In 2007, a mysterious album featuring Nazi-era photographs arrived at the desk of a U.S. Holocaust Memorial Museum archivist. As curators unraveled the shocking truth behind the images, the album soon made headlines and ignited a debate that reverberated far beyond the museum walls. Based on real events, Here There Are Blueberries tells the story of these historical photographs—what they reveal about the perpetrators of the Holocaust, and our own humanity.
Taube eventually takes up as a personal mission to contact and convince other relatives, as it turns out, to little avail. The scenes with these others, in avoidance or in denial, are among the most difficult – until the end, when the show moves from this album, to a different set of photographs. These are among the very few taken of the Jews at the camp, and includes testimony by one of the survivors who is pictured in one of them, alongside her family members who did not survive. It is as if Moisés Kaufman, who is the son of Holocaust survivors, and his co-writer Amanda Gronich, shared some of the initial concerns of the Holocaust museum staff: A play about the Holocaust, even one that focuses on its perpetrators, cannot completely exclude its victims.
The comparison is pungent but inapt: Archival work is not death work. Likewise, a play is not a museum. That’s part of why, while admiring Tectonic’s intentions and technique in “Blueberries” — not for nothing was it recently named a finalist for the Pulitzer Prize in drama — I find it even more unbalanced today than I did when I saw it last year in Washington.
2024 | Off-Broadway |
NYTW Off-Broadway Premiere Production Off-Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2024 | The Pulitzer Prize | Pulitzer Prize for Drama | Moisés Kaufman |
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