By Neil Cooper August 21
What possesses a man to commit genocide, then deny it right up to his last gasp?
Similarly, what possesses a weaver of fiction to go in search of a multitude of truths,
about himself and the mess his life is in?
Jewish Canadian playwright Michael Redhill's searingly intense study puts his own voice
in the frame as a chance meeting with a stranger in a bar leads to the former prison
officer who once oversaw a monster, but is now herself hiding out from the rest of the
This looks like one more Nazi-hunting thriller, but peel back the layers of Ross Manson's
production for Toronto-based Volcano Theatre, and as well as tapping into the Zeitgeist
of dictators being brought to task even as other war crimes are committed, and a near
Pirandellian inquiry into the nature of truth, fiction, speculation and imagined history
springs into play.
Knitted together via a series of role-playing flashbacks by a six-strong ensemble, and
with some spine-tingling choral singing derived from South Africa and Eastern Europe, a
serious and profound rumination on the weight of moral responsibility in an unjust world
goes beyond good and evil to get its man.