Our Class


Editorial Review

The benighted graduates of the harrowing ‘Our Class’
By Peter Marks
Tuesday, Oct. 16, 2012

“Our Class,” an obsessively detailed account of 10 intertwined Polish lives, from 1926 to 2003, presents audiences with a wrenching course of human events and an atrocity whose barbarity is profoundly impenetrable. You’re compelled by playwright Tadeusz Slobodzianek to wonder why followers of one faith would turn with primal bloodthirstiness on those of another. And not faceless practitioners of that other religion, but the children who sat beside them in elementary school.

Theater J plunges us into the stories of these 10 fictional characters in a three-hour production that is by turns fascinating, exasperating, exhausting, startling and, at all times, unsparing. One of the most astonishing facets of Slobodzianek’s 2007 play, translated by dramatist Ryan Craig, is its relentless cataloguing of doom, of the sorry arcs of virtually all of the lives it chronicles. “Cursed” is a word that comes to mind, though it’s the singularly hideous curse that half of the former schoolmates pronounce on the others that gives “Our Class” its shape as a shaming national tragedy.

Five of Slobodzianek’s characters are Catholic and five are Jewish. Fusing devices reminiscent of Thornton Wilder’s “Our Town” and, in a different way, Agatha Christie’s “And Then There Were None,” the playwright withdraws from the dramatic action each of the former classmates at the point of their violent or natural deaths, but leaves them onstage, as barefoot ghosts who commingle in the spectral world with all the gentleness and grace that eluded their coexistence in ours.

It’s an important play, exhibiting the urgent assets of drama that force its way into the conscience — and some of the deficits, too. Slobodzianek’s desire for personal testimony with all the documentary embroidery of an encyclopedia entry makes “Our Class” a sometimes-fatiguing exercise. The play is divided into 14 “lessons,” and by the time “Lesson XI” or “XII” flashes on the blackboard of designer Misha Kachman’s elegantly utilitarian schoolroom set, you are transported at moments back to the days of 11th-grade World History clock-watching.

The decision, too, by director Derek Goldman to require all 10 cast members to speak with Polish accents is a confounding misstep. If actors were skilled dialecticians (or relatives of Meryl Streep), the artifice might be excusable. (Although the logic of characters speaking to one another in their native tongue with a foreign accent has always escaped me.) Here, the attempt to “sound” Polish has an effect opposite to what is intended: It’s corrosive to authenticity.

It reflects, though, an earnest desire by Goldman and his admirable actors — whose verve for telling this story is one of its attractive attributes — to try to do justice to a play that shifts so disturbingly our definition of community. And for those prepared to listen closely, “Our Class” will prove meaningful. The work is based on “Neighbors: The Destruction of the Jewish Community in Jedwabne, Poland,” a 2001 book by Jan Gross, a Polish American history professor at Princeton. He asserted that 1,600 Jews of Jedwabne were not burned to death in a barn in 1941 by the Nazis as previously believed, but by their fellow Poles.

The book’s publication convulsed Poland and inflamed debate over his claims and the apparently greater degree to which Poles were complicit in Jewish suffering during World II. Adam Michnik, erstwhile Polish dissident and adviser to Lech Walesa, wrote in the New York Times in 2001 that the controversy made it seem “as if the whole society was suddenly forced to carry the weight of this terrible 60-year-old crime, as if all Poles were made to admit their guilt collectively and ask for forgiveness.”

“Our Class” portrays Polish guilt as a festering boil in desperate need of lancing. If that’s an unpleasant image, well, ­Slobodzianek has no desire to shield us from events that curdle the blood. Starting in their tender years as innocents singing hymns and proclaiming for an unseen teacher their when-I-grow-up dreams, the characters embark on 10 interwoven, lifelong self-narrations. Soon enough the fissures in their childhood solidarity — encouraged by the upheaval of successive Soviet and Nazi invasions — begin to show, and they find themselves in an ever-more hostile, divided village of “Poles” and “Jews.”

Only scholarly Abram (Sasha Olinick) avoids the tumult to come: He’s sent by his family to New York, and remains a presence through his optimistic letters. (In “Our Class” terms, the only escape from misery is early emigration.) For the nine who remain, the stories of savagery and persecution, of inflicting pain and succumbing to it, are recounted with remarkable restraint, as if each of them is observing his or her own thoughts and reflexes as they are happening. The explosive outcomes of hatreds seeming to emerge from nowhere, culminating in a heartbreakingly precise narration by Dora (Laura C. Harris) as she’s herded into the barn with hundreds of other Jews, are not easy to sit through.

