When Arthur Miller's Incident at Vichy was first produced in 1964, it was not a popular success, although it had garnered at least one glowing critical review: by the then-New York Times theater critic. The play deals with an incident during the Holocaust, reputed to be factual. Perhaps audiences were not ready to deal with such issues at that time. Now The Actors Company Theater (TACT) is staging the play's first major New York revival since its premiere.
Set in a detention room in France during the German occupation, ten men have been picked up for what they believe is "questioning." They think, and hope, that they will merely be asked to show their papers, and then released. Nervous and restless, they are at first quiet. One breaks the silence. He complains that men have gotten out of a car and have measured his nose, and then brought him here. Could they be checking to see if he is Jewish?
A gypsy is pretty much ignored by the others, although one accuses him of having stolen the metal pot he holds, which he heatedly denies. The others are noncommittal. Gradually they open up. They discuss people being sent on trains to Poland. That is to work, is it not? One contradicts, saying they are burning Jews in Poland. If one is on such a train, Get off. The others go into denial; they refuse to believe it.
Supporting the denial is an actor, who proudly maintains that he has performed before German audiences, and that they are tremendously appreciative of artistry and thus could not do the terrible things of which they've been accused. However, a well-dressed detainee, with elegant manners, who claims he is an Austrian prince, and has been improperly detained, tells how a young musician performing on his estate had been hauled off by the Nazis right after he had given an exquisite performance.
"They took him when he was at his most beautiful," he says.
Occasionally a German major enters from an inner room. He is imposing, sophisticated, and unhappy to be there. He complains to his associate, known as the professor, that he is a field major and is thus unfit to head this type of unit. The associate insists that he must stay and do his duty.
As more and more of the detainees are called into the inner room, and do not reappear, the remainder of the group become increasingly anxious. A young boy, not yet 15, offers his mother's wedding ring, which he was on his way to pawn, to the prince, to return to his mother.
The only detainee who is obviously Jewish is a very old man, bearded, wearing a black suit and hat, and hugging a bundle to himself. He occasionally rocks back and forth murmuring soft phrases. Finally there is talk that there is one foolproof way of determining who is a Jew - a physiological fact.
At play's end a striking incident takes place. It is a tangible act, when one character takes responsibility for his beliefs, that evil must be defied. That one must take a stand. The unstated subtext: We all must take a stand.
Individual performances are excellent. Inasmuch as the production presents the finest ensemble playing to be seen here in a very long time, I will name the entire cast: TACT company members appearing are: Jamie Bennett, Richard Ferrone, Todd Gearhart, Jack Koenig, Ron McClary, James Prendergast and Gregory Salata. Guest artists include: Mark Alhadeff, Christopher Burns, Jeffrey Hawkins, Leif Huckman, Russell Kahn, Michael Oberholtzer, Dan Stowell and John Freimann.
Director Scott Alan Evans (a co-artistic director of TACT) deserves the highest praise for bringing this important play to vivid life, with the technical assist of set designer Scott Bradley, costume designer David Toser and lighting designer Mary Louise Geiger. Music by Joseph Trapanese adds to the overall effectiveness.
