Review: KINDERTRANSPORT, Richmond Theatre

At a time when anti-Semitism appears dangerously current and desperate refugees flee their homelands, a revival of Diane Samuels' engrossing play Kindertransport could not be more timely. Anne Simon directs the remarkable true story of a series of rescue efforts that brought thousands of refugee Jewish children to Great Britain from Nazi Germany between 1938 and 1940.

Samuels' play focuses on Eva, a Jewish girl forced to leave everything she knows to stay safe. After escaping, Eva grows up in Manchester with her foster mother Lil. As she moves further and further away from her past, she changes her name to Evelyn and attempts to forget her previous life. When Evelyn's own daughter Faith discovers papers uncovering her mother's past, Evelyn is forced to confront her demons, brought to life by her haunting thoughts of The Ratcatcher, a German version of the Pied Piper.

Leila Schaus makes an impressive UK theatrical debut in the role of young evacuee Eva; she gives a compelling portrayal of childish innocence gradually disintegrating through exposure to the horror of reality. Her vocal intonations and body language are very convincing as a child. Claire Thill is less persuasive as Eve's mother Helga, occasionally seeming unsure of her lines.

Jenny Lee is kind and blusteringly practical as adoptive mother Lil. Suzan Sylvester, who originally played the role of Eva's daughter Faith in the play's 1993 debut, projects internal misery as the grown up Eva, renamed Evelyn, but is sometimes a little hard to hear.

Hannah Bristow plays an unlikable version of Faith; the conflict between her and Evelyn is spiky and brutal, as Faith lacks any compassion or understanding for Evelyn's past decisions.

As the figure of childhood fear and adult guilt, Matthew Brown is the creeping and haunting figure of the Ratcatcher. The director's decision to have him often lurking behind the main set would be more effective if he could be seen, but audience sightlines are often compromised.

The past and present are set up on stage simultaneously, as we see events in both Hamburg in 1939 and England during the war and later in the 1980s. Marie-Luce Theis' clever design of Evelyn's attic serves as Lil's house, railway platforms and Eva's German home. Nic Farman's lighting is atmospheric, but occasionally too dark.

Samuels' play is deeply moving and sensitively written. It explores the psychological effects of the war on Eva, her escape, adjustment and ultimate survivors' guilt. This production features some good performances, but sometimes lacks the necessary heart to make it truly moving.

Kindertransport is at Richmond Theatre until 28 April

Photo Credit: Mark Sepple

To post a comment, you must register and login.