{"id":10028,"date":"2019-05-09T15:36:32","date_gmt":"2019-05-09T15:36:32","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=10028"},"modified":"2019-06-12T17:15:54","modified_gmt":"2019-06-12T17:15:54","slug":"a-german-life-at-the-bridge-theatre-maggie-smith-is-a-treasure-this-show-is-not","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2019\/05\/09\/a-german-life-at-the-bridge-theatre-maggie-smith-is-a-treasure-this-show-is-not\/","title":{"rendered":"A German Life at the Bridge Theatre: Maggie Smith is a Treasure; This Show is Not"},"content":{"rendered":"

It\u2019s Theatre Thursday! A German Life is playing at <\/em>London<\/em>\u2019s Bridge Theatre until May 11.<\/em><\/p>\n

First of all, let me be clear that Maggie Smith is one of a handful of global treasures (pronounced tray-sure, like fellow old-lady-treasure Emily Gilmore). If she wanted to be an honorary Golden Girl I\u2019d allow it. She\u2019s the best. I love her. I wish her decades more of life and health and work.<\/p>\n

A German Life<\/em> is one of the most painful theatrical events I\u2019ve ever had the non-playsure of experiencing. And not in a good \u2018oh that was dramatic and heavy in a necessary way\u2019 kind of painful. I mean it was torture. It was almost two hours straight of wondering in agony whether Maggie Smith was losing her short-term memory and forgetting lines (the thought of which was heartbreaking), or whether this was a purposeful choice for her character. Either way, it was painful to watch. It was hundo p when you visit an older person in a nursing home and you listen to their rambling stories and how it takes them a year to get out one sentence, and once they get the sentence out, they repeat it three times so they can figure out where they wanted to go from there and you\u2019re just like OH MY GOD SPIT IT OUT but you can\u2019t because that\u2019s a horrible thing to think and say (when you aren\u2019t talking to a Nazi).<\/p>\n

And  yes, all this means that Maggie was entirely successful in her portrayal (it had to be an acting decision, right, because Maggie Smith is still IN HER PRIME) of a 105-year-old woman. I mean, it\u2019s incredible that a 105-year-old woman managed to communicate all that she did. But realism and accuracy in the portrayal doesn\u2019t automatically make for good theatre.<\/p>\n

What also doesn\u2019t make for good theatre is that the show gets its message across in about 10 minutes, and the rest of the time is just playing that same one note for longer. And the message\u2026isn\u2019t enough. In A German Life<\/em>, Maggie plays Brunhilde Pomsel, former secretary to Joseph Goebbels during WWII. The real Pomsel broke her silence at age 105 when she spoke to a group of filmmakers about her life. This play, by Christopher Hampton, is based on that. Maggie sits in a chair as Brunhilde and talks to us about her life like we are filming her for the documentary. The significance of her testimony is that she was a Nazi, who worked in Goebbels\u2019 propaganda wing, who doesn\u2019t think she did anything wrong. In her recounting of wartime, she spends more time explaining her favorite suit she got from Mrs. Goebbels than sharing anything she knew about what was happening in the war. It\u2019s an effective portrait of willful ignorance, I\u2019ll give it that. We spend this time with a self-involved person who hasn\u2019t learned any lesson still, and so we are supposed to reflect on what makes someone ignore such atrocity, and what we would have done differently, if anything.<\/p>\n

What bothers me about this show is how frustrated I am that the subtle messaging is not going to reach some people. Instead of thinking how horrifying it is that this woman still doesn\u2019t get it, still thinks she was a victim for what she faced post-war, some people are going to go \u2018hmm that really makes you think, there could be very fine people on both sides.\u2019 I\u2019m all for subtle theatre, but our audience needed to be told more clearly that Nazis were bad. I\u2019m not joking. As usual, this show was a prime example of the disturbing humor of London audiences. Without fail, whenever there\u2019s a soul-shocking line that would make normal humans breathe in sharply or widen their eyes or gasp, we\u2019re with an audience that laughs<\/em>. The most alarming example in my experience previously was when, in Caroline, or Change<\/em><\/a>, Caroline told the young Jewish boy in her care that his people go to hell. It’s a big gasp moment. OUR AUDIENCE LAUGHED. And not in a nervous laughter way that some people on Broadway did; this was in a \u2018oh that\u2019s funny because making fun of Jews is funny\u2019 way. Well, the Bridge audience at A German Life<\/em> matched that distress by laughing every single time Maggie\u2019s character made fun of Jews, especially their appearance, their penny-pinching ways, and especially<\/em> when she motioned slightly at her nose to comment about Jews\u2019 big noses. The audience roared. This is why anti-Semitism is back; it\u2019s by popular demand.<\/p>\n

And that\u2019s why this show didn\u2019t work for me and mostly frustrates me. It\u2019s extremely subtle in its message, because all we get is her story and her words. It only works for people who know<\/em> that the Nazis were bad and that anti-Semitism was, is, wrong. So, today, when more and more people don\u2019t<\/em> realize that anti-Semitism is wrong, they laugh along with Brunhilde like it\u2019s their granny and then come away thinking \u2018maybe not all Nazis were bad! She seemed fine!\u2019 It\u2019s ridiculous that I have to say this, today, but apparently we as a society haven\u2019t reached the point where subtlety in anti-Nazi messaging makes any headway. I know some of you are like \u2018you\u2019re assuming all of that just because people laughed at the wrong things?\u2019 No, I\u2019m assuming all of that because of the conversations I have had every single day since 2016 about what is or is not anti-Semitic, and how often I’ve been told that just because something is anti-Semitic doesn\u2019t mean it\u2019s bad. When we still have people who are like \u2018eh but Jews\u2019, a restrained portrait of a non-actively-evil Nazi isn\u2019t going to get through to anyone who needs it.<\/p>\n

<\/p>\n

INFORMATION<\/u><\/strong><\/p>\n

I\u2019ve previously raved about the human-friendly, modern design of the Bridge, but that was when I sat in the stalls. Sitting in the weird nether-region of the Gallery 1, which is really just more stalls at the back walls of the theatre, separated from the regular stalls by a half-step and a banister. It felt much more cramped than the regular stalls and at a weird side angle. Definitely won\u2019t be sitting there again.<\/p>\n

Infuriatingly, the show started 10 minutes late, in order to seat all latecomers. This is because this show has a policy of no admission or readmission once the show begins \u2013 but they also publicized the policy of \u2018no latecomers allowed in\u2019. Get your story straight! Don\u2019t hold the curtain for people who are 10 minutes late, man alive.<\/p>\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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