Review: AFTER THE WAR Premieres at Mosaic Theater Company

When playwright Motti Lerner wrote his controversial play The Admission, no one could have predicted the chain of events that would subsequently occur. From the production's workshop run at Theater J to Studio Theater, to the formation of Mosaic Theater Company, a lot has happened which now culminates in Lerner's latest play After The War, the penultimate production of Mosaic's Voices from a Changing Middle East Festival in their inaugural season.

After The War might be a personal response to his critics from the pro-Israel group called COPMA (Citizens Opposed to Propaganda Masquerading as Art). The play which is currently playing at the Atlas Performing Arts Center in Northeast Washington is a story of a pianist coming home to Tel Aviv to play with Zubin Mehta and the Israel Philharmonic Orchestra. Joel, the pianist, has made some controversial statements regarding the 2006 Israel-Hezbollah War, in which many civilians were killed. His protest of the war has led many in his home country, including his family, to denounce him and his music and as a result the drama creates a struggle not just within a community but within the estranged family.

As the pianist, Paul Morella is a bit too uninspired. Mr. Morella is a fine actor, but does not really hit the point of conflict and comes across more of someone who is protesting for the sake of protesting but without any real conviction. As his mother, Barbara Rappaport stands out in her conflict between love of her son and her place in society. Joel's outspoken brother Freddy is played with fiery passion by James Whalen, the one character who seems grounded in his belief. The strongest characters are Trudy and Bernard, a divorced couple who overstay their welcome in this dysfunctional family. Trudy, the mother's nurse, is an aspiring pianist herself and Tonya Beckman brings her usual strength to the role, while Michael Tolaydo, as her older husband Bernard is perfect as the bumbling wanderer who provides some much needed relief from the political tension.

Mr. Lerner's play is not a strong as his other works, particularly The Admission, and it seems that Roy Isacowitz's translation is missing some of Mr. Lerner's unique voice. Frida Shoham's unique set of the Tel Aviv Frederic Mann Auditorium as a background, complete with its reflecting pool painted on the thrust perfectly encapsulates the action which is confined to Joel's mother's apartment. While the simple furniture on stage suggests the apartment, the backdrop of the Auditorium and empty orchestra set behind powerfully conveys the message that Lerner is suggesting in his play.

Director Sinai Peter, no stranger to Lerner's work, does a fine job with this one, particularly with interpolating Beethoven's Pathetique in C Minor throughout. The only technical drawback is Sound Designer Eric Shimelonis' original compositions and canned piano music comes across too digital and not acoustic enough. While I understand the limitations of having actors play a Beethoven Sonata live on stage are impractical, more attention could have been paid to a better blend of the piano music that is so critical to the script.

Over all, I commend Mosaic Artistic Director Ari Roth "going big" in his inaugural season. Roth has had quite a lot of press in the past year, and he puts all of that too his advantage in this fine performance. Mosaic Theater Company is only a year old and as Mr. Roth announced from the stage, there will be a second season, which is what the DC Theater community needs.

After The War plays through April 17, 2016 at Mosaic Theater Company at the Atlas Performing Arts Center, 1333 H Street, NE, Washington, DC 20002. For tickets call the box office at 202-399-7993, extension 2 or online.

Photo credits: Stan Barouh

To post a comment, you must register and login.