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Review: 'Hannah and Martin' leaves audience thinking
By KAREN SHADE World Scene Writer
04/04/2006
Tulsa World (Final Home Edition), Page D2 of Arts

Hannah and Martin" has me thinking, which is hardly an offense and not a rebuttal to the main character's opinion. According to a quote inside the play's program: "There are no dangerous thoughts; thinking itself is dangerous."

"Hannah and Martin," Heller Theatre's newest play, focuses on the relationship between Hannah Arendt, an influential Jewish political theorist, and Martin Heidegger, a renowned and controversial German philosopher, in an intelligent, sophisticated production.

The aforementioned quote is Arendt's and is positioned five inches above a quote from Heidegger, from his "Being and Time": "Only he who already understands is able to listen."

Not knowing the full context for Heidegger's statement, I can only surmise that it takes genius to really know genius. My own hope is that the rest of us can at least come to a high level of comprehension. If this were a debate, I'd have to side with Arendt.

The fact that Heidegger's work has been reprinted through the last decade might be owed to Arendt's decision to help him reclaim some status in academia after the world renounced him for his participation in the National Socialist German Workers Party, better known as Nazis.

That is what Kate Fodor's uncompromising and compelling script suggests. The play successfully explains the basic ideas of Arendt and Heidegger -- a testament to the playwright's ability and knowledge.
George Romero (left), David Gray and Andy Axewell star in Heller Theatre’s “Hannah and Martin.” The show continues Thursday.
ROBERT S. CROSS / Tulsa World

In a poorly cast production, dialogue shared between philosophers in an impassioned moral argument could sound like lecturing, but director Julie Tattershall made one especially sound call when she cast George Romero as Arendt.

Romero gives an astonishing performance from the moment she steps out of the darkness posing the question that stands throughout the play -- is it possible to forgive the unforgivable? Arendt then dictates a letter to the rector of Freiberg University asking for clemency for Heidegger after he has been banished from eminent philosophy circles.

We see Arendt as a young, bashful student grow into the woman who decides to help Heidegger out of her own conviction rather than the concern for popular opinion.

Andy Axewell starts his portrayal of Heidegger on a quick note. His interest in Arendt doesn't appear to surprise him, but Heidegger's belief in Hitler is startling and his defense against Arendt's demand for an explanation of his party ties wrenches intensity from the corner seats. "I didn't know," just isn't good enough.

Devin Meadows has created a set exporting Germany to classical Greece, symbolic of a return to classical Western philosophic thought. HELLER is small, but you easily forget the physical limitations. Smart blocking gives the illusion of more space.

Fine support came from David Gray as Hitler's youth leader, Baldur von Schirach, whose trial in Nuremburg takes Arendt back to Germany to cover it for The New Yorker and back to her former teacher, former lover and colleague.

Other strong support came from Susan Dergoul, Sean R. Stefanic, Susan Swatek and Traci Conway. Ira Smith gave an interesting portrayal of Karl Jaspers, Heidegger's teacher.

"Hannah and Martin" maintains a concentration that very rarely waivers, due in part to fascinating dialogue, intelligent acting, careful design and thorough direction.

Although Hannah appears to have answered the question of forgiveness for herself, the play does not maintain that everyone will agree with her action or understand the transcendence it involves.

Heidegger salvaged some of his reputation through his work, but did he pay enough retribution?

In an earlier interview, Romero said "Hannah and Martin" is not a play about the Holocaust, it's a play about learning to think. She was right. But when the backdrop is among the greatest atrocities committed against humanity, "thinking for yourself" loses whatever cliche it's picked up in popular culture to really give you something to ponder.

"Hannah and Martin" continues at 8 p.m. through Saturday and 7 p.m. Sunday at HELLER Theatre, 5328 S. Wheeling Ave.

It is for a mature audience.
Karen Shade 581-8334
karen.shade@tulsaworld.com

Theater
“Hannah and Martin”
When:8 p.m. Thursday-Saturday, 2 p.m. April 2, 8 p.m. April 6-8 and 7 p.m. April 9.
Where:Heller Theatre, 5328 S. Wheeling Ave.
Admission:$8 general, $6 students and seniors Heller Theatre will host speakers for discussions with the audience after shows scheduled April 7-8. Other talk-back sessions may be scheduled for other performance dates. For more, call 746-5065 or go online to hellertheatre.com.

This site sponsored by Heller Theatre Council.
To contact the webmaster e-mail alb74066@aol.com or Heller Theatre at Parktheater@ci.tulsa.ok.us

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