Review: Roxanne Fay Astounds in Powerstories' Production of IRENA'S VOW

“This is not philosophy, it is…good German engineering. Because there are millions of them, aren’t there… So how do you do it? By getting them used to following orders. At first, nothing important…you have to wear a star. Now, who is going to fight about that, hmmm?”  --Sturmbannfuhrer Rokita in IRENA’S VOW

“What we do is who we are.”  --Irena Gut Opdyke in IRENA’S VOW

There is a moment near the end of Dan Gordon’s IRENA’S VOW that left me an emotional wreck. I won’t go into the details because part of the power of the experience is not quite knowing what it is until the moment arrives. And in the hands of the brilliant Roxanne Fay as Irena in this Powerstories production, it left me trying to stifle the quiet blubbering as I exited the theater. 

Even though the overall powerful story is painted in rather broad strokes and contains some intense instances of terror and shock, this is the type of work that is more of a whisper than a scream. But in Ms. Fay’s grip, the character and her plight become so human for us, the face of sheer grace.

Grace is the key word. Irena’s grace becomes our grace. Her strength becomes our strength.  IRENA’S VOW may take place in the antisemitic Poland of the 1940s, but we are transported eight decades back in time, seeing it as if anew. And we hold our breath throughout, making sure not to make a sound, just like the characters on the stage do. Powerful, powerful stuff.

IRENA’S VOW is the true story of an ultimate survivor and heroine, Irena Gut Opdyke, a Polish 19-year-old who, during World War 2, is raped by the Russians before becoming the housekeeper in the home of an important officer of the Nazis.  At the time of the Holocaust, after seeing the atrocities of the liquidation of the Jewish ghetto where the Nazis are outspoken in their ridding of the entire Jewish population, Irena (who is not Jewish) hides a dozen Jews in the actual basement of the German commandant’s home, saving them from the death camps. She has so much courage and strength, as well as intelligence and even some humor, and is always a step ahead of the Nazis, many of whom attend parties at the house.  Years pass, and Irena is still quietly, smartly saving the lives of these twelve individuals (actually thirteen, which includes the birth of a child in the hiding place).     

Dan Gordon’s script is certainly strong enough, and Irena’s story is unbeatable in its affirmation for life, but I worry when narration is used so heavyhandedly, becoming sometimes didactic and even at times a bit preachy. And I wonder if someone other than the indomitable Ms. Fay portrayed the part of Irena if it would work at all; would it be as heart-wrenching and real as in this Powerstories production?  But thankfully Ms. Fay is playing her, and it’s a performance for the ages.

I have been a fan of Ms. Fay’s work since I first saw her in Cabaret at freeFall a dozen years ago.  Since then, she has played every part imaginable, from the horrendous Nurse Ratched of One Flew Over the Cuckoo’s Nest to Feste in Twelfth Night, from the in-your-face Paige in Hir to both  Cordelia and the Fool in King Lear. She is one of the wonders of the world of theatre, someone who can unblinkingly inhabit the skin of any character from any walk of life with total abandon.  And her work as Irena is, in a word,  astounding.     

Ms. Fay is stellar in her narration, but I think there are few performers who are better onstage listeners. There is a moment when Major Rugemer talks to her early on, informs her that she will be his housekeeper, where her reaction is so real and never forced. It's a treat watching her even when she doesn't speak, just her reactions, when so much is said without actually uttering  a sound. 

This is a performance as rich as they come, playing humor and sadness, tears with a defiant smile. She holds the show together, and we are with her 100%.  For instance, it's painful when she describes her rape, even though she had never even been courted by a boy before. “That was my first date,” she says of the rape, her voice deflated, filled with mourning of the girl she used to be. “That was my first kiss.” It’s horrifying and heartbreaking in its own right, but when Ms. Fay describes it so matter-of-factly, never overdoing it, it becomes soul-crushing to all of us, most of whom cannot even fathom the horrors of such things. 

In one monologue, she describes the dialogue between a Nazi officer and a young Jewish mother with a baby.  The officers barbaric response to the mother’s plea for her child is something that we cannot even comprehend. The description is so withering and heart-tugging that it almost becomes unbearable. And yet it’s all too real, and Ms. Fay brings that reality directly to us.  Hers is a performance that I will never forget.

As Major Rugemer, Ron Nummi brings a humanity to a part that could easily be played as a monster.  Although he has an eely grin early on that reminded me of Stumbannfuhrer Toht in Raiders of the Lost Ark, he’s very natural onstage, comfortable. There were moments that, with his German accent, I could not understand all of his words when he spoke so fast, but he grew on me as the show went on, presenting all sides of the man, both the horrible and the human.

Nick Noelte, another one of our finest local actors, is chilling as Stumbannfuhrer Rokita.  With his shaved head, looking not unlike Donald Pleasance as Blofeld (but without the scar), Mr. Noelte dives head first into the open-eyed villainy of the character (although the character does not see himself as a villain, but as an anti-Jewish hero). He’s very strong and precise, and we take a deep breath whenever he appears. 

Will Chamblee is a delight as Lazar, one of the Jews in hiding.  His enthusiasm is infectious, and he brings such verve to a character who could be beaten down by life’s awful circumstances but remains stoic and alive. 

As the other Jews being hidden by Irena, Courtney Holifield is quite real and grounded as Ida (the character makes a key decision in the middle of the play that is nicely rendered),  and Holly Marie Weber is equally strong as Fanka.  Jakob Nordstrom does well enough in a variety of roles, as does Talia Fish. Georgio Tsambis-Weisner lends clear vocal support throughout the show, and as Roman, stands as one of the finest actors in the entire cast.

Chris Corley’s set works well with labyrinthian staircases, looking like wooden gallows.  The rest of the cast sit still in chairs around the set.  Ami Sallee’s costume designer is certainly appropriate for the time period, and CJ Marshall’s lighting design is sufficient (I particularly like it when there’s the sound of a gunshot and the lights shockingly beam into our faces). 

The sound of Nazis marching, which evocatively echoes throughout the show, still haunts me.   

Clareann Despain beautifully directs this complex production, constantly moving her actors onstage and offstage chess-like, never taking focus from the other cast members as they move about.  And she gets fine performances from these players, rightly putting the heavy work on Roxanne Fay’s mighty shoulders. It’s a heavy show, and it takes a major talent like Ms. Fay to do the emotional heavy lifting in order to make it work. 

The play is mounted in the Stageworks Theatre, even though it is a Powerstories production. And I thank God for Powerstories. They are such an important contributor to our community, presenting vital pieces of theater.  As stated in their mission: “Our vision is that Powerstories Theatre will be the worldwide leader in seeking, sharing and staging true stories giving special emphasis on works by and for women and girls. In the speaking and honoring of these true stories of great learning, performers and audiences alike receive a powerful gift--the validation that they are living a unique, valuable life.”  They certainly have accomplished that with IRENA’S VOW.

Powerstories’ IRENA’S VOW plays at the Stageworks Theatre until July 21st.  

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