Sometimes the only hope alive during crises or the trauma of war are romantic dreams which disappear in the light of day. Young love, illusion, rueful regret and irony thread two lines of action, one .in the past in Chartres, France, 1944, the other in an opaque and timeless present. The threads are like parallel tracks that coexist simultaneously without touching until the conclusion of This Beautiful Future where they do briefly coalesce. The production directed by Jack Serio and written by Rita Kalnejais is running at the Cherry Lane Theatre until October 30th.
The playing space downstage front represents an abandoned house once occupied by Jews, rousted out by the Nazis. The setting is Chartres France, 1944 at the end of WWII. Upstage, behind a plastic window partition in the present are observers of the action, two wise, world-savvy seniors (Angelina Fiordellisi) and (Austin Pendleton), playing themselves. These venerables serenade us with ironic songs that provide an exclamation point to the the troubling conversations, cognitive dissonance and contradictions that abide between love-mates, a canny French teenager Elodie (Francesca Carpanini) and Otto (Uly Schlesinger). Otto is a Nazi youth, old enough to shoot Frenchmen for his idol Hitler, but too naive and ignorant to understand the heinousness of his actions.
Though the conflict is understated, Elodie has fallen in love with Otto despite his mission to kill, and he is entranced with her, possibly using her to ignore the rude reality that the war is over and he is on the wrong side and facing certain death as American forces are a day, then minutes away.
The play combines monologue and interactive dialogue. The time is non linear and moves into flashbacks which alternate from Elodie’s and Otto’s magical and sweet interludes in the bedroom of the abandoned house their last evening together, to the following day when in monologue they unremorsefully describe the consequences of their love’s fool-heartiness. Another flashback skips to the time when they first discovered their interest in each other at the lake. Then the next scene jumps to Otto’s monologue describing his last moments on earth and Elodie’s monologue describing her public shaming and harassment for making love to a Nazi.
Elodie’s and Otto’s separate monologues delivered to the audience are reveries without emotion. As they discuss the consequence of their brief love relationship the following day after their night together in the house, we are surprised by the contrast with the previous scenes when their interactions are joyous, magical, uplifting. During their pillow fight, their throwing water and teasing each other, we forget that this is wartime. As they are compelled to escape to each other, we are relieved to focus on the silliness of their youthful innocence. Yes, even a killer Nazi has elements in his spirit that are silly and sensitive. Importantly, Kalnejais never steps too far away from Otto’s humanity to make him a stereotype.
In the final section the morning before they both leave the house, an egg which Elodie has stolen from a nearby chicken coop hatches and the loud chick proclaims it is alive. Of course the irony is that as the two of them leave, the chick will have to fend for itself and most probably die. This irony is heaped on another irony, because in the first scene they discuss their future after the war; they will raise this chick and have more chickens. This is the “beautiful future” of Otto and Elodie, wayward dreamers who at this point in their lives do not regret what they have experienced together. Theirs is a respite in the horrors of death and chaos. Of course they must dream of the beautiful future because it will never come to pass.
Interestingly, toward the end of the play after the wise observers of these events sing songs whose lyrics are loaded with irony, Angelina and Austin come down from their perch “on high” and hug and comfort Otto and Elodie because of what they are going through. One wonders; if the observers could intervene would they encourage Otto to leave Elodie before morning so he doesn’t fall into the hands of the Americans and die? And if Angelina could counsel Elodie, might she have left Otto and the house before her countrywomen catch her and deem her a traitor? Elodie is punished for sleeping with a Nazi, she shares in a monologue. They publicly shame, harass her and shave her head.
Most probably even if Angelina and Austin attempted to stop Elodie and Otto, they would have rebuked their interference so they could continue to believe in their dreams and “beautiful future.” They prefer being swept up by the annihilation of romantic love’s curse. Evidence of this abides throughout.
Otto is like the QAnon MAGAS in our nation who revel in the fantasies of their own making. Like them he is convinced of his rightness in bringing about Hitler’s “perfect” Master Race and the ideas of the Third Reich. Staunchly oblivious, he refers to news reports of Germany’s loss that Elodie shares with him from the BBC as banned propaganda. He even suggests he could arrest her for listening to enemy radio. Otto cannot be dissuaded from his beliefs that his troop is going to invade England the next day. Most probably his commanders have told them these lies to bolster their flagging moral. It is a wartime trick. One is reminded of Putin’s commanders lying to the Russian youth to get them to fight his losing war against Ukraine.
From war to war throughout the ages up until today, no sane individual wants to kill other human beings. They have to be brainwashed with lies, scapegoating “the enemy other” to do so. Of course, the final lie is that the war is being waged to bring about “the beautiful future.” Things will be better once “the other” is wiped out, cleansed from the face of existence. That Elodie “loves” someone who believes this is an interesting phenomenon. Thus, the songs that Angelina and Austin sing are supremely ironic as they heighten the obliviousness of Elodie and Otto, who we somehow find ourselves engaged with, precisely because they are youthful and off-the-charts irresponsible and blind.
Elodie is like the MAGA wife who supports her husband going to radical, conservative, right-wing Donald Trump rallies, though it is counter to their lives to give money to a grifter, defrauder and proven liar. Elodie ignores the truth that Otto is a killer, a brainwashed Nazi who has most probably killed her brother’s friend and others in her acquaintance. Indeed, the Nazis have killed friends, neighbors and family. Yet, she is able to live with the cognitive dissonance and “love” him.
For his part Otto puffs himself up riding on Hitler’s coattails. He imagines Hitler’s greatness when he started out from nothing to become the near ruler of all of Europe. Otto is tremendously enamored of the adventures he’s had fighting for Hitler and the respect he garners because he wears a uniform. During Elodie’s and Otto’s monologues and interactions, the songs which Angelina and Austin sing are laughably sardonic. That they sing with sweetness punctuates the dark irony all the more.
This Beautiful Future is not for everyone. From the rosy, pink set appointments evoking the concept of seeing life through “rose colored glasses” (Frank J. Oliva-scenic design), to the contrast of action and singing in a divided stage (Lacey Ebb-production design), by undefined observers, one may be confounded with a cursory viewing. The play necessitates one goes deeper for it is thought provoking and extremely current. It is well acted and finely directed. The scenes between Carpanini’s Elodie and Uly’s Otto have striking moments of whimsy, beauty and poignancy. However, playwright Rita Kalnejais always makes sure that the romantic fantasy is momentary and that leering reality lurks around the corner ready to pop up and set Elodie’s and Otto’s tranquility spinning into fear.
This Beautiful Future runs 80 minutes with no intermission at the Cherry Lane Theatre. For tickets and times go to their website: https://thisbeautifulfuture.com/