REVIEW: Betsy Aidem gives the performance of the season in ‘Prayer for the French Republic’
Photo: Prayer for the French Republic features, from left, Betsy Aidem, Richard Topol, Pierre Epstein, Francis Benhamou and Jeff Seymour. Photo courtesy of Matthew Murphy / Provided by BBB with permission.
NEW YORK — Joshua Harmon’s smart and sweeping new family drama, Prayer for the French Republic, has many attributes and strengths that are quite evident over its three-hour runtime. Most notable is the anchoring performance by Betsy Aidem as the mother of the Benhamou household, a Jewish woman who is finding success as an academic but also facing personal struggles at home and in the neighborhood. The performance is stellar, combining humor and emotion with dread and fear. One feels they’ve journeyed many miles with Aidem as this family considers important questions about their collective future, in response to their collective past.
In this Manhattan Theatre Club production, the Benhamou family lives in a nice apartment in Paris, with the action set in 2016-2017, right around the time Donald Trump comes to power in the United States and far-right politicians are receiving high poll numbers in Europe. Marcelle (Aidem) has recently become chairperson of her academic department at the local college, but any joy from the promotion is spoiled when her husband, Charles (Jeff Seymour), comes home with their son, Daniel (Yair Ben-Dor), who is bloodied from being attacked on the street. Daniel, who is the most religious person of this Jewish family and also wears a head covering, is a victim of the clear rise in anti-Semitism in France and around the world. This attack, which brings the headlines of the day into the Benhamou household, prompts a difficult conversation amongst mother, father, son and daughter (Elodie, played by Francis Benhamou).
Charles is considering a move from Paris to Israel, and he plans to bring his son on a scouting trip to look for apartments. This is a monumental change for Charles, whose own roots go back to Northern Africa before his family arrived in Europe. At first, Marcelle tries to reason with her husband and son, reminding them of her family’s long legacy in France and the fact that they would have to start over in Israel.
Adding to the conversation is Molly (Molly Ranson), a distant American cousin who is in France studying abroad. She has arrived at the Benhamou apartment during this turmoil and also has a few opinions on the family’s possible move to Israel. Quickly, Molly and Daniel take a liking to each other, which further complicates the family’s decision-making. There’s also Marcelle’s brother, Patrick (Richard Topol), who pleads with his sister not to leave, reminding her that they grew up in French society thanks to their father, Pierre (Pierre Epstein).
Simultaneous to these contemporary scenes is the depiction of the Salomon family in the years 1944-1946. There is Irma (Nancy Robinette) and Adolphe (Kenneth Tigar), parents to Lucien (Ari Brand) and grandparents to a young Pierre (Petyon Lusk). The connection between the two time periods becomes evident as the play progresses.
Prayer for the French Republic is an all-consuming portrait of a family dealing with danger in the world. Anti-Semitism is on the rise outside the seemingly protective walls of this Parisian apartment, and it feels like the Benhamou family can no longer turn a blind eye to the tumult in the streets. Newspaper after newspaper has been documenting heinous crimes against Jewish individuals, and asking Daniel not to practice his religion in public seems like it won’t stop the scary problem from becoming a further reality in their lives.
Along the way, there are debates about Israel and occupied lands, conversations about secularism and religion, reminders of the horrors of the Holocaust, monologues about the constant need to be vigilant and safe when conducting the most basic of practices, the rise of fascism and the assent of Marine Le Pen in French politics. There is some complex and complicated dialogue throughout the play, but Harmon is expert at perfectly weaving the commentaries into each characterization. The recitations feel organic and fit the reality and mood of this family’s struggles.
The cast is unanimously perfect. Much credit to Seymour, Benhamou and Ben-Dor, who offer humor and heartbreak amongst this constant worrying. Aidem is a clear standout because it’s her arc that the audience follows with the closest eye. At first, she cannot envision a life outside of France. She is French, as she says time and time again, but then her son is attacked, then the headlines grow ever closer to her front door, then political victories grow more populist and frightening in nature. She was never in denial about the rise in anti-Semitism, but now she must make a decision. Watching Aidem navigate this space is a stirring experience in the theater, and she is clearly giving the performance of the season.
Prayer for the French Republic, which is playing an extended run at Manhattan Theatre Club’s New York City Center Stage I, is cleverly and fittingly directed by David Cromer. He utilizes Takeshi Kata’s scenic design to perfect effect, having the action play out on a rotating stage where the family in contemporary times resides next to the family from the 1940s.
Several statements and scenes in Harmon’s play reverberate far beyond the final blackout. He has written a cautionary tale wrapped into a desperate plea, and his depiction of this Jewish family and their questioning about the future feels like a conversation and warning long overdue for audience members to hear, consider and appreciate.
By John Soltes / Publisher / John@HollywoodSoapbox.com
Prayer for the French Republic, by Joshua Harmon, is directed by David Cromer. Starring Betsy AIdem, Yair Ben-Dor, Francis Benhamou, Ari Brand, Pierre Epstein, Peyton Lusk, Molly Ranson, Nancy Robinette, Jeff Seymour, Kenneth Tigar and Richard Topol. Running time: 3 hours. Currently playing Manhattan Theatre Club’s New York City Center Stage I. Click here for more information and tickets.
