The Last Act of Lilka Kadison - Recommended

Sometimes familiar stories work because we know them and their telling so well, and we draw comfort from the predictable terrain. Sometimes familiar stories work because the teller adds a twist, and it is that difference that catches us up. And sometimes familiar stories work because they are told in a different way, and that telling brings a new delight to the story.

"The Last Act of Lilka Kadison," on extended run at the Lookingglass Theatre, benefits mostly from the latter of these. The story - of a Holocaust survivor's coming to terms with the past she has buried - is a familiar tale of angst and redemption. Which is not to demean the tale: it is inventively told, and despite (or because?!) of the familiar terrain, it easily brought tears to my eyes more than once during the nicely-paced 90 minutes. But that's not the reason to see this play.

What makes this production well-worth attending is the imaginative production: the use "toy theater" in both the micro and the macro to invite the audience to allow themselves to be drawn into the machinations of plot and set, and perhaps to imagine that they are part of an even larger "toy theater" - as actors and directors. Perhaps we can change our worlds by moving a few memories and assumptions around: allowing the hidden to be revealed, or the obvious obstacles to be finally discarded.

The set is frankly remarkable. At every turn, a new entrance or exit appears, and the intricate crafting of dialogue and action to bring it all together is inspiring. In Chance Bone's capable hands as Ben Ari Adler, the storytelling ghost, we forgive the mechanics and laugh - and cry - when cued.

There are a few missteps here, but many fewer than one would expect from a script crafted by five individuals. The use of modern vernacular in the "old days" of Poland was jarring and really unnecessary (e.g., what was gained by referring to the traveling troupe's next "gig"?). And the development of the young Lilka Kadison, played by Nora Fiffer - really didn't hold up: to go from frightened, observant maiden to feminist to her final youthful development may have been factual, but it wasn't "true" in the way the story was presented.

Nevertheless, these are not serious flaws: the story is solidly told, with well-timed and well-proportioned dashes of pathos and humor. It does not soar to new heights, but then again, that is not what we look for - usually - in the telling of a familiar story. So go ahead: revel in the magic that Lookingglass Theatre seems to be so adept at providing, and hear a familiar tale one more time. And maybe you'll find it's time to move around some of that lingering "baggage" that has crept into your life over so many years...