What would you do if you uncovered a potentially valuable painting made by Hitler in your loft? Is it an opportunity to cash in on or a troubling secret best kept hidden?
German Playwright Marius Von Mayenburg’s play ‘Nachtland’ grapples with this dilemma.
This contemporary comedic satire, translated by Maja Zade and directed by Patrick Merber, employs characters of varying backgrounds, each with conflicting opinions to initiate a conversation on what the most reasonable solution to the
situation would be. The audience is encouraged to contemplate how they would respond, whilst also considering the struggles of modern-day Germans in preserving history: burdened with the indelible guilt of their nation’s past.
Siblings Philip (John Heffernan) and Nicola (Dorothea Myer-Bennett) make an unsettling discovery of a painting in their recently-deceased father’s attic, bearing a signature suggesting the artist to be the Fuhrer himself. Accompanied by both of their spouses, including Philip’s wife, Judith, nicknamed the “Jewess” (played by Jenna Augen) and Nicola’s husband, Fabian (Gunnar Cauthery), immediate discord ensues. Philip and Nicola’s eager attempts to inflate the value of the artwork lead them to admit their familial ties to the Nazi party.
As the play unfolds, it appears that the siblings’ performative disdain and distancing from their ancestry unravels. Elated by their finding of letters signed ‘ Heil Hitler’, their anti nazi stance is gradually diluted as they are increasingly drawn into their family’s nazi-sympathising past. Initially described by Philip to be the ultimate reconciliation between Jew and German, his relationship “with the Jewess” takes a turbulent turn, perhaps symbolising that under the surface historical trauma remains largely unresolved. As the perceived origins of this painting are questioned, it seems that the characters’ moral compasses are compromised, as they desperately seek to establish some relation to Hitler, for the sake of financial gain.
The theatrical style, reminiscent of Brecht, seems to hinder any form
of strong emotional reaction to the performance, other than shock.
Despite the sensitive conversations, laughter arises. This is exemplified in scenes such as Judith’s spotlight lit monologue detailing her reaction to Nicola’s critical reflection on the ongoing Israel-Palestine conflict. Here, Angus Wright’s character, Kahl, the buyer, is seen bursting in, wearing racy underwear, oiled up and dancing in dazzling pink light. Richard Howell’s skillful use of lighting enhances the dynamic shifts in tone, immersing and surprising the audience, left in constant uncertainty as to what is going to happen next.
‘Nachtland’ invites viewers to adopt a more tolerant perspective,
employing humour and engagement with audience members to spark a reconsideration of society’s approach to historical taboo topics. Despite this, the correct stance towards the presented scenario remains elusive, as no clear antagonist or victim emerges.
In the play’s conclusion, the once-opposed siblings find themselves
aligning with a Hitler art collector and a nazi-sympathising art
expert, exposing their complicated relationship to their Nazi past.
Mayenburg suggests that an undercurrent of antisemitism may linger within German culture. Despite the use of comedy and initially relatable characters, the performance remains unsettling, as it is suggested that the nazi past is not as distant as it seems. When confronted between a moral choice and personal gain what would individuals choose? The play probes and exposes points of unease and discomfort in contemporary western society.
Featured Image: Angus Wright, John Heffernan, Dorothea Myer-Bennett in Nachtland © Ellie Kurttz
For more information visit Nachtland | Young Vic website
Review by Teodora Wollny
Teodora is a recent A-level graduate, having studied Art History,Drama, Philosophy and English Literature. Being both a performer and an avid writer, she enjoys attending a range of entertainment,including theatre performances and art exhibitions. Whilst currentlyon a gap year, she intends on pursuing Visual Art and Film studies.
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