“The Love Song of J. Robert Oppenheimer”: Challenge, Triumph, and Downfall
- Kristine Bonaventura
- 2d
- 5 min read
by Stephen T. Kreal
On Friday, November 14th, I went to see the opening night performance of The Love Song of J. Robert Oppenheimer, written by Carson Kreitzer. It was produced by Spotlight Theater Company in Lansdowne PA. Spotlight Theater is located in the Twentieth Century Club at 84 South Lansdowne Avenue. I had the pleasure of seeing “Misery”, their very first production at this new location, last year. The play was directed by Kelci Schlierf, and assistant-directed by Charles Hoffman. The production was stage-managed by Natalie Merlino. The performance venue is beautiful, although the floor is not pitched, but rather flat, which can impact sight lines.
The Love Song of J. Robert Oppenheimer was nominated for the Pulitzer Prize in Drama and won the 2003 Lois and Richard Rosenthal New Play Prize, the American Theatre Critics' Steinberg Citation, and the Barrie Stavis Award.
The set was a simple multi-purpose unit set, with scenes taking place in the laboratory, the Oppenheimer living room, a hearing room in Washington D.C., and the Trinity test site, among others. Set build is credited to Tom Mostek. The set had a nice balance of colors and made efficient use of the stage area. Projections were used throughout. One extremely minor critique would be to consider indoor projections for the interior scenes (the living room, for example, still had the beautiful desert as the background, as did the courtroom). Credit in the program for managing the impressive projections is given to Kelci Schlierf.
The play is complex and intellectual. It is not quite a narrative and not quite a portrait. It has been described by many as being “kaleidoscopic”, meaning that it mixes historical facts with elements of fantasy. J. Robert Oppenheimer, a Jewish American physicist, was the leader, orchestrator, and architect behind the “Manhattan Project”, the codename for the building of the atomic bombs. He is the centerpiece of the play.
Actor/composer Jeffrey Barg plays Oppenheimer. Barg is tasked with not only a huge number of lines to learn, but the role requires a wide range of emotions. The highly experienced and talented Barg delivers an outstanding performance. In Act 1, he is optimistic and a bit idealistic about successfully accomplishing what was, at the time, considered to be quite audacious. In Act 2, he has to deal with the realization of the utter devastation the successful nuclear strikes caused to the citizens of Japan. His graphic descriptions of the horrific injuries are harrowing. He also has to deal with increasing accusations of aiding/abetting espionage. All of this leads to his eventual downfall, losing his security clearance and being cast out. Barg is outstanding in his portrayal of Oppenheimer.
The role of Lillith is played by Caity Brown. I have seen Brown in (at least) four previous productions. Brown is an experienced, versatile, and talented stage performer. The role of Lillith is allegorical. My interpretation is that she represents hidden knowledge, and forbidden fruit (both, I presume, references to unleashing the immense power of the atom). The character is on a raised platform adjacent to the stage for the duration of the play. Brown is mesmerizing as she moves, writhes, and leers, all while mocking and challenging Oppenheimer. Her character displays reptilian qualities, perhaps a reference to the aforementioned forbidden knowledge. Lillith functions as a sort of antagonist, who forces Oppenheimer to confront the consequences of his work. Brown’s facial expressions are sinister and menacing and just a bit fearsome.
The role of Oppenheimer’s wife, Kitty, is played by Rebekah Eberhart. According to Eberhart’s bio in the program, Eberhart is returning to the stage after a long absence. One would never notice that absence. Eberhart’s performance was powerful, as the character of Kitty was nuanced and complex. Kitty provides a powerful counterbalance to “Jay”. She challenges him and does not let him evade his moral dilemma. The character was frequently on stage with a martini glass in hand, perhaps adding to the volatility of their relationship. Eberhart brings a palpable emotional energy to the performance.
The remaining cast members all deftly play multiple roles, which required quick costume changes and accent work. This talented ensemble includes:
Ryan Mattox, who plays “scientist”, “voiceover”, “Lansdale”, “security”, and scientist Edward Teller. It is in this role that Mattox shines, with a convincing accent and a powerful scene in a fascinating costume choice. Mattox expertly and skillfully winds in and out of multiple roles.
Emmett O’Hare plays “soldier”, “British Envoy” (featuring a very good accent), “scientist”, and Lewis Strauss. O’Hare was particularly adept in his portrayal of Strauss, who eventually had a feud with Oppenheimer and, according to multiple sources, was instrumental in having Oppenheimer’s security clearance revoked. Like his cast mates, O’Hare’s costume, voice, and character changes were effective and made it clear to the audience that this was a different character.
Sara Rabatin played “nurse”, “reporter”, “censor”, “mother”, and Jean Tatlock, a scientist and a member of the Communist Party, which caused concerns for the project's security, and was later used against Oppenheimer in his security clearance hearing, and eventual revocation. Multiple sources state that it was Tatlock who introduced Oppenheimer to people in the Communist movement in the U.S. Tatlock and Oppenheimer had an on-again-off-again romantic relationship. The scenes with Oppenheimer are intense and impactful. Costuming (there is no costumer credit given in the program) helped distinguish the different characters
Rounding out the supporting ensemble is Russ Weidenmiller, playing “scientist”, “security”, and General Leslie Groves (in charge of the overall Manhattan Project, including security). Groves was known for being extremely practical, demanding, and efficient, with a blunt, sometimes intimidating leadership style. Weidenmiller also played physicist Isador Rabi, and FBI director J. Edgar Hoover. Weidenmiller tackles all of these varied roles with skill and authenticity. These multiple roles represented a challenge, including accent work, which Weidenmiller expertly portrayed.
The production was greatly enhanced with creative lighting/projections designed by Joe Ward. The scene at the Trinity site was particularly impressive. Lighting was used nicely for quick tonal shifts as well. Lighting Operator is credited to Assistant Director Charles Hoffman. Director Kelci Schlierf is also credited with sound design. The combination of sound and lighting greatly enhanced the overall theater experience of this production.
The events of this play take place 80 + years ago, yet it is relevant today. References are made to “opening Pandora’s box”, the unforeseen consequences of unleashing the power of the atom. I could not help but to think about the many concerns regarding A.I. that people are concerned about right now. As mentioned in my introduction, this is an intellectual, complex play. It is thought-provoking and powerful.
The Love Song of J. Robert Oppenheimer runs through Sunday, November 23rd. I highly recommend this play. Tickets can be purchased here:
