Our Loved Ones Live On in Memories

If I Forget – Victory Gardens

In the Jewish religion, quite simply put, there is no heaven or hell. The spirit of a loved one who’s passed away remains as long as he’s being remembered by the living. But, asks Joey, the youngest character in this moving drama, what happens when there’s no one left who still remembers them? What if we forget?

This beautifully poetic belief is just one of many ideas examined in Steven Levenson’s latest play about traditions, family and legacy. The talented playwright is the author of “The Language of Trees,” “The Unavoidable Disappearance of Tom Durnin” and, the Tony Award-winning musical, “Dear Evan Hanson.” In this explosive drama, which is set in Washington D.C., the story begins in 2000, just prior to the controversial presidential election, and he skillfully detonates all sorts of family and personal issues that ultimately become revealed and argued. While laced with surprising moments of humor, Levenson centers his story around the outspoken adult siblings of widower and patriarch, Lou Fischer, whose family has gathered to celebrate his 75th birthday. Except for a strangely elegiac final scene, this hyperrealistic drama is passionate and poignant.

The playwright takes a deep, complex look at what it’s like to be a 21st century Jew in an ever-changing society. Events taking place a world away in Jerusalem influence the everyday lives of Lou and his family. Much of their discussions and arguments arise over the future of the family store, which has been going strong for generations. It’s current employees are Guatemalan  immigrants who pay a meager rental fee, just enough to keep the shop running. There’s an ever-present concern over the mental health of Michael and Ellen’s teenage daughter, Abbey, who’s on a tour of the Holy Lands. Joey, Holly and Howard’s uninspired high school son, seems like he’s just drifting through his life, always playing video games and tugging at his pants.

However, their religion isn’t something that unites or comforts this clan, for whom going to Synagogue isn’t a part of their weekly routine. In fact, they seldom attend, at all. Younger daughter Sharon, a kindergarten teacher, began taking Lou to temple, following the death of her mother. She thought it would help them both deal with their loss. Then she discovered her boyfriend and the cantor having a sexual liaison in her own apartment, and that encounter soured Sharon’s interest in organized religion. Holly, the eldest daughter, only attends Synagogue with her second husband, Howard, on High Holy Days. She spends most of her time and energy trying to develop her boutique interior decorating business, Spaces and Places. Michael, the middle sibling, and only male, is a college professor, poised to finally earn his tenure. But Michael’s a controversial, outspoken instructor of Jewish studies, who doesn’t go to temple at all any more; and Michael’s wife Ellen never converted to Judaism when they married.

Michael is the focus of this story. He’s the least religious of the family yet the sibling for whom his Jewish identity is most challenging and troubled. He’s written a contentious new book in which he argues that the Holocaust should be forgotten because it’s turned Judaism into a religion of “death worship.” This pronouncement opens up a whole can of worms, especially with his father, in a late night conversation. Sitting on the sofa, Lou describes in horrific detail, what it was like actually being there. He was one of the many American GI’s who helped liberate the concentration camp at Dachau. Lou begins talking gently to his son, but ends the scene shouting at Michael that “for you history is just an abstraction. But for those of us who survived this long, long century, there are no abstractions any more.”

Directed with strength and sensitivity by Devon De Mayo, whose previous credits include Steep Theatre’s recent “First Love is the Revolution,” this will long be remembered as one the finest, most riveting recent productions produced by Victory Gardens. Ms. De Mayo has guided her talented cast toward a presentation that speaks directly to both the intellect and the heart. This is another play, like “Dear Evan Hanson,” in which Mr. Levenson examines the strained relations between family members, particularly between parents and their offspring.

The always enthralling David Darlow, a familiar face on many  Chicago stages for decades, is captivating as Lou. His Act I monologue deservedly earns applause for his sincere passion and honesty. Daniel Cantor absolutely owns the stage as Michael. He spits out his dialogue like ammunition, igniting so much controversy and contrasting ideas that fuel family fires. As Holly, Gail Shipiro makes her auspicious Victory Gardens debut in a role that should earn her much acclaim and future appearances at this respected theatre. The incredibly versatile, multitalented Elizabeth Ledo also makes her Victory Gardens debut, portraying Sharon with so much emotion and enthusiasm, theatergoers will feel as if they know this woman. Last seen at Drury Lane in “Mamma Mia,” Ms. Ledo dazzles and charms as a young, enthusiastically optimistic young woman for whom, despite so many family problems, is able to find some happiness in her simple life. Heather Townsend is another Victory Gardens first-timer, composed, eloquent and emotionally available as Michael’s gentile wife, Ellen. The always reliable and likable Keith Kupferer, whose most recent memorable performance was in Goodman Theatre’s “Sweat,” portrays Howard, a husband who supports his wife and her family, yet harbors a dark secret of his own. And Alec Boyd plays a typical, reticent teenager, for whom “school sucks,” but is actually a quiet observer of his family and its legacy.

Ms. De Mayo has the privilege of staging her drama on Andrew Boyce’s detailed, ultra realistic two-story scenic design. It’s nicely lit by Heather Sparling, with an appropriate sound design by Kevin O’Donnell. Izumi Inaba contributes her usual artistic touch in the contemporary wardrobe that helps delineate each character.

Although these character argue, berate each other and seem to constantly be at odds, Steven Levenson has painted a realistic portrait of a realistic Jewish American family trying cope with their own personal and political problems in an ever-changing world. Together, as a strong family unit, they strive to meet and deal with a number of challenging situations and ride out the storm in a united front. Like most families, in spite of seeming to always be at odds with each other, in the end they’re united in the things that are most important: remembering each other.

Highly Recommended

Reviewed by Colin Douglas      

Presented June 7-July 7 by Victory Gardens Theater at the Biograph, 2433 N. Lincoln Ave., Chicago.

Tickets are available in person at the Biograph Theater by box office, by calling 773-871-3000 or by going to www.victorygardens.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.