Reviewed by Judy Richter
Despite her humble beginnings as
a poor Russian immigrant in Milwaukee, Golda Meir became one of the most
powerful women in the world, serving as prime minister of Israel during an
especially turbulent time. Playwright William Gibson traces her remarkable journey in
"Golda's Balcony," a one-woman show being staged by TheatreWorks. Directed by Aaron Davidman, artistic director of San
Francisco's Traveling Jewish Theatre, the 90-minute, intermissionless work features Camille
Saviola in the
title role.
The
play takes place in Israel in October 1973, the Yom Kippur War. Facing almost
certain defeat at the hands of Syria and Egypt, Meir spent several tense days
trying to get arms and equipment from the United States, but Secretary of State
Henry Kissinger appeared to be stalling her. Without U.S. help, Meir had one
more option to consider: a nuclear strike against the aggressors, she told him.
She realized it would almost certainly result in chain reaction retaliation
involving the Soviet Union and United States, thus setting off a nuclear
holocaust unprecedented in world history. At the very last minute, the United
States gave Israel what it needed, averting the unthinkable.
During
the long, tense hours of waiting, Meir talks about her life and the events that
led to her present situation. Her dedication to the idea of a Jewish homeland
began when Golda Mabovitch was only 17 and joined the Labor Zionist
Organization. Two years later, she was touring the country to advocate for a
Jewish homeland. She also married Morris Meyerson, whom she had met five years
earlier while living with her sister in Denver. In 1921 they began living in
the British Mandate of Palestine (now Israel), where their son and daughter
were born. Her activism escalated as she rose higher in the echelons of
Zionism. It also caused a rift between her and Morris, essentially forcing her
to make the heart-wrenching choice between family and politics. She chose the
latter and later changed her last name to Meir (which means to illuminate) even
though she remained married to Morris until his death in 1951.
The
play provides an informative capsule history of the formation of Israel and
some of the reasons for the Arab-Israeli tensions that continue today. It only
touches on the Palestinian issue and oil, but that's all right because this is
Meir's personal story.
Saviola
does well as Meir, who appears as a woman in her 70s with health problems. As
Meir recalls her life, projections by Chad Bonaker on Duke Durfee's simple set show some of the
scenes or people she's talking about. Costume designer Jill C. Bowers has her start in a bathrobe that
she removes to reveal a dark, no-nonsense dress with sensible black shoes. Cliff
Caruthers' sound
design is intrusive with its startling explosions or war planes between scenes
and some background music, of which Meir twice says, with annoyance, "I
can do without the music." So can the play.
It's
a challenging play for an actress, but Saviola and director Davidman meet the
challenge, resulting in a thought-provoking, informative evening.
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