iWitness
(Photo © Craig Schwartz)
iWitness, now playing at the Mark Taper Forum, is a gripping, emotional parable about World War II, written by the Israeli playwright Joshua Sobol. But since the production, which has been adapted and directed by Barry Edelstein, is being presented here during a controversial war, one senses that the creators are pointing accusatory fingers at the audience — or, at least, those who disagree with current administration policies and yet avoid making waves.
The play’s protoganist, Franz Jägerstätter (Gareth Saxe), sits in a prison cell in Nazi Germany in 1943, having been sentenced to death for being a conscientious objector. He recognizes that evil is being perpetrated by the Third Reich and refuses to play any part in it. In Franz’s eyes, those who can decipher right from wrong yet still follow their tragically misguided leaders like sheep are the guiltiest among the citizenry.
While awaiting his execution, Franz methodically shines prisoners’ shoes and scrubs pans. His friends (played by James Joseph O’Neil and Seamus Dever) attempt to convince him to wear a Nazi uniform, which will eradicate the charges against him, but Franz is more concerned with his soul than his life. Meanwhile, his jailer, Sgt. Bastian (JB Blanc), harps on the inevitability of the guillotine blade.
During his last days, Franz receives letters from his beloved wife, Franca (Rebecca Lowman). Although he misses her and their children dearly, he feels that he’s fighting for their humanity. Finally, a priest attempts to snap him out of his martyrdom by suggesting that Franz is guilty of pride, reminding him that the majority of the people voted for the Nazis. But Franz will not be persuaded.
It’s significant that this play about one’s man’s path towards death ends with a flashback. Franz, who has just returned from a motorcycle trip, is dating the mentally unstable Margaret (Katrina Lenk) but has fallen instantly for Franca, a religious girl with a humanistic soul. Clearly, this was a crossroads for Franz. Had he stayed with the flighty Margaret, would he have put his life in jeopardy for a cause? Had he not taken the motorcyle trip, would he have been open to this new consciousness?
Edelstein utilizes several unusual techniques in the production. Video projections and the sounds of cattle cars set the tone. The videos magnify Franz’s thoughts, including shots of his daughter marching militarily as her face eventually becomes a blur. Different forms of expression break up the dialogue, including parody and rap. In one scene, Franca reads her letter to Franz in three different ways: indifferently, panicked, and erotically.
The performances are stellar, particularly those of the riveting Saxe, who carries the play on his very slim shoulders, and Lowman, striking as Franca. However, I do wish that all of the actors spoke with the same accent, rather than half of them sounding European and the other half sounding American.
iWitness may anger some audience members, but it will nevertheless foster dialogue among them, and that’s always a laudable effect.
