EDWARD ROTHSTEIN REVIEWS “OSLO” THE STAGE PLAY
https://www.wsj.com/articles/oslo-review-getting-them-in-the-room-1492135200
EXCERPTS ONLY
The play is generally so smartly written, the characters and their realization so vivid, and the direction of Bartlett Sher so taut that you are drawn into a three-hour drama about something intrinsically undramatic, in which nuance and minutiae are generally more crucial than action: negotiations. It also helps quite a bit if you accept the play’s premises, which I think most people will.
I do not. But before explaining why, I should note that the play received its premiere last summer in Lincoln Center’s smaller Mitzi E. Newhouse Theater and the production was slightly modified for its new “Broadway” run. The author’s research was considerable (he previously took on the Rwandan genocide in “The Overwhelming” and 1980s Afghanistan battles in “Blood and Gifts”). And the true-to-life aspect of “Oslo” is startling. Much of it takes place in a castle outside Oslo (abstractly suggested by Michael Yeargan’s spare sets) where a Norwegian sociologist, Terje Rød-Larsen —played by Jefferson Mays as a polished but obsessed ironist—is eager to apply theories of negotiation to the conflicts of the Middle East. Together with his wife, Mona Juul, an official in the Norwegian Foreign Ministry—played by Jennifer Ehle as a stern but gracious overseer who fills the audience in on details—they secretly assemble their subjects (neither side wanted to be publicly seen meeting the other) and set the wheels in motion. The surprise is that in September 1993 this resulted in the Oslo Accord, marked by a historic handshake on the White House lawn between Yitzhak Rabin, Israel’s prime minister, and Yasser Arafat, the PLO’s head, soon to lead the newly formed Palestinian Authority.
Since Mr. Rogers pulled off this success, it also seemed more plausible that the historical characters thought they could too. We are reminded of the play’s historical claims again and again, both by actors impersonating Israeli politicians ( Yossi Beilin, Shimon Peres ) and by the cast interjecting reminders of terrorist attacks and retaliations during the negotiations and, at play’s end, into the present. We are meant, ultimately, to side with Mr. Rød-Larsen, who declares that, despite it all, what was achieved should give us hope. The play is a plea for the value of negotiations.
The truth is, it depends. Most recently, negotiations removing chemical weapons from Syria proved to be a sham. The Vietnam peace talks led to a completely worthless agreement. And remember Munich?
It depends on who is negotiating and why. What we don’t learn from the play, for example, is that Israeli leaders had already had confidential meetings with a PLO-connected figure, Faisal Husseini, before the Norwegians took on this project and the talks led nowhere for multiple reasons. Oslo may have “succeeded” partly because it was so flawed: Israel had no security representative involved; the Palestinians had no legal representative. And the PLO, which had become impoverished and sidelined, was being brought back into power.
The play’s epilogue acknowledges that troubles did not end, but mentions just two terrorist attacks in the two years after the signing—both by Jews, one being the assassination of Rabin in November 1995. But that is a distortion. In May 1994, Arafat called for a “jihad” to liberate Jerusalem and referred to the agreement as part of a staged plan for dismantling Israel. And in the 21/2 years after the signing, 210 Israelis were murdered in terror attacks—three times the average toll of the previous 26 years. Before his 2001 death, Mr. Husseini boasted of the Oslo accord as a Palestinian Trojan Horse. …..
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