Buffalo Theater: ‘Sheltered’ at Jewish Repertory Theatre

By Bella Poynton
(Image above, L-R: Gretchen Didio, Peter Horn, Rebecca Elkin, photo by James Gibbons)

Sheltered by Alix Sobler, currently playing at Jewish Repertory Theatre through March 1, is deceptively simple in premise and setting, but it’s one of the richest, most complex productions I’ve seen in the Buffalo area this year.

Everything about this production feels intentional and finely tuned, from the acting and direction to the costumes and set design. And at the center of it all is Sobler’s extraordinary script.

Sobler has constructed something structurally challenging and not often attempted. The play consists of two pivotal scenes, Act I and Act II, both unfolding in real time, without further scene breaks. The first takes place in the home of Leonard and Evelyn Kirsch, a couple attempting to convince their friends Martin and Roberta Bloom to sponsor one of 40 Jewish children they hope to rescue from Austria. The second transports us to Vienna, where Leonard and Evelyn are confronting the painful reality of choosing which children will be brought to the U.S., and which will be left behind. The structure is clean and the stakes are high.

Sobler knows how to write stakes, and director Kyle LoConti knows exactly how to stage them. From the moment the lights come up, the tension is palpable. What initially seems like an ordinary dinner among friends becomes a bubbling brew of resentment, social one-upping and marital bitterness.

Evelyn, brilliantly played by Rebecca Elkin, is searching for the right moment to reveal the true purpose of the evening. She is driven by the ticking clock, but Maria Pedro’s Roberta and Adam Yellen’s Martin are more interested in arguing awkwardly about a local production of Our Town, their daughter Jean and the pros and cons of isolationist politics.

Peter Horn’s Leonard functions as an anchor throughout the act. Whenever the air grows too sharp, he somehow smooths it. Whenever the conversation seems like it might explode, his calm presence restores balance. But even Leonard’s grounded nature can’t entirely cover up the moral gulf between the couples.

Adam Yellen as Martin is a particularly compelling performance. The character offers a perspective not often staged so clearly. Martin insists on distancing himself from his own background to the point that he’s sometimes uncomfortable even discussing Jewish heritage.  Sobler refuses to make anyone in this play simplistic, and Yellen leans into that complexity with stunning commitment; Martin is an intriguing character to watch, despite knowing he’s morally bereft.

Another remarkable aspect of the dramaturgy is how long Sobler withholds the central question of the play. Nearly 25 minutes pass before we fully understand what the Kirsch’s are asking of their friends, but the wait is never frustrating. The exposition is woven so well into the dialogue that the revelation feels earned and reenergizing. We are invested and ready to go along with whatever comes next.

The private exchange between Roberta and Evelyn near the end of Act I is riveting. Pedro proves that Roberta is no passive bystander. Act I closes just before we see the final persuasion take place, and for a moment during intermission, I wondered if we were about to witness a continuation of this domestic scene … but I quickly thought the better of it. Sobler is far too intelligent a dramatist to let us anticipate her next move so easily or let her audience get ahead of the play!

Act II opens in German-occupied Vienna. Chris Cavanagh’s beautifully rendered Providence, R.I., living room has given away to a darker, more somber European hotel room. Kari Drozd’s costumes are elegant and precise, placing us firmly within the period. The atmosphere here is immediately different, and the stakes are higher. There’s the potential for real danger as Leonard enters, worried he’s been followed. What follows is a beautifully directed  and acted scene between Elkin and Horn that captures what a healthy marriage under unbelievable stress looks like. It stands in powerful contrast to the harmful dynamics of the Blooms’ marriage in Act I. This is one of the best scenes I’ve seen this year.

The final character to make their entrance is Hani, portrayed with remarkable control by Gretchen Didio. Hani is the mother of one of the children selected for rescue, and Didio plays her as dignified and resolute. She’s decided she can’t let her son go to the U.S., no matter the uncertainty. Although brief, it’s a truly transformative performance. I won’t spoil the ending, but I will say that I genuinely did not know what the characters would choose, or how the play would conclude. I pride myself on understanding dramatic structure, but Sobler kept me guessing until the last few minutes.

Sheltered is a play about responsibility, timing and courage; it’s about marriages, and half-truths, and fear disguised as pragmatism. It’s also about the unbearable choices that sometimes have to be made under pressure. Jewish Repertory Theatre has always been known for programming thoughtful and resonant material, but this production feels especially noteworthy. Not only are the script, acting and production elements excellent, but the emotional weight of the play stays with you. I know it stayed with me. This is one you don’t want to miss.  

Dr. Bella Poynton is a playwright, dramaturg, actor and theater historian from Buffalo. She teaches at SUNY Oswego.