‘Republic of Dreams’ makes guest stop at UNH

At first glance, 21st century America might seem worlds removed from World War II era Poland. What relevance, then, does the life and work of obscure Polish-Jewish artist and writer Bruno Schultz bear to modern society in the United States? According to Stacy Klein, director of “Republic of Dreams,” the world in which Schultz wrote, painted and ultimately died at the hands of a Nazi is alarmingly similar to current times. Klein describes the world Shultz grew up in as one filled with over-consumption, religious fundamentalism and nationalistic hatred. 

“In his vision we see the undercurrent of horror and indifference that would soon erupt into the Holocaust, and, even more disturbingly, the possibility that the world today bears the same seeds of destruction,” Klein wrote in a director’s confession on the Double Edge Theatre Web site.

Double Edge is bringing “Republic of Dreams” to the University of New Hampshire for two performances on Saturday and Sunday, Feb. 16 and 17. The play explores Shultz’s life, writing and artwork, as well as “his banal death at the hands of a jealous Nazi.”

Stacy Klein is the artistic director of Double Edge Theater, a performance ensemble based in Ashfield, Mass. She conceived and directed “Republic of Dreams,” which makes a special guest performance at UNH thanks to a grant provided by the New England Foundation for the Arts.

Many of Bruno Schultz’s stories, letters and drawings seemed to eerily foretell the atrocities later committed during the Holocaust. His most well-known works include the novels “The Street of Crocodiles” and “Sanatorium Under the Sign of the Hourglass.” He was shot and killed by a Nazi in 1942, at the age of 49. The Double Edge ensemble traveled to Poland to do research for the play, which had its world premiere in New York in March 2007.

“Republic of Dreams” will be performed at UNH’s Hennessy Theater at the Paul Creative Arts Center, 30 College Road, Durham, at 7 p.m. on Feb. 16 and 17. Tickets are $15 for the general public, $10 for UNH ID holders. For tickets, call 603-862-2290 or visit www.unhmub.com/ticket. Tickets can also be purchased in person at the MUB box office, 83 Main St., Durham.

Why be honest when you can be earnest? ‘The Importance of Being Earnest’ at The Players’ Ring

Long before Jerry Seinfeld branded his version of observational humor, Oscar Wilde was writing a similar style of comedy. The two men are separated by 100 years, the Atlantic Ocean and a sea of literary talent, but the point is, poking fun at everyday life is nothing new. Wilde did it in England during the late Victorian period—a time when the social and political climate was ripe for parody.

“The Importance of Being Earnest” was first performed at the St. James Theatre in London, on Feb. 14, 1895. At the time, Wilde was at the peak of his career and anything that dripped from his pen was considered gold. It’s hard to imagine that a play written more than 100 years ago could translate so well onto a modern stage, but it does. “The Importance of Being Earnest” is now at The Players’ Ring in Portsmouth and will run through Sunday, Feb. 17.

The play follows Algernon (Andrew Fling), a young Londoner who occasionally lies about visiting a sick friend in the country in order to escape his responsibilities in the city. He calls these little adventures “bunburying.” Algernon’s best friend, Ernest (Matthew Schofield), practices the same playful escapism, but in reverse. He lies about visiting a profligate brother in the city to escape his responsibilities back home. He also takes advantage of his visits to London to see Algernon’s cousin, Gwendolyn (Whitney Leigh Smith).

Eventually, Ernest and Algernon discover that they share the same hobby of evasion. With this in mind, Algernon takes off for the country to meet the young Cecily (Christine Penney), a wealthy heiress under Ernest’s guard. Algernon assumes the name of Ernest’s brother to gain Cecily’s confidence. As the story progresses, both men are forced to juggle their identities in order to win the hand of their respective love interests.

“The Importance of Being Earnest” is Wilde’s commentary on everything from literature and politics to class and social manners. Humor is often the best way to explore controversial issues. Wilde rips on the class system of Victorian England by making fun of both sides. He is also quick to make fun of literature, especially the sentimental kind.

“I don’t like novels that end happily,” Cecily says at one point. “They depress me.”

While Wilde’s writing keeps the play moving, it is the actors who make the local performance entertaining. As Algernon, Fling not only nails the mannerisms of a Brit, but he even looks like a 19th century aristocrat. Schofield presents a self-effacing Englishman who feigns ignorance but acts on an agenda. Anne Rehner, as Lady Bracknell, Algernon’s Aunt, is also impressive. When she learns that Ernest wants to marry her daughter, she is skeptical. But when she then learns that Ernest was found in a purse as a small child, she is astonished.

“You can hardly imagine that I and Lord Bracknell would dream of allowing our only daughter—a girl brought up with the utmost care—to marry into a cloak-room and form an alliance with a parcel?” she says with indignation. 

“The Importance of Being Earnest” is filled with Wilde’s observations on love, people, politics and art. But like a Seinfeld episode, it’s kind of a show about nothing—people and their weird interactions with other people. Sometimes it takes a bit of nonsense to understand the ridiculous society in which we all live.

At the end of the first act, Ernest addresses Algernon. “You never talk anything but nonsense,” he says. Algernon responds, “Nobody ever does.” 

  For more information visit www.playersring.org. For tickets, call 603-436-8123.