{"id":363856,"date":"2025-02-02T12:25:09","date_gmt":"2025-02-02T17:25:09","guid":{"rendered":"https:\/\/dctheaterarts.org\/?p=363856"},"modified":"2025-02-02T12:25:09","modified_gmt":"2025-02-02T17:25:09","slug":"remembering-the-children-who-escaped-the-holocaust-in-kindertransport-at-rockville-little-theatre","status":"publish","type":"post","link":"https:\/\/dctheaterarts.org\/2025\/02\/02\/remembering-the-children-who-escaped-the-holocaust-in-kindertransport-at-rockville-little-theatre\/","title":{"rendered":"Remembering the children who escaped the Holocaust in ‘Kindertransport’ at Rockville Little Theatre"},"content":{"rendered":"

Second only, perhaps, to \u201cNever Again,\u201d \u201cNever Forget\u201d are the bywords of Holocaust remembrance. But what if forgetting \u2014 deliberately, insistently forgetting \u2014 becomes the coping mechanism that someone finds necessary to deal with her own Holocaust-related trauma? That is the central question of Diane Samuels\u2019 Kindertransport<\/em>, now playing at Rockville Little Theatre.<\/p>\n

\u201cKindertransport\u201d refers to rescue projects that, in the runup to World War II, sent thousands of unaccompanied German children, mostly Jewish, to the UK, where they were cared for by foster parents recruited for the effort.<\/p>\n

\"\"
Rose Armstrong (Eva) and Susan Holliday (Lil) in \u2018Kindertransport.\u2019 Photo by Aaron Skolnik.<\/figcaption><\/figure>\n

In 1939 Hamburg, Helga (Mariel Penberthy), fearing for the safety of her 9-year-old daughter Eva (Rose Armstrong), prepares to put the girl on a train, the first step on her journey as a Jewish refugee. Helga promises her daughter that she and her husband will join her as soon as possible. At the other end of the trip, in Manchester, Eva meets Lil (Susan Holliday), her foster mother-to-be.<\/p>\n

The structure of Samuels\u2019 play exemplifies a well-known William Faulkner quote: \u201cThe past is never dead. It isn\u2019t even past.\u201d Eva\u2019s past as a child refugee occupies the stage simultaneously with her 1980 present as Evelyn (Leyla Doany), the middle-aged mother of Faith (Elizabeth Davis), her college-age daughter, Lil moves seamlessly between the play\u2019s time frames as a mother figure to Eva and a grandmother figure to Faith.<\/p>\n

There are echoes of Eva\u2019s childhood experiences in Evelyn\u2019s and Faith\u2019s characters. When Lil takes Eva to yet another train to evacuate Manchester during the Blitz, Eva collapses from a panic attack. Decades later, Evelyn still suffers from panic attacks. Having been torn from her family, Eva fears the \u201cRatcatcher,\u201d a foreboding, child-snatching character from a version of the Pied Piper story. For reasons she does not understand, perhaps as a matter of unspoken generational trauma, Faith cannot bring herself to launch into her own flat.<\/p>\n

Having given up hope of seeing her parents again, the teenage Eva determines to fully assimilate as an immigrant to the UK, gaining British citizenship, accepting baptism into the Church of England, and storing the physical evidence of her former life \u2014 the Ratcatcher story book, documents, toys, a harmonica \u2014 in a trunk that is never opened. The trunk is one of the key elements of director Karen Fleming\u2019s and Steve Leshin\u2019s set, which represents the cluttered attic of Evelyn\u2019s home. It is a storage place for memories and emotions as well as objects.<\/p>\n

Evelyn has never spoken of her past to Faith, a silence that Lil has kept as well. When Faith discovers the contents of the trunk, she feels betrayed. Her Jewish heritage comes as a complete surprise. Their mother-daughter dynamic, already fraught, becomes angrier.<\/p>\n

\"\"
Leyla Doany (Evelyn) and Mariel Penberthy (Helga) in \u2018Kindertransport.\u2019 Photo by Aaron Skolnik.<\/figcaption><\/figure>\n

Kindertransport <\/em>is very much a story of mothers and daughters: Helga and Eva, Eva and Lil, Evelyn and Faith. The only male presence is a collection of minor characters nicely portrayed by Ron Ward, most importantly, the legendary ratcatcher himself. The ratcatcher motif resonates with Eva\/Evelyn, who, like the children of Hamelin, was whisked away from her home and parents without knowing why.<\/p>\n

Doany physically and vocally embodies the buttoned-up, tense, unbending nature of Evelyn, a woman who has built up such high walls against the pain of her past that she cannot let herself out or allow her daughter in. Armstrong is more convincing as the teenage Eva than as a young child, her strongest scene being a confrontation with Helga, who \u2014 to Eva\u2019s surprise and, to some at least subconscious extent, dismay \u2014 has survived the Holocaust and come to collect her and take her to America. Having constructed a new self in England, Eva does not welcome Helga\u2019s reappearance in her life. Eva\/Evelyn remains angry at having been sent away from her family, even as it saved her life.<\/p>\n

