Corey Tazmania, Pheonix Vaughn, Wendy Peace and Natalie Mosco

Simon Saltzman's did not go overboad in his enthusiasm for Alan Brody's The Housewives of Mannheim. Yes it's another World War II drama with music, costumes and scenic details to take us back to an era that seems to be a never ending source for dramatists and novelists. But it is indeed a standout, and New York theater goers are fortunate that they now have a chance to see the sensitively directed, beautifully detailed New Jersey premiere production with the actors who originally made each character a real, distinctive and unforgettable human beings.

Coming as it does at the end of a New York season that's been notable for being awash in gay-themed plays, both newly-conceived revivals and brand-new plays, the arrival of Brody's play in New York is especially timely. Unlike these plays, The Housewives of Mannheim tackles the much less explored subject of female sexual identity. Unlike any of these other plays bringing "the love that dare not speak its name" into the mainstream, this is not a Lesbian play — well, it is, in that it does address the women loving women issue. However, it does so as part of a much broader, more fully fleshed out story that examines matters of personal growth, friendship and prejudice. It uses the microcosm of a kitchen like millions of other kitchens to view the macrocosm of a world war which would change those on the home front and those in the forefront of the battle.

I'm not familiar with the layout of Ms. Barabas' theater where Simon saw and reviewed the play, but all those authentic details of May Black's kitchen have transferred just fine to 59E59's Theater B. — including the sheet on the clothesline so ingeniously used to project the Flemish painting from which the play takes its title and which the playwright subtly uses to remind us the centuries its taken for the daily little kitchen sink dramas of women's lives to evolve.

If I would add one quibble's to Simon's otherwise right on the mark review, it's that a sophisticated refugee like Sophie Birnbaum would be unlikely to move into a working class apartment building in Flatbush. In 1944 apartments between 90th and 110th street or further up in Washington Heights where many European refugees lived were no more expensive than apartments in Brooklyn and a more believable escape from Greenwich anti-semitism. But without Sophie's arrival to stir up the dormant emotions of the other women, we wouldn't have had as powerful a play so I guess Brody can be allowed this bit of poetic license.

As I became more and more involved with these women's lives, I found myself hoping that Mr. Brody was working on a follow-up that would extend this story to after the war so we could see what happens when the war ends and the men come back — something like Arlene Hutton's Nibroc Trilogy which followed its characters from the 1940s into the post War era, which began life a play at a time but is currently being frequently re-revived as an all-in-one event. Leafing through my press kit after the play ended I discovered that the playwright has anticipated my wish. The Housewives of Mannheim is, in fact, the first of a trilogy. The story will continue with Victory Blues about the husbands' return and "Are You Popular?" which moves them out of Brooklyn and into the suburbs. But don't wait for these still unproduced plays. This installment has enough power to stand on its own and shouldn't be missed.

Production Notes The Housewives of Mannheim By Alan Brody
Directed by SuzAnne Barabas

Cast: Natalie Mosco (Sophie Birnbaum), Wendy Peace (Alice Cohen), Corey Tazmania (Billie Friedhoff), Pheonix Vaughn (May Black)— Scenic Design & Properties: Jessica L. Parks
Lighting Design: Jill Nagle
Costume Design: Patricia E. Doherty
Sound Design: Merek Royce Press
Running Time: 2 hours including intermission
Stage Manager: Patrick Ellison Shea
Part of Americas Off Broadway at 59E59 212/179-4200
From 5/06/10; opening 5/14/10; closing 6/06/10
Tuesday-Wed at 7:15; Thurs-Friday at 8:15; Sat at 2:15 and 8:15; Sunday at 3:15
Tickets $35 ($24.50 for 59e59 members)
Re-reviewed by Elyse Sommer at 5/11/10 press preview

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