THE GOLDBERG VARIATIONS

Theater for the New City, located in the East Village is, since its founding in 1971 by Crystal Field and George Bartenieff, one of New York City’s leading off – off Broadway theaters, known for producing radical political plays and community commitment. Productions at TNC have won 43 Obie Awards and the Pulitzer Prize for Drama. A young Tim Robbins made his debut there in 1973 in the lead role of “The Little Prince” by Antoine de Saint-Exupéry, and remains on the Board of Directors to this day… a testament to the value and respect this venue holds in the theater world for the nurturing of artistic talent. Crystal Field continues as the Executive Artistic Director to this day.

Most recently, TNC presented a major play by a master of experimental theater: George Tabori.  The Goldberg Variations, debuted in Vienna in 1991, confronting the darkest aspects of human history, set as a backstage comedy in Jerusalem. Named after Bach’s famous musical composition, it explores variations on a theme, delving into the different ways individuals cope with trauma and loss.

The two hour play with no intermission, is directed by Manfred Bormann, who is regarded as Tabori’s primary interpreter. Bormann credits TNC as a huge help in his directing career, this being the fifth project of his nurtured  at the theater.  Acted by Jeff Burchfield, Jee Duman, Derrick Peterson, Alyssa Simon, Matt Walker, and Dana Watkins; Set design by Mark Marinate. Lighting design: Alexander Bartinieff; Costume design: Holly Pocket; Prop design: Litza Colon; Sound design: Cliff Hahn; Stage manager: Matthew Seepersad; Production associate: Defne Halman; Graphics: Julie Mardin.

This play, based on disasters in the Old and New Testament, timely presentation around the Jewish holidays and the one year anniversary of the October 7 attacks on Israel, reminds us of the individual’s futile attempts (Goldberg, an Auschwitz survivor) to accommodate society’s continued ignorance and inhumanity.  George Tibor wrote about this thirty-three years ago, and as we mournfully witness the continued destruction in the Middle East with very slim hopes of a cease fire, the dress rehearsal is a sad prediction of the continued drama in real life.

Kudos to the producers at Theater for the New City for the insight to bring this play back to life now, and to act as a sanctuary for the director and cast to grapple with its meaning.

EYE ON THE ARTS, NY — Mary Seidman