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Your classmate is like your family. Maybe even more important than that. A group of schoolchildren, Jewish and Catholic, declare their ambitions: one to be a fireman, one a film star, one a pilot, another a doctor. They are learning the ABC. This is Poland, 1925. As the children grow up, their country is torn apart by invading armies, first Soviet and then Nazi. Internal grievances deepen as fervent nationalism develops; friends betray each other; violence escalates. Until these ordinary people carry out an extraordinary and monstrous act that darkly resonates to this day.Polish playwright, Tadeusz Slobodzianek, confronts his country’s involvement in the atrocities of the last century and follows the one-time classmates – amidst the weddings, parades, births, deaths, emigrations and reconciliations – into the next.
- Sales Rank: #989934 in eBooks
- Published on: 2012-06-12
- Released on: 2012-06-12
- Format: Kindle eBook
About the Author
Ryan Craig won a Fringe First for his play Broken Road at the Edinburgh Fringe and was nominated for Most Promising Playwright at the Evening Standard Awards in 2005. He has also worked extensively in television and radio. Oberon Books publishes his plays, Happy Savages, What We Did To Weinstein, The Glass Room, Portugal, Our Class and Talk Talk, Fight Fight his contribution to The Bomb: A Partial History. Ryan Craig is currently Writer-in-Residence at the National Theatre Studio.
Most helpful customer reviews
4 of 4 people found the following review helpful.
One of the Best New Plays!
By MARZENA BUKOWSKA
Poland is known for its heroism during World War II. This play, however expose the dark page of the of Poland's history trough the true story of friendship, love and betrayal. Heartbreaking , beautifully hunting, masterfully written!
0 of 4 people found the following review helpful.
Worst play ever written
By Marty
This is probably, in my estimation, the worst play ever written. It is yet another meaningless recounting of the horrors of the holocaust. It is meaningless in that it doesn't present it in any new light, provide us with any new insight into its nature, nor does it give us any clue as to how to avoid these things in the future. The only modestly important information that it provides is that the "righteous gentiles" that helped save at least a few Jews in Poland were ostracized by their fellow countrymen after the war.
Why is it so bad? Well, the barbarism and tragedies depicted in the play are well known and have been depicted over and over again. Of course, it is necessary to maintain these atrocities in public memory to prevent them from being relived over and again. But that has been done in a number of outstanding works of literature and of art in general. But what we have here is a depiction as offensive as the Vienna holocaust "memorial." One that feature an elderly religious Jew forced to clean the streets with his beard. Rather than focusing on the essential humanity of the victim, it shows us the dominance of the oppressors. The play seems to capitalize on the central atrocity (well known in the holocaust literature) as a form of sensationalism.
So here's the bottom line: if you're going to say something about the holocaust, it should add to the existing channels of thought relating to this tragedy. It should teach something. The monuments to the dead are in place. That's not to say new insight isn't needed. It's just that this play doesn't provide it. I'd go so far as to say that local theater groups that air it should be ashamed.
Here are a few other observations. If you're bored or think you've gotten enough, you should stop reading at this point. The play does nothing to shed light on why Poland had such an egregiously large deportation rate, even when Nazi Germany is taken into the picture! This contrasts with numbers published by Yad Vashem (and other organizations) showing very little direct collaboration between the Nazis and the general Polish population. These numbers also show a large number of Polish Jews were "saved" from extermination by their polish neighbors. And yet, at the end of the war, "returnees" from the camps were the victims of venom and violence. And now, as of this writing, Germany has a Jewish population over 200,000. Poland, on the other hand, has a small (but vibrant) Jewish population of about 20,000.
It would be really good to get some better understanding of what went on in that time period to explain these apparent contradictions. I'm somewhat distrustful of the historical validity of the central premise of the plot - that Jews and non-Jews in Poland enjoyed close contact in schools and in other social institutions before the war. I'm also skeptical of the play's premise that the winds of politics before, during and after the war were responsible for the terrible tragedy of the Jews of the nation. I don't really buy off on the idea that familiarity and close contact made for easy access to ultimate victims. Possibly the fact that, by in large, the Jews lived in rather insular communities allowed for easy round up and extermination.
Yes, Warsaw's Jewish population was second only to New York City in that time period. So there had to be social interaction. And in the distant past, Poland was considered the "paradise for the Jews." But religious Jews would have gone to a yeshiva and not mingled with the general school cohort. And, while the Warsaw Ghetto (totally encapsulating the Jews) was a Nazi construct, it was completed by 1940. It was made up of areas that were largely Jewish to begin with in earlier times. This population "clumping" would have impeded "integration"in any event. And surely, Poland was not immune from the antisemitism of Europe in general.
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