Firebone Theatre’s mission is to produce works that “tackle the metaphysical themes of God (fire) and Death (bone).” With their current US premiere of Canadian playwright, Ron Reed’s Refuge of Lies, Firebone endeavors to investigate the morality of man versus retribution for his past crimes. Following the inspiration from the true story of a Nazi collaborator, Jacob Luitjens, who served in the SS-appointed Dutch land guard during WWII, Ron Reed has eloquently crafted a non-linear drama about the complexity of grace. He illuminates both sides of an argument about judgment and repentance. Where is the distinction between how a man should suffer for his sins and when his penance is over“ When shadows of his past haunt his night dreams and affect his waking life, should he continue to identify himself in the present or reconcile with his past?
With an explosion in the blackout, and a ghostly image of a Jewish man dressed in black, the lights slowly fade up from a hanging pendant lamp onto a card game at the center table of Rudi and Nettie. Through the game, we are introduced to a hint of Rudi’s dementia when he forgets coffee and dessert for his guests. In an ominous foreshadow, Rudi describes a moment when he witnesses the figment of a Jewish man across the street. As the first scene ends, we are escorted into a timeless monologue about punishment to suit the crime and the play’s thematic question of justice. Persistent knocking interrupts with a stranger’s visit and leads us deeper into Rudi’s past. Revelations of Rudi’s father in an eerie light with shadow menacingly cast on the wall and Rudi and Nettie’s blissful romance in Paraguay during his conversion to the Mennonite faith give us glimpses into his youth. As the plot is discovered in Act I, we are aware that Rudi has been a Nazi collaborator in his youth, but now at 82 and, under a different name, is he really the same man he was during WWII?
Act I continues to develop the question of how Rudi should reconcile his guilt through his relationships with his church, through Pastor Jake and his wife, and through a man he has yet to know, Simon, who has uncovered his secrets and his identity.
After Intermission, Act II delivers Rudi to recompense, as he plans for his future, although we are left to guess what this may become. Although Nettie appeals to Simon for her Rudi because he’s a new man, Simon, quotes the reference from Isaiah, “I will make Justice the measuring line and righteousness the level.” Rudi’s recognition of self-identity in his name and confrontation with past and present cause a disturbance in his spiritual and mental health. Ultimately, Rudi must measure himself on the line of justice and determine his destiny in the eyes of God and man.
In terms of the script, Ron Reed has developed a captivating drama showcasing a sympathetic face to a typically evil predator. Refuge of Lies propels us through one man’s experience with finding himself trapped in a world of deception. Directed by Steve Day, assisted by Heather Massie*, the momentum of Act I ebbs and flows steadily in the movement through doorways and silhouettes used to unmask the art of illusion, with which Rudi has surrounded himself until now. However, Act II, at times, dialogue seems calculated and action anticipated. The production values add suspense, but Act II would benefit from increased tension into the interrogation and a better sense of reveal. Perhaps this may also be due to the abundant use of silhouettes, which although artfully executed, are slightly overused. The theatrical language in terms of transitions: the movement of chairs to suggest a change in scenery, the use of doors to access passageways, expressively stage the tempo of the momentum through Rudi’s journey of self-destruction and of the events that befall him.
Richard Mawe*, as Rudi, reels the audience into his web with his sincerity and his trusting blue eyes. Lorraine Serabian*, as Nettie, works her charms as the distraught wife. The supporting ensemble: Joanne Joseph*, as Hannah, Arthur Pellman*, as Conrad, Drew Dix as Simon, John Knauss, as Jake, and Libby Skala*, as Rachel, carry the momentum of the play on their shoulders, as they execute the almost dance-like transitions. The cast portrays multiple characters, each with bold choices. The set design by Rebecca Ferguson, assisted by Rachelle Beckermann shapes Rudi’s isolated environment and emits a sense of loneliness in its bleak color palette. The costumes by Marina Reti effectively convey practicality of character and purpose across the time span of the show. Although the scenes are written in various locations, at different times, the unit set and costumes conceive Rudi’s world collapsing in on him in a non-linear, dreamlike way. The sound design by Josh Leibert adds to this sense of surreal time and space in a seemingly naturalistic environment.
Refuge of Lies creates a unique opportunity to question your own philosophies of judgment as you voyeuristically observe one man’s confrontation with reality. The Lions Theatre lends itself to an intimate connection with the characters and to the relatable ethical issue of crime and punishment. Entertaining, engaging, and argumentative, the dramatic work forces the audience to address another perspective of holocaust survival and what personal and familial integrity means in ones own life.
