I never heard about Golda Meir. I never knew about the forming of the State of Israel despite having Jewish relatives. I was raised Episcopalian and went to public and Catholic Schools and never, in all of my years of avoiding reading between 9am and 3pm, did I learn about this part of our World History. Tovah Feldshuh plays Golda Meir. Feldshuh has been nominated for three Tonys and won a Drama Desk Award for her performance as Meir at the Ensemble Studio Theater. Golda Meir was born the daughter of Russian Immigrants who settled in Milwaukee, Wisconsin. After growing up in a rather strict house and being threatened with an arranged marriage back in the '40s she took off and ran away to live with her sister. After a few years she met a man, married him, and moved with her husband to Israel. Meir spent years living on a Kibbutz and eventually ascended to the role of Prime Minister of Israel. Her story is truly inspirational even for a cynic like myself and it is the reason that I am presently revising my thoughts on whether one person can make a difference in this world. I must say that I have some questions with regards to certain directorial decisions made by Scott Schwartz (who also directed BAT BOY and TICK, TICK… BOOM). But nonetheless, I think this play works even for a cynical audience. At no time in the play do you get the sense that everything will work out or that this one person will be able to solve the international problems that the world faced during this dark era. William Gibson, who is closing in on ninety years old, wrote the play. His other Broadway credits include a musical during the '80s and two produced during the late 1950s. The playwright paints Golda as a very real, flawed human being. I typically view such “religious pieces” as propaganda and dismiss them with a jaundiced eye. However, the playwright’s depiction of the protagonist and the situation as grim and unlikely to produce a positive result intrigued me and actually made me believe that miracles can happen. One person can start a revolution and sometimes the revolution can produce a worthwhile result.

Tovah’s portrayal is the glue that holds this play together. Without her you have a decent production that nicely tells the story Golda’s life and a time of political crisis in the Middle East. William Gibson has created a fluid, tight script that in an hour and a half tells the story of a life and the near destruction of the planet. This should not be taken lightly. Plays cannot last one second too long and for Gen X'ers with A.D.D., like myself, this is vital. This article was intended to be a joint review with a discussion of THE OLDEST CONFEDERATE AMERICAN WIDOW. That show, which played nineteen performances and closed the day after opening on Broadway, ran allegedly at over three hours. I say allegedly because it closed the day before I was to see it. And although the prognosis of sitting through a three hour one woman show did not thrill me, I was excited after seeing Ellyn Burstyn most recently in Aronofsky’s film, REQUIEM FOR A DREAM, to witness what the talented actress could do on stage. Had I known more about Tovah and Golda I would have seen this show long ago. Tovah plays not only Golda at various ages, with a variety of accents including a Milwaukee twinge and an aftertaste of Israeli, but also portrays her parents, her husband, several members of her political cabinet, and even Henry Kissinger. Her performance is so well mapped out that the changes in character flow and never felt contrived or feel misunderstood. Hopefully, when the first night reviewers of Broadway sit down this year to consider who they will put in the Tony winner’s circle they will give Tovah a serious look be it in the “Special Theatrical Event” category they created for Elaine Stritch or in the Best Actress option.

Regardless if you are Jew, Christian, Atheist, Agnostic, Buddhist, or Muslim you should see this show. Scott Schwartz’s direction brings this script and the human being it portrays to life. The director was dead on with her employment of lighting, sound, and the physical space available to her at the Theater. The choice to use bombing noises (beware those of you with sensitive eardrums) and projected images of various persons and locations aided in the telling of the story. Anna Louizos did the scenic design for the play. Louizos created a very simple set revolving around the prime minister’s meeting table where many political discussions occurred during Golda’s tenure. The set did not distract and gave Tovah plenty of space to work with in her portrayal of Israel’s Prime Minister. The only criticism I have for the show revolves around a few pieces of dialog. In a few instances the dialog felt contrived and it seemed as though the protagonist was making a few comments in order to provide levity to the play. Unfortunately the vehicle was not a good choice and it only served to tarnish what was otherwise a brilliant production.

Overall, GOLDA’S BALCONY is well worth the price of admission. If you are not moved by the religious themes within the play I strongly feel that the play is equally valuable from a historical perspective. This is especially true for many Gen Xers, who like myself, are totally in the dark about the situation that surrounded Israel during the 1973 war. What becomes surprising is the impact that this war and the work of Meir had on not only Israel and the Middle East but the ways that it could have played out on the United States and the Soviet Union. The play intimates that had Kissinger not finally done his job, and secured support from Nixon to help the struggling Israeli Army, Golda would have been forced to launch a nuclear attack on neighboring Arab nations. Such an act likely would have led to the end of the cold war with nuclear exchanges between the Soviet Union and the United States. Even to a skeptical Gen X'er, this story clearly shows the ways that one person can have an impact on not only the history of a country but also the stability of the global community.

According to Playbill box office sales records, the show has been doing fairly well and while it is listed currently as an open run I would recommend purchasing tickets in the near future. The Helen Hayes Theatre is small with a short orchestra. Tickets can be purchased through Telecharge at http://www.playbill.com/events/event_detail/2658.html or by calling the theatre at (212) 239-6200. Seats range in price from $46.25 to $76.25.

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