Some reductive characterizing is perhaps inevitable, even at this evening’s luxurious length: On the angelic end of the spectrum is the harbinger-victim Jakub Katz (Ashley Ivey), beaten to death by his former classmates with rotting fence posts; at the other extreme is the sinister Zygmunt (Mark Krawczyk), a protean thug who changes stripes with each shift in the prewar, wartime and postwar power structures, from nationalism to Communism to Naziism and back again.

More intriguing are the figures caught in the middle, such as the dim Wladek (Joshua Morgan), a Pole with no consistent agenda, other than survival; Rachelka (Dana Levanovsky), a Jew who melts by luck and adaptive instinct into a Christian household; and Zocha (Heather Haney), a Christian whose love for a rakish Jewish classmate (Tim Getman) compels her to an act of courage for which she ultimately feels no pride. The cast is rounded out by Alexander Strain, as a bigoted hypocrite who finds haven as a priest, and Harlan Work, playing a Polish schoolboy who graduates to the ghastly career of henchman.

As “Our Class” is the purest kind of ensemble piece, singling out a performance or two feels like a violation. (I remain convinced that in ordinary accents, the performances would be even more potent.) The work here of lighting designer Daniel MacLean Wagner is worth special mention, however, as are contributions by consulting musicologist Bret Werb and composer Eric Shimelonis. Even after civility and humanity disappear, music, and the bracing voices of “Our Class,” rise up as one to reaffirm that 10 tormented souls sprang from the same soil.

By Tadeusz Slobodzianek, English version by Ryan Craig. Directed by Derek Goldman. Set, Misha Kachman; lighting, Daniel MacLean Wagner; costumes, Ivania Stack; sound, James Bigbee Garver; choreography, Emma Crane Jaster; fight choreography, Joe Isenberg; dramaturgy, Stephen Spotswood. About three hours. Through Nov. 4 at the DC Jewish Community Center, 1529 16th St. NW. Visit www.theaterj.org or call 800-494-TIXS.

PREVIEW: Theater J tackles tough narrative
By Lisa Traiger
Friday, October 5, 2012

There’s a moment in the play “Our Class” -- one of many in this harrowing tale of friend and neighbor who turn against each other -- that’s easy to gloss over. On the morning after her forced marriage, the Jewish character Rachelka gets out of bed, smooths her skirt, buttons and straightens her blouse, and tucks her hair into an imaginary kerchief. She has been raped by her drunken new husband, a Polish peasant.

The plainness and attention paid to every detail -- the way her hands pause before she straightens her collar, the slow resignation that crosses her eyes as she fixes her hair -- speak volumes.

“The simplicity of a gesture is loaded with meaning,” says Emma Crane Jaster, who is choreographing the production of “Our Class” at Theater J.

These small but not inconsequential moments are essential in telling a difficult narrative rooted in the contested history about the role some Polish citizens played during the Holocaust. “Our Class,” by Polish playwright Tadeusz Slobodzianek, dramatizes in harrowing detail the 1941 Jedwabne massacre in Poland, based on historian Jan Gross’s account, “Neighbors.”

“One day in July 1941,” Gross wrote, “half of the population of a small East European town murdered the other half -- some 1,600 men, women and children,” who were butchered and burned in a barn. Gross’s exposé laid bare the very self-image of a nation of Poles, who believed they were victims, not perpetrators, during the Holocaust.

“I had written a Holocaust play and spent several years as a Holocaust educator,” says “Our Class” director Derek Goldman, “so this general history was familiar to me, but I found much more that was new and even shocking to me.”

Jaster, the daughter of local mime and physical-theater actor Mark Jaster, is the cast’s conduit to accessing and fine-tuning the play’s movement material. She studied ballet with the Maryland Youth Ballet, and her first forays onstage were as a 6-year-old, handing off a violin case to her father. She also has traveled the world, studying physical theater in Paris, Sanskrit theater in India and Asian drumming and martial arts in Taiwan.

For the 10-member cast, most of whom are not trained extensively in dance and physical theater, Jaster has done far more than simply teach them to polka, tango and waltz, which they do at various points during the play.

“I’m getting to play in the language of dance, but also in the language of gesture,” she says. “They might have just this very small gesture, but it’s the pure meaning of movement and less about the distraction of skill and virtuosity. I’m not so interested in incredible things like turning cartwheels and acrobatics. The simplicity of a gesture is loaded with meaning.”

Goldman adds: “There’s this way of thinking about movement and the body in a piece, without makeup and elaborate costume changes. Here it happens in front of us, just with the actor’s physicality.

“Emma’s been really the perfect collaborator because of her intelligence dramaturgically, her deep understanding of style and her skills at imparting ideas about it.”