Amidst the furor about immigration in the 21st century, it’s hard to realize that, as a country, we’ve already experienced the tumult caused by an influx of migrants with predictably similar issues. Around the time of World War One, financial hardships in Europe (including Ireland’s potato famine) caused many enterprising young Europeans of many stripes to head for the promised land in the U.S.
Even though he never set foot in America himself, Franz Kafka, already a well-known writer, was well versed in the news of the day, often reading blow-by-blow accounts of the circumstances that immigrants encountered in New York, in particular. The result was a long, rambling sort of Odyssey entitled Amerika or The Man Who Disappeared.
Now Open Fist Theatre and Circle X have teamed up to return Dietrich Smith’s adaptation of the novel back for a short run in the Atwater Village Theatre with a new cast member, Oqalile Tshetshe, playing the part of the erstwhile immigrant, young Karl Rossman.
Told in a series of connected vignettes introducing several storylines but all involving the adventures of Karl, the meandering play benefits from innovative production techniques. Although the cast is too numerous to mention them all, several notable characters appear throughout. The most recurring through-line involves two fellow emigres — Robinson (Matthew Goodrich) and Delamarche (Elliott Moore) who alternatively help and hinder their new friend, all while joining in several amusing adventures themselves. Karl’s rich and influential Uncle Jakob (Pat Towne), serves much the same purpose.
But Karl’s fortunes turn when a fellow German transplant, the head cook at the exclusive Hotel Occidental (played by Maria Mastroyannis), takes him under her wing. She arranges a job for him as a “Lift Boy,” one of many young men who managed the elevator levers for passengers in the early part of the century. In an innovative lighting sequence, the elevators, symbolized by squares of light (designed by Gavan Wyrick), navigate across the stage. And in an amusing vignette, we meet young Giacomo (Jade Santana), who falls asleep during every ride and has to be supported by passengers. We also meet young Therese (Grace Soens), an emotionally needy young woman, who seeks out Karl for solace in several comic moments.
But in Act III, the mood turns dark as Karl is inexplicably forced to stand trial, only to escape into a suspiciously bogus land scheme entitled “Theatre of Oklahoma” (And Kafka did not mean the musical, by any means). Karl endures a number of absurd qualifying interviews by members of this strange “theatre” before being allowed to embark on a journey to parts unknown. Does he disappear? I will leave you to decide what the enigmatic ending portends.
Such a complex journey could not be possible but for the combined efforts from both Circle X and Open Fist Theatre designers. The innovative animations (by John R. Dilworth) and the massive mural-like paintings (by Elizabeth Moore) that skitter across the stage enable the tale to achieve an epic dimension, impressing upon audiences the difficulties that immigrants face in attempting a journey from the familiarity of a native land to the unknown.
It’s on my wish list that due to the scope of the journey and the play’s length (over three hours), it would seem natural to divide this saga into two sections, offering the entire play over two performances. Obviously, for the director and adapter Dietrich Smith, however, this is a journey that is important to understand. And, as we reflect on 250 years of immigration, perhaps we can become more tolerant of the immense price our progenitors paid to get us here.
Open Fist Theatre and Circle X present Amerika, or the Man Who Disappeared, Atwater Village Theatre, 3269 Casitas Ave., Los Angeles, CA 90039. continuing Fridays at 7:30 pm(except April 3rd), Saturdays at 7:00 pm, Sundays at 2 pm (with ONE Monday performance at 7:30 pm on April 6th) through May 3rd. For tickets and more information, go to openfist.org or circlextheatre.org.
