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"The characters should be
perceived by actors and direc-
tor simply as members of a
family who cannot com-
municate. They do not know
the Holocaust is behind
them."
One of the "communication
difficulties" concerns
Mordechai's reticence to
speak of his wife's death, and
how he, in fact, could have
brought Mama and Lusia to
New York by borrowing
money (he refused to accept
the money for fear of being in
debt during the Depression).
"Papa's lack of pride was
blown way out of proportion
by the forces of his time: The
Depression," Pollack says.
"The mistakes he made
would have been nothing if
the circumstances would have
been different. The play tends
to point to Papa as a false
scapegoat, and I think it's
real important that comes
out."
Pollak says A Shayna
Maidel (the title is Yiddish for
"a pretty girl") is so complex
that it isn't about just one
thing. He says he doesn't like
to dictate what theatergoers
should be looking for in the
play, but offers some sugges-
tions nevertheless.
"It's a play about survival
guilt," he says. "One of the
key things about survival
guilt is whose fault it is:
Everybody says, 'It's my fault
that person died.' Well, the
truth is, it's not your fault.
And you have to come to
terms that it's not your fault.
That's one of the motifs that
runs clearly through this play
for each of the three
characters — Rose, Lusia and
Papa."
He adds, "It's a play about
family, family's ability to con-
tinue. It's a play about con-
tinuity, about survival. There
is no way audiences won't see
this as a play about Lusia,
first and foremost. But I've
tried real hard to look at it as
a trio, and how the trio comes
together to be the unit again.
The individual has to get
through a lot of problems,
make a progression during
the course of the play, then
they are able to become a
family unit again. The fami-
ly unit is the heart and soul
of the continuity, not the in-
dividual."
Although the setting is the
Americanized Rose's Manhat-
tan apartment, the play fre-
quently shifts into sequences
revealing Lusia's memories of
her doomed family.
"These little echoes pop out;
these little motifs come clear,"
he says of the rehearsal pro-
cess. "It's poetry, but poetry
within a totally naturalistic
setting." ❑
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