas terrorism to see it still.

 

But I am straying from the terrifying story of Georgia Gabor, her cunning ability to survive when there seemed to be no hope (as there were none for her entire family who died in concentration camps), and to witness atrocities, be subjected to unthinkable living conditions and the constant anxiety of being on the run, escaping the Nazis twice, sometimes posing as one to get by, all before she turned 16.

 

It is a high wire story, sickening in exposing man’s inhumanity to man.

 

Then there are several moments when everything seemed to be turning in her favor, such as when she and friends rejoiced hearing the Russians were pushing the Germans out of Hungary, surely they will save the Jews who managed to survive those years in bombed out buildings in unspeakable conditions.  But the Russians raped and pillaged and Gabor was on the run again.

 

She planned to go to Palestine with a Zionist group, but it was again a dangerous attempt, the likelihood she would be shot and even if she made it, she would not be able to pursue the education she wanted, and would become a laborer or farmer for the rest of her life.  Meanwhile the thought of life under communism was unthinkable to her.

 

She lived in orphanages and befriended a woman from the United Nations Relief and Rehabilitation Administration who after a labyrinth of obstacles finally was able to find a place for her in a US Congress passed bill that allowed 500 carefully selected orphan children to go to the US, becoming wards of the government until they turned 21, dispersing them in state and charitable agencies for foster care.

 

Imagine how her heart leapt at this opportunity, and when she first saw the Statue of Liberty she finally felt safe.  But that would be a nice ending for “the movie.”  Real life interceded, more terrible living conditions and finally two failed marriages to abusive men, losing custody of her two children, but finding education as her way out of a hell hole of a life (she was a brilliant mathematician) and finally resolving to be a teacher so she could gain custody of her children, find and marry the childhood friend she loved in Budapest, and secure a teaching position.

 

Again, if that was only the end of the story and indeed My Destiny, published in 1981, concludes with her happy marriage. But after that she was subjected to virulent antisemitism and harassment, and her life was again miserable because she told her story.  She was fired from her teaching job, sued the school system, and would die only two years later.  This LA Times article, ‘A Long Lesson in Hate : Holocaust Survivor Sues School District Over Harassment,’ summarizes the consequences of telling the inconvenient truth.  The world premiere of the play, which opens on Dec. 8, focuses on Gabor’s story but interacting with three different generations (1967, 1993, and 2020) all with their own reactions to her and their own stories of hate and complicity.  The audience is left to connect the dots.

 

 

Kenneth Lonergan’s ‘Lobby Hero’ Exposes Uncomfortable Truths in Palm Beach Dramaworks' Production

 

Although written more than twenty years ago, Lobby Hero is a highly relevant play for our post truth world.  It was Sir Walter Scott who penned "Oh, what a tangled web we weave, when first we practice to deceive!" which is at the heart of this ensemble character-driven plot, leading to disturbing moral and ethical dilemmas.  Each character's actions and choices affect one another's lives.

 

The palette may be small, but Kenneth Lonergan creates major layers of meaning: class issues, racism, sexism, police cronyism, and workplace harassment, leavened by very humorous moments.  These themes clearly emerge in this thoughtful and entertaining production.

 

The stunning set was envisioned by Dramaworks’ award-winning Scenic Designer, Victor Becker, who died earlier this year and to whom the play is dedicated.  This realistic lobby in a Manhattan high rise apartment building is more than a space merely to be passed through.  It is a stoic observer, a fifth character, enabling the lives of the players to be challenged and changed before us.

Tim Altmeyer, Elisabeth Yancey, Britt Michael Gordon, Jovon Jacobs

 

Lonergan builds the play around a pair of parallel relationships, the action unfolding over four successive nights.  The first pair is Jeff, a uniformed nighttime security guard for the building and his captain William and the second is Bill, a uniformed policeman and Dawn, his rookie partner. 

