Who Is To Blame?

    It was a big hit in London last year, Ödön von Horváth’s “Judgment Day,â€� which may be why Bard College brought this tale of crime and atonement to Red Hook.

   Bard also imported an Irish director, Caitriona McLaughlin, to make “Judgment Dayâ€� part of Bard’s Summerscape 2010, devoted this year to composer Alban Berg.

   McLaughlin has an intense interest in massaging plays to clarify their meaning. She speaks admiringly of a British theater company that rearranges the succession of scenes to bring out new ideas in established works.  

   No rearranging here, but “Judgment Dayâ€� gets the big treatment, for it is a talky and cumbersome drama, loaded with message-making. This is important history, but difficult drama, so McLaughlin gives it everything she’s got.

   It’s 1937 (one year before von Horváth’s death) during Hitler’s rise to power. Von Horváth’s characters  ­— dutifully labeled butcher, baker, chemist, station master, innkeeper along with the several women who are blamed for a lot of trouble — live anxious lives in a small Austrian town. They gossip.They malign. They fret about late trains, scarce jobs, mean salaries, inflation.   

   McLaughlin has placed her characters at the bottom of a long deep trench into which the audience peers on either side — in judgment, perhaps, but missing some of the action, and a fair amount of dialogue, too. Meanwhile, abundant stores of dry ice are exhausted in the making of fog that curls from dark places and creeps around the train station floor; signals clang, lights flash and the roar of a never-seen locomotive makes the rafters ring.

   Then we get  the message.

   McLaughlin has injected a little girl who steals an apple, takes a bite and hands it to, yes, a simple woodsman lounging on the station floor.

   So, we open with a swig of original sin and spend the rest of the play watching von Horváth’s people decide who to blame next for the evil around them.

   Is Anna (Hayley Treider) to blame, the innkeeper’s daughter, engaged to the butcher but, nevertheless, bent on toying with Herr Hudetz, the station master?

   Anna taunts the dutiful fellow, belittles his manhood, says Hudetz fears his wife (13 years his senior) and distracts him with a kiss when he ought to be setting a signal for the express train.

   In no time we have a horrific train wreck, 18 deaths, and Hudetz (Kevin O’Donnell) repeatedly claiming he has always followed orders, done his duty, and cannot, therefore, be blamed for anything.

   Is Frau Hudetz (Stephanie Roth Haberle) to blame, a harsh unhappy woman hated by the town and ignored by her mate who would rather play with trains than touch or talk to her?

   Did she drive the station master to this fateful kiss?

   Well, blame abounds,  and guilt, and lies and the notion that a need for atonement drives evildoers to ever greater crimes.

   Meanwhile, the scenery slides back and forth from one end of the trench to the other, conveying, perhaps, the idea of unsettled terrain.

   But it’s just plain unsettling.

   All this stagecraft worked delightfully in last year’s “Oresteiaâ€� at Bard. But this is not Greek drama.  All we see here is a gimmickry that sucks the life out of “Judgment Day.â€�

   “Judgment Day,â€� written by Ödön von Horváth and translated by Christopher Hampton, runs at Bard’s Fisher Center through July 25. Tickets: 845-758-7900.

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