The Lucky Star

 C

 

This fact-based drama by Karen Hartman tells the story of the Hollander family, well-to-do Jews in Krakow, who refused to heed the warnings to leave Poland in August 1939 from Joseph (Danny Gavigan), their one relative who left. Excerpts from their letters to him, which form the most significant collection from the Krakow ghetto to be preserved, and the context surrounding them, are the backbone of the play. The letters Joseph sent to Poland are of course lost. The story is framed as an over-enthusiastic book tour lecture by Joseph’s son Richard, who found the letters and had them translated and published. Richard’s closing remarks are interrupted by his adult son Craig (Sky Smith), who accuses him of not telling the whole story. The second act reveals much of what Richard left out, which involves another set of letters, between Joseph and a person whose identity I won’t give away. Unfortunately, this outline is more coherent than the play. Several of the family members we meet are too generic to make much of an impression. The fact that some actors play multiple roles, sometimes of differing gender, is confusing, especially one instance early on in which the same actor plays two women of opposite temperament without even a change of costume. The family experiences, while tragic, are in no way exceptional. At least for this Jew in his 80s, there was nothing that enriched my understanding of the Holocaust. Maybe the problem lies with me. Earlier productions in Baltimore and Chicago, when the play was called “The Book of Joseph,” received raves from the critics. The quality of the acting varies. Steven Skybell, who was so wonderful as Tevye in the recent Yiddish “Fiddler,” seemed too exuberant as Richard. The always appealing Alexandra Silber is marvelous in two very different roles. The remaining actors are Skye Alyssa Friedman, Nina Hellman, Eva Kaminsky, Alexa Shae Niziak, Mike Shapiro and Dale Soules. The costumes by David Burdick are evocative. Daniel Ettinger’s scenic design is versatile and efficient. I am at a loss to evaluate Noah Himmelstein’s direction because I am unsure whether better direction could have improved the result. Running time: two hours ten minutes including intermission.

NOTE: I will admit to carrying a grudge against the management of 59e59 Theaters. Their refusal to include any biographical information on the artists in their programs except for a QR code link is disrespectful both to them and to the audience. I have commented previously that they attract the least diverse audience in Manhattan. If they have been doing any outreach since my comment, it was not evident today.