The truth doesn’t matter. That’s the premise and it’s repeated throughout the performance of Rosenberg, a new play being staged by Open Space Arts, and directed by Michael D. Graham. Set in April 1953, David Meyers’ play reminds us of the terrors of the McCarthy era—and that antisemitism and racism may change but they never die.
Sam Goodstein (Dustin Rothbart), a lawyer at the Department of Justice, was part of the team that successfully prosecuted Julius and Ethel Rosenberg for espionage; they are now sentenced to die in the electric chair. His new case involves the first federal enforcement of housing discrimination. Sam and his wife Judith (Sonya Robinson), a medical student, have a comfortable apartment in Washington, although they miss living in New York.
It’s Sunday afternoon. Sam and Judith discuss household matters like inviting dinner guests, planning a Passover trip to New York, and Sam’s lack of support with household chores. Sam’s paralegal, Dorothy Palmer (Delysa Richards) arrives unexpectedly to see Sam. She’s on edge because while she was working today, she says, an unknown person placed an envelope on Sam’s desk. She thought it might be important so she brought it to him at home. The document appears to be an FBI report suggesting that Ethel Rosenberg might not have been guilty of the capital crime of espionage, even though she was involved in the conspiracy (not a capital crime). Sam and Dorothy discuss it briefly and he says he’ll take care of it.
Sam and his boss, Robert Baldwin (Scott Sawa) discuss the paper and its significance. Robert says he’ll take it straight to the top—to Hoover and the White House if necessary. As he leaves, he says, “When I see you tomorrow, I was never here. We never discussed this.”
Sam can’t tell Judith about the letter. But strange things begin to happen. Phone callers hang up. Sam thinks he is being followed. The same car parks near their building every day. Robert continues to reassure him that there’s not a problem. But eventually Robert tells Sam that the reason he was assigned to the Rosenberg case was because he is Jewish. And it might be unwise for a Jewish prosecutor to ask questions about the Rosenberg verdicts.
Life becomes more and more difficult for Sam and Judith. And Dorothy, an African American, succeeded in being hired as a paralegal (Robert persists in calling her a secretary), but continues to have problems with workplace discrimination.
Robert tells Sam that he has seen evidence that was not presented in the trial about the Rosenbergs’ activities; he mentions the Venona project as a source. (The US government had secret information early in the Cold War about Soviet activities that was part of what was known as the Venona project. When it finally became public in 1995, the Venona files showed that Ethel, while not as active as Julius, did take part in his espionage activity and played a role in the recruitment of her brother for espionage.)
The names of Joseph McCarthy and Roy Cohn are mentioned in the play, which takes place early in the Eisenhower administration. During scene transitions, radio broadcasts and newsreel audio provide Cold War and atomic bomb news sound bites, as well as the cheery “duck-and-cover” song, designed to educate children about what to do in case of an atomic bomb attack.
Graham’s direction of Rosenberg is solid with excellent pacing and blocking in the tiny theater space. The performances of all four cast members are solid. Rothbart and Robinson are particularly realistic as a young professional couple dealing with career, political and family issues.
Sound design is by Zach Stinnett with lighting by Justin Walker and costumes by Patti Roeder. Lauren Ramos has a nice touch with props appropriate to the era. Kate Schnetzer is production stage manager.
David Meyers is an actor and writer with a substantial resume. His other plays include We Will Not Be Silent and The Promised Land.
Open Space Arts is Chicago’s newest (and possibly smallest) storefront theater company with seating for 20. It was founded this year by two Chicago theater veterans, Elayne LeTraunik and David Zak. Its mission is to combat homophobia and antisemitism through creativity and cultural expression.
Rosenberg continues at Open Space Arts, 1411 W. Wilson Ave, though November 5. The play runs about 90 minutes with no intermission. Tickets are $25.
For more information on this and other plays, see theatreinchicago.com.
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