The quality of the acting was praised in this performance. José Pedro Carrión, who played Gottfried, was singled out for his versatile and moving performance (Villán 2004).
Villán, Javier. 2004. 'Himmelweg. Camino del cielo', El Cultural, 25 November (in Spanish)
This production was elaborately staged. The ramp up the 'way to heaven' and the station clock were present.
This production was performed at the Teatro Apolo at the University of Almeria.
In this version, puppets were used as props to reinforce the manner in which the Commandant manipulates the Jewish characters.
This production was performed in Spanish and English on alternate nights during its run.
Unlike other productions of the play, the Royal Court production was subject to criticism because some reviewers felt uneasy about the subject matter. Michael Billington, writing in The Guardian, noted that he was made ‘distinctly uneasy’ by the play (Billington 2005). Similarly, Charles Spencer in The Telegraph wrote that ‘there is an uneasy feeling that the dramatist is playing games on the edge of a moral abyss’ (Spencer 2005). Despite reservations about the use of the Holocaust as a dramatic subject, however, the play was considered to be highly effective as a theatrical piece. John Peter in The Sunday Times noted how the play’s theatricality relates to contemporary life, stating, ‘Life is a dream, a nightmare. We are doomed puppets, manipulated by powers we have partly created. Knowledge is useless, understanding is impossible’ (Peter 2005). The reviewer for The Times praised the translation, noting, ‘Mayorga’s play, in David Johnston’s lucid translation, emphasises starkly the propensity of human beings to blind themselves to the fate of their fellow creatures’ (Marlowe 2005).
Billington, Michael. 2005. ‘Way to Heaven’, The Guardian, 21 June
Marlowe, Sam. 2005. 'Way to Heaven', The Times, 22 June
Peter, John. 2005. 'Way to Heaven Review', The Sunday Times, 28 June
Spencer, Charles. 2005. ‘Uneasy Glimpses into the Abyss’, The Telegraph, 24 June, http://www.telegraph.co.uk/culture/theatre/3644208/Uneasy-glimpses-into-the-abyss.html [accessed January 2010] (Online Publication)
This version alternated between promenade theatre-style and using a small stage above the audience. Act 1 and act 2 took place amongst the audience. Acts 3 and 4 took place on stage as the Nazi Commandant addressed the audience and then he and Gottfried constructed their play-within-play. Act 5 moved the action down amongst the audience again. At the end the little girl, Raquel, sang a song in Yiddish.
This was a dramatised reading as part of the Theatre@Risk Festival.
This was a dramatised reading performed as part of Queen’s University’s ‘Betwixt and Between: Memory and Cultural Translation’ conference (18-21 April 2006)
This was a dramatised reading of the play.
This production toured Ireland, going to theatres in Clonmel, Kilmallock, Wexford, Kilkenny, Limerick, Dublin, Sligo and Cork.
In this version the same actor performed the role of the Commandant and the Red Cross Representative.
This production was very well-received. The critic for The New York Times called the play ‘a powerful illustration of how theatrical artifice can be pressed into the service of atrocity’ (Webster 2009).
The way in which the character of the Commandant was performed – as an affable and charismatic man – was considered particularly effective in that it conveyed a sense of how convincing the Nazis could be. In her review, Julie Congress articulates the disturbingly pleasant effect of this charismatic Nazi character:
The treatment of the Commandant is unlike any portrayal of a Nazi I have ever seen and Francisco Reyes gives a fascinating, idiosyncratic, stellar performance. The thing is - you want to like him, or at least want to be entertained by him. I have never before experienced fighting with myself while watching a play. He gesticulates excessively and appears to have ADHD. He appears cultured and learned, handsome and funny. (Congress 2009)
Congress, Julie. 2009. ‘Way to Heaven’, www.nytheatre.com, 10 May (Online Publication)
Webster, Andy. 2009. ‘Nazi Camp Persists in Charade of Decency’, The New York Times, 20 May
A video of director Tanya Goldberg giving her views on the production is available by clicking on the Way to Heaven section of the Griffin Theatre website.
This production was in English with a simultaneous Spanish translation.
Entry written by Gwynneth Dowling. Last updated on 6 October 2010.