The Action Against Sol Schumann
The play is hardly about its title character at all; rather, it concerns both the moral support and condemnation that surrounds him. At the center of this are Schumann's sons Aaron (Douglas Dickerman) and Michael (Nathan M. White). The activist Aaron has spent his life pursuing people Nazi war ciminals; a leftist writer chronicles his globe-hopping efforts in regular columns in various newspapers and magazines while a daughter of a Holocaust survivor joins him on most of these missions and offers legal representation. The revelation that his father was a kapo known as "the ogre of Ordenhaupt" causes Aaron and his confidantes to reevaluate their pieties. The assimilated Michael, never a Nazi hunter, only thinks of how he can help keep the family together.
The playwright's insights are varied, strong, and unsentimental. For example, one scene shows a prominent leader in the Jewish community trying to convince a judge to drop his case against Schumann, even though he calls the man "a monster," because he believes that media attention will reflect badly on the Jewish people and, by extension, on Israel -- a state founded as a refuge for Jews against genocide. If Jews can kill other Jews, the argument goes, what's the value of a state based on ethnic nationalism? This may be the playwright's conscience talking, but the very fact that Sweet wrote The Action Against Sol Schumann shows how misguided he believes the argument to be.
Sweet understands the concept of moral paradox and gives all of his characters interesting conflicts. The writer Diane (Catherine Lynn Dowling) forms an attachment with Aaron that prevents her from exploring the Schumann case as deeply as her profession mandates. When lawyer Leah (Susan O'Connor) takes up Sol Schumann's case, she's torn between her legal principles and her obligations to her survivor parents -- as well as to her sometime lover, Aaron. Ambivalent but never fickle, Sweet makes the case for both swift justice and forgiveness only to repudiate both options. Yet the survivors who want nothing more than to kill or deport the protagonist aren't "Shylocked"; that's to say, their quest for justice is never presented as unreasonable.
Unfortunately, sentimental acting and directing often get in the way of the straightforward writing. Director Amy Feinberg has some cast members remain on stage to observe the proceedings even when they aren't in particular scenes, and many of them gaze compassionately at the main character during his more troubling moments. The effect is probably the opposite of what was intended: The audience is less inclined to pity Schumann when outsiders regard him so kindly. The performances are uneven but the better actors deliver the material with a hard edge. Among the standouts are Herbert Rubens as Sol, Douglas Dickerman as Aaron, Susan O'Connor as Leah, and Catherine Lynn Dowling as Diane.