NEW YORK—Set in Jerusalem in 1192, this morality tale written in the 18th century by German writer Gotthold Ephraim Lessing readily and painfully translates to events in our own time.
The play (translation by Edward Kemp) deals with religious intolerance by spinning an intricate tale, presenting us with examples—and clashes—of the three major Western religions: Christianity, Islam, and Judaism. Presented by the Classic Stage Company and directed by Brian Kulick, it stars F. Murray Abraham in the title role.
The play begins with Nathan, a Jewish merchant, just having returned from a buying trip to learn that his daughter, Rachel (Erin Neufer), has been saved from a disastrous fire by the intervention of a Christian knight, a Templar (Stark Sands).
When Nathan finds the heroic Templar to thank him for his deed, the Templar initially is less than welcoming. His prejudice against Jews is so powerful that he wants no dealings of any kind with a Jew. In the course of events, however, his attitude will change.
The Templar has his own story to tell. He was happily saved from execution by the powerful Muslim Saladin (Austin Durant) because of the Templar’s resemblance to Saladin’s beloved brother, who had been killed.
Although prejudices basically run deep, there are specific relationships that appear to break the rules—written and unwritten. The Christian woman Daya (Caroline Lagerfelt) conscientiously takes care of Nathan’s daughter and greatly respects Nathan, feeling that he is a good person in spite of his being a Jew.
Nathan himself has a great friend in the Muslim Al-Hafi (George Abud). In one scene, Abud treats us to an excellent performance of the Muslim evening prayers.
Saladin’s sister, Sittah (Shiva Kalaiselvan), who had to convert to Christianity in order to marry a Christian, nevertheless speaks against Christians in general.
In sum, it appears that individuals can overcome their prejudices if they become personally involved in a favorable situation with someone of another faith.
When Nathan is summoned to meet with Saladin, as a test, the latter asks the merchant to name God’s preferred faith. Nathan gives his answer by means of relating a tale.
In the story, a father wished to hand down to his son a precious family heirloom, a valuable ring. Unfortunately, there were three sons but only one ring. So the father had two exact duplicates made of the ring and gave one to each son, each of whom thought that his was the original.
Since there was no easy way to prove which was the original, it ended up that each ring was equally valuable. According to Nathan’s story, the rings stood for the three religions—each of equal value.
There are complexities along the way. A romantic situation develops between Rachel and the Templar, resulting in an unexpected conclusion.
With the reins held by artistic director Brian Kulick, the indomitable F. Murray Abraham readily takes stage with his complex characterization. Caroline Lagerfelt as Daya, doubling as the stern Patriarch, also makes a strong impression. Erin Neufer, though a skilled actress, projects a contemporary quality that is troubling.
Perhaps the strongest impression the play leaves one with is how alike rather than different we all are, once we get to know one another.
I am reminded of efforts at interfaith projects such as conductor Daniel Barenboim and the late academic Edward Said’s creation of the West-Eastern Divan Orchestra. The orchestra intermixes instrumentalists of different faiths in an effort to promote peace among those who differ in belief.
Director Kulick made this production more in the manner of presentational theater, like a Brechtian presentation, rather than as a straightforward realistic play: All players remain seated in one row upstage until it’s their turn to enter.
Costumes by Anita Yavich are witty and specific, with each player wearing a robe with the lettering of his or her specific language printed thereon: Hebrew letters for the Jews, Arabic (I believe) for the Muslims. Scenic design by Tony Straiges consists primarily of Middle-Eastern rugs moved or rolled and unrolled by the players themselves to indicate change of locale. I found it an interesting effort.
The production is not only entertaining, it is educational and thought-provoking—an extremely worthwhile evening in the theater.
‘Nathan the Wise’
Classic Stage Company
136 E. 13th St.
Tickets: 212-352-3101 or ClassicStage.org
Running Time: 2 hours, 5 minutes (one intermission)
Closes: May 1
Diana Barth writes for various publications, including New Millennium. She may be contacted at [email protected]
