by Linda Chin
Written by David Meyers, Directed by Jim Petosa; Scenic Designer, Ryan Bates; Costume Designer, Becca Jewett; Lighting Designer, Matthew Rodgers; Sound Designer, Dewey Dellay; Stage Manager, Brian Robillard. CAST (in alphabetical order): Sarah Oakes Muirhead, Conor Proft, Tim Spears. Performances through November 4 at New Repertory Theatre, Mosesian Center for the Arts, 321 Arsenal Street, Watertown, MA through November 4
For 90 minutes after the lights went up until the final blackout, the audience at We Will Not Be Silent was mostly silent, captivated by the drama unfolding in an interrogation cell in 1943 Munich. The 21 year-old subject Sophie Scholl’s crime? High treason, from participating with other students (including her older brother Hans) and a professor at the University in the non-violent activist group the White Rose, with punishment by guillotine. Founded on the principles of peaceful protest, the group authored and distributed pamphlets to resist the Nazi regime, speaking out about Hitler’s violent treatment of children and Jews.
Officer Kurt Grunwald claims to understand her reasons for converting from a loyal follower – she was even one of the Hitler youth – to a resistor, comparing it to his own personal circumstance. Over the course of three tense days he withholds food and drink while she withholds information. He tries to persuade her to confess, forcing one to wonder (from Sophie’s lens and our own) if he is trustworthy. Sophie’s choices are multi-fold and much of the play involves the exposition of her intense intellectual power and emotional angst: Should she die, or live with the burden of a guilty conscience? In which circumstance would she be more effective in making change? Or be more remembered? Is Grunwald trying to save her from being executed or to save himself from his own inability to be true to his values? After careful consideration Sophie politely denies his offer to save herself by telling false truths and implicating. Grunwald is a bureaucrat who represses his own values and is trapped in his job and Nazi uniform, following orders in order to protect his livelihood and his family.
In their game of cat and mouse, and the volleying match that ensues, Sophie (memorably portrayed by Sarah Oakes Muirhead) has the advantage of her character’s gender and youth. A graduate of BU’s highly-regarded acting program and last seen at New Rep in Fiddler on the Roof, she alternately plays pure, innocent, naïve and determined and thorny (a true white rose) quite believably. She is lovely to watch and listen to. Tim Spears, as Grunwald, also a BU School of Theatre alum and New Rep veteran, delivered a solid performance, though it seemed challenging for him to access the angry/abusive and the paternal/protective extremes of his character as written. As seen in other New Rep productions (Elephant Man, Amadeus), Spears is a versatile character actor, making me wonder if his Grunwald would have been more sinister and effective if his torture tactics and interrogation style were more psychological than physical. It is not clear if this was the playwright (David Meyers), director (Jim Petosa) or actor’s choice.
Sophie’s brother Hans Scholl, is not physically present on stage until much later, but was part of some of the play’s most memorable moments. Hans (an outstanding New Rep debut by BU alum Conor Proft) is the perfect big brother – protective, gentle and caring – and their connectedness as siblings is delightful. Their reminisces about their childhood and Sophie’s monologue about the things she wanted to live for – not only making a difference in the world at large – but would miss simpler pleasures like reading books, painting, and taking long walks in nature. Her moral compass is highly developed for someone so young, taking cues from Kant, the Latin phrases in her prayer book, her loving family, and heeding her father’s advice to enjoy life’s gifts – like an unexpected rainstorm – without complaint, even when they occur at an inconvenient time.
The audience’s silence was punctuated by a few gasps, during Grunwald’s forceful displays of violence (including wielding a gun) and some nervous laughter/snickers, when certain lines about Hitler’s dictatorial style hit home. These moments left me feeling unsettled, as I wondered if it was the director or playwright’s intention (the play was written in 2017) to put focus on these comparisons. The theater-going audience in the Boston area in general (and at New Rep in particular) is highly educated and intelligent and likely largely left-leaning, but equating Trump supporters with ignorant citizens who can’t think for themselves does everyone a disservice. My personal preference is theater that is inclusive and non-partisan.
Dewey Dalley’s compositions and sound design are always spot on and evoke the right doom and gloomy mood. (It did feel a little loud at times, or Spear came in early, as I missed his first words in several transitions). When Sophie Scholl leaves the room she has a clear conscience and holds her head up high. Outside the dimly-lit chamber where Sophie has been detained for days it is a sunny day, and she has made important decisions. For an optimistic moment one hopes that this is a fictional story or that history won’t repeat itself. Consistent with New Rep’s purpose, we leave We Will Not Be Silent more informed and awakened, with the charge to carefully contemplate our choices, appreciate life’s simple gifts, speak up for injustice, and share Sophie Scholl’s remarkable story with others. For more information call 617-923-8487 or visit www.newrep.org.
