Sounds of Silence
Wonderful story, strong performances, but
By Cary M. Mazer
The Chosen Arden Theatre Company, 40 N. Second St., through
April 18, 215-922-1122 There are two polished wooden desks in Chris Pickart's
setting for Aaron Posner and Chaim Potok's adaptation of Potok's novel
The Chosen at the Arden, each in its own pool of light. One desk
belongs to David Malter (Tom Teti), a journalist, the other to Reb
Saunders (Mitchell Greenberg), the tzaddik of a Hasidic Jewish
community. Both men are Orthodox Jews, both are Talmud scholars, both send
their sons to yeshivas. A volume of the Talmud lies open on each desk.
They live a scant five blocks apart in Brooklyn in 1944. But there is an
enormous gulf between the two worlds, between regular, worldly Orthodoxy
and Hasidism. The Chosen tells the story
of the intersection of these two worlds through the friendship of the sons
growing up in them. When Malter's son Reuven (Jesse Bernstein) and
Saunders' son Danny (Sam Henderson) first meet, they are playing baseball
on teams from rival yeshivas. Reuven plays in a yarmulke and shorts; Danny
comes to the field in his long black coat and hat, and strips down to his
tzitzit. Reuven considers the Hasids fundamentalist fanatics; Danny
regards the Reuven and his Orthodox teammates as apikorsim, Jewish
gentiles. Posner's staging emphasizes the gulf between the two branches of
Orthodox Judaism, establishing parallels and contrasts as the friendship
between Reuven and Danny grows and their worlds intersect. Reuven pitches
to Danny, for the fateful at-bat that brings their lives together, from
atop one of the desks, while Danny stands in his batter's crouch atop the
other. Reuven visits Danny's father and debates Talmud across one desktop,
Danny visits Reuven's father and discusses Freud at the other. Soulful
conversations between Reuven and his father at one desk are intercut with
the image of Danny and his father at the other desk, sitting in chilly
silence. Danny struggles with the rigors of the order and the expectations
placed on him as his father's son and successor; Reuven discovers his own
religious calling. David Malter and Reb Saunders each respond to the
events of the world: the war, the emerging news of the Holocaust and the
war for independence in Palestine. And the sons explore their
relationships with their own and each other's fathers. It's a wonderful story, and Posner and his actors tell
it well. It helps that Bernstein and Henderson are completely convincing
in their roles, feeling with equal conviction their characters' needs for
friendship, paternal love and faith, and their need to understand their
relation to the larger world. And Posner and Potok (in the tradition of the Arden in
its early days) wisely retain a narrative voice. As in the novel, the
storyteller is the older Reuven, looking back, here played by Michael
Thomas Holmes. The older Reuven sometimes speaks for his younger self (in
one wonderful scene, he has a tortured conversation with his own younger
self), sometimes looks on, and sometimes fills in as other
characters. But while the presence of a narrator admirably retains the flavor
of storytelling, the older Reuven remains just a storyteller, and there is
no sense of why we need to see the person that Reuven has become to
understand the events that made him this way. And there is another paradox to the constant presence of
a narrative voice. From the very first word of the play
("silence"), The Chosen explores the difficulties, and
eloquence, and blessedness of silence. Danny, in his chilled relationship
with his father, tells Reuven that "you can listen to silence; it
talks to you
sometimes it cries." Reuven's father teaches him
to "learn to listen behind the words, to that which is not
spoken." And Reb Saunders teaches both Reuven and Danny that
"the heart speaks through silence." A novel, in the medium of words, can present silence
only by describing it. But a play has other options. As wonderful as the
narrative voice is; as beautiful as the words of Potok's novel, and Potok
and Posner's script, are; and as colorful as Darren L. West and Kurt B.
Kellenberger's sound design is - with its sounds of clarinet music, radio
broadcasts, echoing footsteps and resonant door slams, and the murmur of
men at prayers - the play rarely if ever lets the audience experience the
silence it talks about.