REVIEW: Golda’s Balcony a Triumph of Duality

It is evident within minutes of the start of William Gibson’s Golda’s Balcony as to why it was just named the 2006 Best Play by the Touring Broadway Awards. Within those few minutes, you see that rare coming together of all things theatrical into one truly cohesive and mesmerizing work of art. The striking first image of an ailing Golda Meir (an amazing star turn by Valerie Harper, superbly directed by Scott Schwartz) lighting a match and smoking against a stone wall suggesting strength and loneliness, ancient and modern at once, all coupled with the words of an historical legend, which converge to tell us that we are in for one heck of a ride. At 95 intermissionless minutes, it is a brief but powerful ride, indeed.

It is the set, designed by Anna Louizos, which first suggests a strong theme of conflicting duality that permeates the entire show. As I said, it suggests strength in its fortress-like stone construction, and even with various levels and playing spaces, a loneliness (and not just because this is a one-woman show). It also suggests both an ancient quality and a modern one, with its uneven layers, but modern, clean carvings. It is also quite modern in its use of projections against and among these rock formations (ingenious and unobtrusive lighting by Jeff Croiter and projections by Batwin + Robin Productions).

Perhaps the most touching and meaningful duality, and one that is particularly resonant in today’s uncertain climate, not only with the War in Iraq, but with deteriorating conditions in Iran and North Korea as well, is that between the political and humane. This is the story of Golda Meir, the late Prime Minister of Israel, who not unlike world leaders today, was faced with the most difficult decision back in the 1970’s – should she ok the use of nuclear force in protecting her fledgling country against aggressors from all sides? Frequently, Golda tells us of behind-closed-doors, secret, undocumented meetings and phone calls, that all too eerily serve to remind us that we really have no idea what is going on as our government and others keep each other at bay. It gives much to think about, none of it pleasant. The flip side is that throughout the evening, as we trace the rise of Meir to power from childhood to near-death, we get to know the woman – a mother, daughter, wife - and the tormented side of her nature, the one we as the common folk can relate to, as she must balance the needs of her family with the needs of a nation. Regardless of your political affiliation or personal feelings about current events in the United States, it is jarring to realize that our current leaders, the ones facing these same (if not worse) decisions most also be tormented by the duality of their role as leader, but also father, brother, son, husband. Perhaps the bitterest pill to swallow in watching this play is the realization that the names and locations may have changed, but the game is still the same, and we have apparently learned nothing in nearly 35 years. Even the title of the play figures into the duality – Glolda’s Balcony is both her seaside balcony (home to many dreamlike memories) and the underground observation deck where Golda oversaw the secret, deadly Israeli nuclear program (home to vivid nightmares). This play is about so much more than one remarkable woman’s life. It is about war and peace, aggression and passivity, mothering and leading, strength of character and strength of force.

The true beauty and driving force of this production is its lone player, Valerie Harper, in what may be another career-defining role. Within seconds, you lose all preconceived notions – this is NOT Rhoda with an accent and a wig. (The make up and prosthetics, designed by Louie Zakarian, nearly obliterate any clue that it is Harper, and is wonderfully realistic.) She shows amazing depth, from the highest high to the lowest low, all while playing Golda at all ages, dozens of citizens, dignitaries and world leaders. She voices all of the characters and with a quick body movement or c*ckof the head, and sometimes the slightest vocal change creates completely distinct characters, often in conversation with Golda. Her Henry Kissinger is dead on and quite funny, while her King of Jordan is a magisterial tribute. Valerie Harper gives a tour-de-force performance, which should not be missed. All of this sounds deadly serious, and perhaps boring, but I assure you, the show has its share of light, very funny moments (Harper's deft comic timing is impeccable) and its share of tense ones. One bit, in particular, when Golda realizes that she can order the nuclear bombs to stand down, Ms. Harper wails and cries in a palpable relief that is shared by the audience, and that’s even with us already knowing that ultimately nuclear war was averted. Perhaps it is our hope that future showdowns will afford our leaders a chance to cry and wail with that same sense of relief. Golda leaves us with a final prayer, “Shalom.” Peace, indeed.

Note: The play includes some vivid images and realistic war sound effects that may be unsettling to some audience members.

Photo of Valerie Harper in Golda's Balcony by Aaron Epstein.