The character referred to as Mrs. Stern is actually Hannah Arendt, a renowned political theorist famous for her concept of the “banality of evil.” In Jenny Lyn Bader’s play, the setting is not the expected Prussian state library, but rather a police detention cell where Arendt finds herself being interrogated shortly after the Reichstag fire.
The Nazi regime has broadened its focus to include political offenses, and Arendt, with her intellectual pursuits, turbulent marriage, and connections to Jewish thinkers, has attracted unwanted attention.
Authorities suspect her of engaging in illegal research on antisemitism and distributing findings to her Zionist contacts across Europe, instead of focusing on her academic work related to her doctoral thesis on Love and Saint Augustine. Throughout the questioning, she maintains an air of innocence, claiming that her interest in the news is merely incidental, and her interrogator, a new officer with a background in conventional crime prosecution, struggles to uncover any weaknesses in her responses.
During a time when the full extent of Hitler’s plans has yet to unfold, there remains an opportunity to highlight inconsistencies in state policies. At one point, they nearly reach a consensus that both Zionists and Nazis share a vision of a Jewish state, a realization that prompts a quick retreat from the topic. Interestingly, the interrogator begins to appreciate Arendt’s perspective and, in a departure from Gestapo procedures, attempts to assist her.
Given that Arendt eventually escaped Germany and gained international recognition with her 1951 publication, “The Origins of Totalitarianism,” this encounter represents a crucial moment that could have marked her downfall. Unfortunately, the play lacks dramatic depth, relying instead on a conventional exchange between a reticent Arendt and a curious interrogator, avoiding any real confrontation. It has the quality of a radio drama.
Moreover, despite having previously run in New York, Ari Laura Kreith’s production for Luna Stage feels oddly constrained. The portrayal of Hannah, played by Ella Kaille with her arms crossed and a coffee cup in hand, conveys a sense of physical confinement, while Brett Temple’s performance as the inquisitive officer seems out of place. This results in a hesitant and unengaging theatrical experience.
Currently showing at Traverse Theatre in Edinburgh until August 30.
For more reviews from the Edinburgh festival, please see our coverage.