In that scene, Penberthy is effective as a wraith-like survivor, astonished by her daughter\u2019s rejection. Her 1939 Helga, strong and steadfast, does not become overtly emotional as she takes the most difficult action of her life. As Faith, Davis seems a very contemporary late teenager who begins to grow into a fuller sense of herself with the additional context for her life provided learning of her mother\u2019s background. Aside from a limp in her 1980 incarnation, Holliday\u2019s Lil does not change much between 1939 and 1980. Fortunately, she is portrayed not as a saintly savior type but as a more complex woman whose caring instincts mingle with her own limits and prejudices.<\/p>\n

\"\"
Leyla Doany (Evelyn) and Elizabeth Davis (Faith) in \u2018Kindertransport.\u2019 Photo by Aaron Skolnik.<\/figcaption><\/figure>\n

Judy House\u2019s costume design effectively matches the characters. The contrast between Helga\u2019s pre- and postwar costumes is striking. Ward gets the most costume changes. His ratcatcher outfit is as dark and ominous as it should be, and his other characters (e.g., an official checking Eva\u2019s documents and luggage on the train) get appropriate looks as well. Lil wears a rather housewifely print throughout. Evelyn\u2019s neutral outfit works for her character\u2019s desire to blend in.<\/p>\n

Jeff Goldgeier\u2019s sound design sets moods for scenes well, though in a few instances, the underscoring partially covered dialogue. Elaine Ferrell\u2019s lighting design illuminated the transitions between the 1939-47 and 1980 sequences. This is an accent-laden show, and Gary Sullivan\u2019s dialect coaching helped to create credible speech patterns by the actors. Eva\u2019s change of accent between her childhood and teenage selves was particularly satisfying. Fleming\u2019s direction kept the show\u2019s shifting time frames clear to the audience, though at times the more charged interactions between mother\/daughter pairs devolved too much into yelling.<\/p>\n

When she can no longer hide her history, Evelyn tries, almost desperately, to physically destroy the evidence of where she came from. This act of forgetting \u2014 an adamant denial not only of her personal history but of her parents\u2019 sacrifice and what led to it \u2014 is her tragedy. Forgetting, the play makes clear, is no solution to the ongoing problem of antisemitism nor, indeed, acts of hatred directed against any disfavored minority.<\/p>\n

Running Time: One hour and 50 minutes, including one intermission.<\/p>\n

Kindertransport<\/a> <\/em><\/strong>plays through February 9, 2025 (Friday and Saturday evenings at 8 pm, Sundays at 2 pm), presented by Rockville Little Theatre <\/a>performing the Bender Jewish Community Center, 6125 Montrose Road, Rockville MD. Tickets ($22; $20 for students and seniors) may be purchased online,<\/strong><\/a> by emailing tickets@rlt-online.org,<\/a> or by calling the box office at 240-314-8690 from 2-6 Tuesday through Friday and from 10-2 on Saturday.<\/p>\n

COVID Safety: <\/strong>Masks optional.<\/p>\n

Kindertransport
\n<\/em><\/strong>by Diane Samuels<\/p>\n

CAST
\nEvelyn: Leyla Doany
\nFaith: Elizabeth Davis
\nEva: Rose Armstrong
\nHelga: Mariel Penberthy
\nLil: Susan Holliday
\nThe Ratcatcher: Ron Ward<\/p>\n

CREW
\nProducer: Teresa Gillcrist
\nDirector: Karen Fleming
\nStage Manager: David Gorsline
\nASM: Michal Kaufer
\nSet Design: Bill Dunbar\/Karen Fleming
\nSet Construction: Steve Leshin
\nLighting Design: Elaine Ferrell
\nSound Design: Jeff Goldgeier
\nProperties: Nancy Davis
\nCostumes: Judy House
\nDialect Coach: Gary Sullivan
\nDramaturg: Pauline Griller-Mitchell
\nBoard Liaison: Natalie McManus<\/p>\n","protected":false},"excerpt":{"rendered":"

Forgetting, the play makes clear, is no solution to antisemitism. By BOB ASHBY<\/p>\n","protected":false},"author":12,"featured_media":363863,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[14],"tags":[92,93],"class_list":{"0":"post-363856","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-community-theater","8":"tag-diane-samuels","9":"tag-karen-fleming"},"acf":[],"apple_news_notices":[],"yoast_head":"\nRemembering the children who escaped the Holocaust in 'Kindertransport' at Rockville Little Theatre - 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