|
Chicago Sun-Times
Rosenberg case still an explosive issue
Author(s): Hedy Weiss The Chicago Sun-Times
Date: September 5, 2007 Page: 40 Section: Features
'THE BROTHER' Recommended
When: Through Nov. 18
Where: Hancock Productions at Theatre Building Chicago, 1225 W. Belmont
Tickets: $30
Phone: (773) 327-5252
Even now, years after the Cold War has more or less thawed, we may never know the whole truth.
The case of Julius and Ethel Rosenberg -- the husband and wife sent to the electric chair in 1953 for passing nuclear weapons
secrets to the Soviet Union -- remains a point of bitter controversy. The best to be said about it all is that the case --with
its overtones of communist hysteria, its questions of Jewish loyalty and the presence of Assistant U.S. Attorney Roy Cohn
as the ferocious prosecutor -- continues to provide fodder for historians and artists alike.
The latest entry, now in its world premiere here, is "The Brother," an intriguing if somewhat uneven play. Adapted and directed
by John Hancock (with Dorothy Tristan), it is based on a 2001 book by Sam Roberts.
Any view of the Rosenberg controversy is invariably colored by personal politics. Yet one thing cannot be denied: The case
involved a third crucial member of the family, and bringing him into the spotlight adds a fascinating element to the story.
His name is David Greenglass, he was Ethel Rosenberg's younger (supposedly adoring) brother, and he worked as a machinist
for the top secret Manhattan Project at Los Alamos. Greenglass became a witness for the prosecution, ratted on his sister,
saved his own neck (and his wife's), and served 10 years in prison. In 1996, he agreed to talk to Roberts, a New York Times
editor (who offered him a financial deal). Roberts' book portrays a man many might conclude is beneath contempt, and others
might see as a modern twist on Faust or Falstaff.
As played by Steppenwolf ensemble member Robert Breuler, he is both -- a man with a dangerously weak ego, largely apolitical
but easily swayed by the notion of playing a role in history and getting a little cash on the side.
The play, which needs a good trim, is a mix of styles (melodrama, docudrama and Brecht), not all of which mesh seamlessly.
And some of the supporting characters can seem cartoonish. Yet the Greenglass character is so compelling, and the story so
multifaceted, it draws you in.
In a large cast, Bill Bannon is the persuasive journalist probing an older, unrepentant Greenglass; Justine Serino is a strong
yet life-size Ethel; Anthony Tournis is a more enigmatic than galvanic Julius; Alison Weiss is a nicely spikey Ruth Greenglass
(David's far from innocent wife), and Will Shanklin is the ever-odious Roy Cohn.
hweiss@suntimes.com
Daily Southtown
Theater Review: Though one-sided, 'Brother' is riveting
September 7, 2007
Publication: Daily Southtown (Chicago, IL)
By: BETTY MOHR Daily Southtown Theater Critic
With double agents, cloak-and-dagger suspense and national secrets at stake, "The Brother," in a world premiere at the Theater
Building in Chicago, plays out like a gripping spy thriller.
Written and directed by film director John Hancock ("Bang the Drum Slowly"), who based the tale of espionage on Sam Roberts'
book of the same title, the drama offers a glimpse into one of the most famous spy trials of the 20th century, that of Julius
and Ethel Rosenberg, who were executed as traitors.
Set during the 1940s, the story is told from the viewpoint of journalist Roberts, who interviewed David Greenglass, Ethel's
younger brother, who was part of a spy ring.
As presented, the work is one-sided in its suggestion that the U.S. government was on a witch hunt, stalking the innocent
Rosenbergs. While there is still a lot of controversy surrounding the Rosenbergs, with many now believing Ethel to have been
innocent, encrypted Soviet diplomatic messages now available through the Freedom of Information Act offer substantial evidence
for Julius' guilt.
There's another flaw in the play in that there isn't anyone with whom to sympathize. The spies made it possible for the Soviets
to kill millions; the government bureaucrats, judges and lawyers come across as caricatures, and the character of Roberts
seems overly smug and sanctimonious.
The one riveting character, though, is Greenglass, mostly due to Robert Breuler's portrayal. As the conniving Greenglass,
Breuler delivers such a riveting portrayal that he leaves the rest of the ensemble in the dust.
Although he traded atomic bomb secrets to the Soviets for cash, when Greenglass is found out and has a chance to escape to
Russia, the look of disgust on Breuler's face as he refuses to make a dash for the worker's paradise he believed would save
humanity, is ironically funny.
The most interesting moments in the play involve the spies' motivations. They weren't betraying their country just for cash.
They were doing it because they believed Russia, unlike America, was free from anti-Semitism; Marxist socialism was going
to make everything better for the worker; and it wasn't right for one country to have all the power and not share nuclear
secrets with the Soviets, even though it was a foe bent on our destruction.
That said, "The Brother" is interesting history, and Breuler's stellar performance alone makes it worthwhile.
I suggest, though, that to get an honest understanding of the characters and events of the play, you read recently revealed
information on Soviet spying of that era before seeing the show.
'The Brother'
When: Through Nov. 18
Where: Presented by Hancock Productions at the Theatre Building, 1225 W. Belmont Ave., Chicago
Tickets: $30
Information: Call (773) 327-5252 or visit www.theatrebuildingchicago.org
|
