The Goldberg Variations: A Complex Interplay of Comedy and Tragedy

George Tabori’s The Goldberg Variations straddles the razor-thin line between comedy and tragedy, irreverence and reverence. In the current production, The Goldberg Variations at New York’s off-Broadway venue, Theater for the New City, these complex nuances are reimagined in a powerful and deeply affecting performance. The play explores themes of faith, identity, and historical trauma—particularly the Holocaust—through a well-articulated blend of humor and pathos while offering audiences a profound reflection on human suffering.

Setting and Thematic Focus

Staged in the TNC’s intimate black box theater, this play-within-a-play is set in Jerusalem. It unfolds as a rehearsal for a theatrical production based on Biblical stories with scriptural and Holocaust inferences like “all is vanity,” “the cattle cars will roll again,” “the wailing wall,” “sour milk and bitter honey,” “a pillar of salt and pepper,” “tower of Babel,” “Ninevah,” and “Joseph Goebbels.” Themes for scenes include the Garden of Eden, Cain and Abel, Abraham and Isaac, Moses and the Ten Commandments, and the crucifixion of Christ. Mr. Jay, portrayed by Dana Watkins, functions as the buoyant director of this production. Mr. Jay is also a comedic roué and a Jehovah of sorts. Tabori catechizes religious and historical narratives through this theatrical framing device, using absurdity to contend with trauma and the enigmatic realities of human suffering.

The Cast’s Dynamic Range

At the heart of this production is a talented cast that brings versatility and emotional depth to Tabori’s multi-layered characters. Alyssa Simon’s exceptional portrayal of Mrs. Mopp, who embodies multiple personas—including Ernestina van Veen, Teresa, Tormentina Superstar, and The Golden Calf—showcased her impressive dramatic range. Simon’s ability to shift seamlessly between identities highlighted her skill in navigating Tabori’s blend of humor and pathos. Her performance deftly balanced the text’s absurdity and the human experience’s profound vulnerability.

Derrick Peterson, playing the titular role of Goldberg, anchored the production with a commanding and compassionate performance. His portrayal of Goldberg—a figure echoing God—captured the complexities of divine authority as Tabori imagined. Peterson skillfully embodied the paradox of an all-knowing yet flawed character struggling to oversee human existence’s chaos.

Dana Watkins’ Masterful Performance as Mr. Jay

One of the most potent performances came from Dana Watkins as Mr. Jay. Watkins brought a remarkable balance of comedy and tragedy to the role, embodying the complexities of a God-like figure who directs the play-within-a-play. His interactions with Goldberg, marked by irony and philosophical debate, delve into themes of responsibility and guilt as they debate the play’s elements.

Watkins’ portrayal of Mr. Jay as the mastermind of a stage extravaganza is not only a source of fun in the production but a critical player in driving the existential and theological questions at the play’s heart. Mr. Jay’s behavior as a lecherous roué, targeting female cast members and arguing for nude characters in the Adam and Eve scene—justified by Biblical references—added to the collection of paradoxes within the author’s composition.

Supporting Cast and Their Contributions

The supporting cast added richness to the production. Jeff Burchfield, Matt Walker, and Jee Duman, who played Hell’s Angels and other minor characters, injected moments of levity into the work. Their physicality and vocal performances offered comic relief, contrasting with the weightier themes of the Holocaust and crucifixion emerging in the play’s latter half. This blend of lightness and gravity helped maintain the play’s delicate tonal balance.

The Emotional Depth of Bach’s Goldberg Variations

Perhaps one of the most striking elements of this production is the use of Johann Sebastian Bach’s Goldberg Variations as a recurring auditory motif. The piano recordings enhanced the emotional stakes of the narrative, serving as elegant reminders of the beauty and tragedy inherent in the human experience. As the cast navigated subjects centering on Jewish suffering and faith, the crystalline purity and Affektenlehre of each segment of Bach’s music provided layers of emotional complexity that heightened the audience’s engagement with the play’s themes.

