★★★★ Maureen Lipman’s trademark dry sense of humour is a perfect match for the subtle inflections of Martin Sherman’s script 🖋️ FionaLondonarts
Rose moves from the shtetl to soon-to-be Nazi-occupied Warsaw. “How much worse could the Germans be than the Russians?” turns out to be a question with a grim answer. Rose’s young daughter is murdered in the Warsaw ghetto, yet Rose, the survivor, struggles on, emotionally bleached by what she has endured. Lipman’s voice remains calm and steady as she recounts unthinkable horrors and loss. I must report that older audience members sitting near me struggled to hear everything sufficiently.
Scott Le Crass’s production is slow and stately, at times even seductively soporific, making us long for a sudden injection of pace and passion. This is a particular issue in the occasional drag of the second half, as Rose’s attentions turn to the turbulent times of modern Israel.
The whirl of years offers absurd, astonishing contrasts as Rose, ever in search of a sense of belonging, moves from the Warsaw ghetto to the nascent commercialism of late 1940s America. One woman’s lifetime can contain multitudes, and Rose’s lifetime has many more multitudes than most. Together, Lipman and Sherman make us marvel – and tremble.
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