 

Jeff is the antihero in the lobby, “an Everyman,” who views his situation in the world for what it is, having to live with his brother because of debt, hoping for a break, although not knowing what to do in life. Sometimes he feels that he was born to fail; a discernible Dreiserian undercurrent permeates all the characters.

Elisabeth Yancey and Britt Michael Gordon

 

Britt Michael Gordon plays Jeff with an affability which has you pulling for him, in spite of his unguarded casualness in dealing with others. Amusingly, but sometimes disastrously, he just says his private thoughts out loud, even blurting out the truth about others, leading to “the tangled web” of the characters’ enmeshment.  His demeanor makes him feel “safe” for the other characters to talk to, even confess to, and to lecture to as well. 

 

Gordon portrays him with a quirky innocence, belying some poor past choices and the estrangement from his late father of whom he is always reminded as being a “real hero” during the Korean War.  He uses humor as a defense mechanism, particularly to cope with personal insecurities in dealing with others.

 

His boss, William, a black man, is played with an ironclad moral implacability by Jovon Jacobs.  He espouses “living by the book,” especially for the edification of Jeff, but William is on the horns of a dilemma as he later confesses to Jeff -- his brother was arrested for a monstrous crime, one he’s almost certainly guilty of, but he is relying on William to provide an alibi. 

 

William now must weigh that against his equal certitude that his brother will not receive a fair trial particularly as the public defender is overburdened with other cases.  Will he do the right thing, or will he provide an alibi knowing the system, one that is blind to black men without resources, will fail to provide true justice?  Jacobs plays this moral seesaw to the hilt, the impossible choices, drawing Jeff into the details.

Tim Altmeyer and Jovon Jacobs

 

The second pair is headed by Bill, Tim Altmeyer delivering an exaggerated performance as a macho, intimidating cop, imbued by his own self-importance.  However, he certainly nails him as the most unlikable person in the play, who even Jeff in all his innocence calls a “scum bag.”

 

While carrying on an affair with a woman in the same building where Jeff and William are security guards (bristling at being called “doormen” by their police counterparts), Bill also is engineering a fling with his rookie partner Dawn, played by Elisabeth Yancey, her PBD debut who balances bravado, and later, betrayal.  She sees Bill as a love interest until Jeff innocently stirs the pot by blurting out the purpose of Bill’s visits to the building.  Yancey convincingly plays the gullible and then jilted rookie and delivers a lot of pathos in her role.

 

Jeff’s loose tongue provides for many laughs as well.  Gordon’s performance rises to a climatic high point when he is charged by Dawn to share William’s confidence.  He successfully renders this as an existential crisis of finally being able to do something meaningful in his life.  The denouncement hints at some future for Dawn and Jeff, an understanding of doing the right thing, a hopeful upbeat.

 

Director J. Barry Lewis extracts first-rate performances from his very skilled actors, including some fast sounding “New Yawkr tawk .”  Maybe it’s a little over the top along with the mannerisms of Altmeyer and Yancey in their police roles, but those in the audience who grew up in NYC (including myself) will identify.

 

Lewis magnifies some uncomfortable confrontations, such as William’s fury at Jeff for revealing confidences and especially when Bill mincingly and aggressively confronts Jeff for involving himself in Bill’s business, on the precipice of physical violence.  He has paced the play so the humor can land, elevating some laugh out loud moments, so necessary given the play’s themes.

 

The PBD technical staff supports the efforts with Roger Arnold’s sound designs, jazz interludes between scenes as well as the siren sounds of the city, the barking of a dog, the ding of the arriving elevator.  The lighting design is by Kirk Bookman perfectly capturing that glaring light of a lobby in the middle of the night, and PBD’s resident costume designer, Brian O’Keefe devises immaculate uniforms, badges and caps for the four characters, purposely disheveled at times, and street clothes for Dawn in the last scene.

 

Palm Beach Dramaworks production of Lobby Hero successfully deals with its large enigmatic moral dilemmas, with heart, humor and acumen.  

 

All photographs of the actors are by Tim Stepien