A German Life

Written by British playwright Christopher Hampton, and directed by Neil Armfield, A German Life reminds us both how shocking, and ordinary, war and its privations become, seen through the eyes of those who are aggrieved, and those who see themselves as ordinary citizens, doing whatever it takes to survive.

This Australian premiere, starring Australian theatre ‘grande dame’ Robyn Nevin, A German Life draws on 235 interviews conducted with 102 year old Brunhilde Pomsel in 2013, prior to her death, aged 106. Her recount begins with her childhood and teenage memories in The Great Depression, and chillingly, her words at the outset are that ‘the main thing was obedience’, and thus the tenet of this compelling 90 minute soliloquy was set.

Nevin is a theatre force to be reckoned with. With the careful use of nuanced, understandable accented English, the physicality of an old woman and the fussiness of an institutionalised self- isolating lady - pottering around, cautiously cradling cups - Nevin paints the picture of a naïve war survivor, at ease with her invested stories, keen to tell them before it is too late. As Pomsel, she portrays herself as a hapless, innocent secretary whose shorthand helped her snare jobs initially, with well to do, later persecuted, Jewish families, and finally as secretary and ‘accompanying date’, for Joseph Goebbels, Nazi Minister for Propaganda. Nevin’s performance, deservedly, earned a standing ovation.

The set, initially presented as a sparse room, becomes hauntingly completely lit up with often chilling World War two footage of Nazi Germany and real-life footage of the subsequent privation endured by millions of their own, and other people. We are reminded that charisma, fear and purposeful ignorance are easy bedfellows with both atrocity and tenuous survival.

A beautiful, haunting cello performance by Catherine Finnis precedes and accompanies key sections of Pomsel’s story. It is apt, and at times is used to underline horror and sadness. It completes and adds a deeply soulful feel, adding mournful undertones to an already gripping picture of the times.

Director Neil Armfield commented that this play ‘is as much about our contemporary world as it is about Hitler’s Germany’ and Pomsel’s chilling words, ‘There is no such thing as justice, but what certainly exists, is evil’, contextualises this. Tellingly, Pomsel showed little remorse, and her anger at injustices was solely as they affected her and those whom she cared about.

Armfield reminds us, as we reflect on our world, not to be smug and complacent. He challenges us to face the questions, issues, and perhaps catastrophes that are on each and every individual, national and international doorstep in 2021. For those who are passionate about history, this story is riveting.

For those who want to reach out and explore human frailty, A German Life is a worthy text.

Jude Hines

Photographer: Andrew Beveridge

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