A Provocative Exploration of the Crucifixion

The production reached its emotional peak with a raw and deeply affecting portrayal of the crucifixion, encapsulating Tabori’s approach to religious and historical narratives. As a European-born Jewish playwright whose father perished in Auschwitz, Tabori reimagined the crucifixion as a metaphor for Jewish suffering. Watkins’ portrayal of Mr. Jay during this scene was profound, embodying both the irony and tragedy of the crucifixion narrative. The performance challenged the audience to view the crucifixion as both a Christian symbol of sacrifice and a universal story of persecution and redemption.

As Mrs. Mopp, Alyssa Simon particularly shined when delivering a graphic and detailed explanation of the suffering endured during a crucifixion. Her clinical and horrifyingly blasé description of the physical agony of crucifixion to Mr. Jay’s deviant delight evoked torrid horripilations in listeners—nails driven through wrists, muscles cramping, and slow suffocation—contrasted sharply with the comedic and absurd tones found elsewhere in the play. Simon’s performance in this scene was visceral, offering the audience a stark and awkward reminder of human anguish, central to the play’s exploration of Jewish persecution and universal suffering.

Conclusion: A Delicate Balance of Humor and Tragedy

The Theater for the New City’s production of The Goldberg Variations is a provocative and moving exploration of faith, identity, and historical trauma. Dana Watkins’ standout performance as Mr. Jay and the stellar performances from Alyssa Simon and Derrick Peterson breathed life into Tabori’s complex, darkly comic text. Incorporating Bach’s Goldberg Variations added a layer of emotional sophistication that elevated the production, making it a must-see for those seeking to engage with Tabori’s challenging yet profoundly human work.

The production, directed with care and precision by Manfred Bormann, successfully navigated the fine line between comedy and tragedy, delivering moments of levity without undermining the gravity of its subject matter. By the end of the play, the audience was left with a deeper understanding of the intersection between humor and suffering, a testament to both the script’s complexity and the cast’s skillful execution.

The Goldberg Variations: A Complex Interplay

Theater for The New City

Crystal Field, Executive Director, presents

The Goldberg Variations by George Tabori

Directed By Manfred Bormann

The Cast

Alyssa Simon – Mrs. Mopp/Ernestina van Veen/Teresa/Tormentina Superstar/The Golden Calf
Derrick Peterson* – Goldberg
Mathew Seepersad – Voice in The Booth
Dana Watkins* – Mr. Jay
Jeff Burchfield* – Masch/Hell’s Angel
Matt Walker* – Raamah/Hell’s Angel
Jee Duman – Japhet/Hell’s Angel

*Appearing courtesy of Actors Equity Association. An Equity-approved Showcase.

Artistic

Music by Johann Sebastian Bach
Stanley Walden adapted and translated the English lyrics for Masch and the Hell’s Angels’ songs from Bach’s musical version of “The Goldberg Variations.”
Set Design and Builder Mark Marcante
Set Dresser and Props Lytza Colon
Costume Design Holly Pocket
Lighting Design Alexander Bartenieff
Sound Design Cliff Hahn
Stage Manager Mathew Seepersad
Assistant Stage Managers Gabriela Tadesse And Jaz Wilson
Production Associate Defne Halman
Graphics Julie Mardin
Press Representative Jonathan Slaff www.jsnyc.com

Produced by special arrangement with Gustav Kiepenheuer Bühnenvertriebs-GmbH, Berlin, Germany.

Runtime was about 2 hours without intermission.

Theater for the New City

155 First Ave. (at E. 10th Street)
New York NY

Box office (212) 254-1109, www.theaterforthenewcity.net

If you enjoyed this article, check out our reviews of other local events and venues, such as Dear Anton! Dear Olga!, Job at the Helen Hayes Theater,  Inspired by True Events, A Hundred Circling Camps, Oh Mary!, The Journals of Adam & Eve: The World’s First Love Story, and The Edge of Nature at La Mama.