Humour allays tension in Oslo
Political thriller
NEW YORK, July 12, (Agencies): “Oslo”, a new play by J.T. Rogers directed by Bartlett Sher, is a riveting political thriller with a personal approach.
It features tense, behind-thescenes dialogue that might have occurred during top-secret peace negotiations that took place in 1992-1993 between representatives of two bitterly sworn enemies, the state of Israel and then-terrorist group the Palestinian Liberation Organization.
Such is the skill of the production that opened Monday night at the Mitzi Newhouse Theater at Lincoln Center that we feel caught up in real negotiations of the so-called Oslo Accord, although the top-notch ensemble is deftly portraying both real people and invented characters.
Based on inside information provided by the real-life Norwegian facilitators in Oslo, diplomat Mona Juul and her husband Terje Rod-Larsen (admirably portrayed by the ever-luminous Jennifer Ehle and a lively Jefferson Mays), Rogers and Sher use impressive compression to present a multitude of possible behind-the-scenes interactions that eventually produced the first ever peace agreement between Israel and the P.L.O.
Tense
Darkly humorous comments permeate the tense conversations, arguments, impossible rifts and grudging compromises that play out in swiftly-paced scenes, interrupted by two intermissions that give the audience a chance to shake off the tension before the pressure ratchets upward again. Projections of grainy newsreel footage from that time remind us of the real-life, deadly turmoil ongoing between the two sides.
Frequent impasses are smoothed over by the amazing persuasive powers of Juul and Larsen, which Ehle in particular conveys with saintly irony. She also narrates the story, informing the audience where we are as multiple short scenes take place in various locations. Aftermaths of discord are eased with liquor and the culinary output of an excellent cook.
As the two primary Palestinian negotiators, living in exile and outnumbered as the Israeli team expands, Anthony Azizi brings dignity and wry humor to Abu Ala, while Dariush Kashani provides much-needed comic relief when his character, Hassan Asfour, stiffly spouts Communist propaganda. Daniel Oreskes and Daniel Jenkins are humbly sturdy as a pair of Israeli economics professors who initially represent their country in the secret talks, while Oreskes also brings weary gravitas to his portrayal of Israeli foreign minister Shimon Peres.
Complex
The talents of cast and crew in “Oslo” make a complex historical event feel understandable, intimate and profoundly affecting.
What would it take to get you to Lincoln Center Theater to see a three-hour political drama about the 1993 peace treaty between Israel and the Palestine Liberation Organization known as the Oslo Accords? I doubt this review is going to do it, which is really a shame, because “Oslo”, a new drama by Rogers, is unequivocally fascinating. Would that some playwright would write as gripping a play about some contemporary political issue. But again, who would go to see it?
LCT subscribers should know how lucky they are, having the opportunity to see director Bartlett Sher’s striking production of this compelling drama. Heading the flawlessly cast ensemble are Jefferson Mays and Jennifer Ehle as the Norwegian tacticians who pull off the incredible coup of getting highlevel officials from Israel and the PLO in the same room and actually talking with one another.
Terje Rod-Larsen (Mays) is the inspired and somewhat excitable academic who dares to reach out to the Israelis to start the delicate and dangerous process of these secret negotiations. Terje is a fussy fellow who dresses so well (costumer Catherine Zuber scores again) and whose manners are so refined that Yitzak Rabin insists on referring to him as a Frenchman. Mona Juul (Ehle), his wife and the narrator of the dramatic events, is the eventempered government diplomat who does whatever has to be done — from ordering the alcohol to putting out emotional fires — to make it happen.
“It’s a very small country,” Mona says to the audience, graciously explaining the extremely tight personal and political relationships.