The Times hated the new revival of Tony Kushner’s oldest, most troublesome script. But it’s an essential play for 2019.
, using Tony Kushner’s play and its creation to speak to the terrifying rise of Donald Trump. But as we lock children up in cages and the twinned avalanches of climate change and democratic erosion only pick up speed, I find myself wondering if I am a fool for having hoped, in even some small part of my heart, that my work would affect anything.a man whose work has absolutely mattered, has been asking himself the same questions.
has had only a handful of professional productions in the United States since, but it’s regularly produced and taught at colleges. That’s where I first encountered it, in 1997. My own feelings about the play at the time tracked with those of most other people I knew. There was an interesting play about Weimar Germany in there, but oy vey, that Zillah stuff was so on the nose.
“It was probably an accident, as many things are,” Kushner said when I asked him where Xillah came from. At first he tried updating Zillah’s interruptions to make them about Donald Trump: “But it was clear to me that any jokes that I made about Trump would be out of date five minutes later.” So instead he decided to investigate where she really came from. He had often been accused of using her as a mouthpiece for his point of view, a charge he had vociferously denied for decades.
Although this second conflict has fixed the anti-dramatic problem at the heart of the play, Kushner has also, in an odd way, doubled down on Zillah’s destabilization of it. As Eustis put it: “The plane of battle, if you will, is the performance of the play. There’s no objective reality around them … it’s very, very abstracted compared to the very concrete story of the ’30s in Berlin.
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