Andrea Stolowitz’s 90-minute autobiographical play, ‘The Berlin Diaries’, presents a compelling narrative that explores family legacy through the lens of history and personal discovery.
The production, featuring actors Dina Thomas and Lawrence Redmond, is not only a showcase of impressive performances but also a challenge for the actors as they adeptly navigate multiple roles.
As Stolowitz reads her great-grandfather’s diary, chronicling his emigration from Nazi Germany to New York, she embarks on a journey to uncover family stories previously unknown to her.
This quest for understanding echoes the experiences of notable seekers like Madeleine Albright and Tom Stoppard.
However, while the material is rich and poignant, the fast-paced direction led by Elizabeth Dinkova may hinder the emotional weight of Dr. Max Cohnreich’s story from resonating fully with the audience.
In ‘The Berlin Diaries’, Andrea, a writer and professor, receives a grant to conduct research in Berlin on her great-grandfather’s past.
As she delves into Dr. Max’s diary and explores the archives of Berlin, the dual storytelling of her personal journey and the historical account unfolds, creating an intricate tapestry of life-altering discoveries.
Despite the potential for depth, the rapid pace detracts from the evocation of Dr. Max’s experiences during a tumultuous time, suggesting that a more measured narrative could allow for a deeper connection with the character.
Redmond and Thomas shine in their performances, particularly in their ability to transition between characters seamlessly, portraying not only Dr. Max and Andrea but also Andrea’s mother and relatives, thus enriching the narrative’s emotional landscape.
Thomas is particularly noteworthy as the diligent Berlin archivist, whose efforts to uncover Dr. Max’s ‘wiedergutmachen’ file highlight the contrast between the German approach to reparations post-World War II and the ongoing discussions about reparations in the United States.
The creative elements of the production further complement the storytelling.
Sarah Beth Hall’s set design provides a versatile backdrop that enhances the rapid scene changes, and Colin K. Bills’ lighting effectively conveys mood, utilizing colors that evoke both warmth and foreboding.
However, the projection of Dr. Max’s journal, which is intended to be a central visual element, falls short as only fragments are presented on stage.
This limitation is disappointing given the availability of the complete diary online, suggesting that a more integrated approach could have elevated the visual storytelling.
Overall, ‘The Berlin Diaries’ offers a unique perspective on the Holocaust’s impact and reflects the personal revelations experienced by Stolowitz as she encounters her family history.
The play dynamically illustrates the journey of self-discovery while also revealing unexpected familial connections, yet one hopes that Stolowitz might allow herself the time to savor such discoveries, much like Dr. Max appreciated the moments with his grandchildren.
Through its engaging performances and thought-provoking themes, ‘The Berlin Diaries’ invites audiences to reflect on the significance of memory and legacy.
image source from：https://www.broadwayworld.com/washington-dc/article/Review-THE-BERLIN-DIARIES-at-Theater-J-20250610
