The PIANOMAKERS of
GRUENWALD
by
Mordecai Goldberg
THE CAST
DIETRICH WEISS...a pianomaker.
KAREN WEISS...his buxom wife.
EVA WEISS...Their attractive daughter.
JOSEF SCHWARZ...another pianomaker.
MARIA SCHWARZ...his wife.
SIEGFRIED SCHWARZ...their handsome son.
MAYOR HERMANN...a corpulent burgermeister.
THE DIRECTOR...a film director closely resembling Adolf Hitler.
TOWNSPEOPLE...inhabitants of Gruenwald who also play Soldiers, an SS Officer, Concentration Camp Inmates, etc. as required.
THE SET
An imaginative staging approach should be used that will allow for scenes which take us in and out of the homes of Gruenwald’s pianomakers. Projection screens might be useful to illustrate the extent of the war damage suffered by this previously pristine example of a medieval German town.
The Prologue
The scene is played in front of curtain. The PRISONER, an emaciated man with shaved skull and wearing sweat-drenched pajamas of concentration camp inmate, ENTERS stage left. He is harnessed to large block of stone which he slowly drags across the stage. At center stage he collapses. The GUARD, dressed smartly in black uniform of Nazi SS officer, ENTERS stage right brandishing electrified trident or pitchfork wired to powerpack slung over his shoulder. A satanic-like tail protrudes from the seat of his riding britches. He has also come on with a whip which he now cracks to get the prisoner’s attention.
GUARD: On your feet slacker! [Uses whip to poke at prostrate PRISONER.] What’s the matter comrade—the old batteries running down again? I’d be more than happy to recharge them for you! [Fiddles with dials on powerpack causing tines of trident to arc.] What do you say to 40,000 volts? That amount of juice should give you a new lease on life!
PRISONER: Why don’t you just make it a lethal dose and get it over with—I can’t take any more of this socalled "existence!" Please—for God’s sake—put me out of my misery—kill me!
GUARD: You know I can’t do that; even if I wanted to: which I don’t. You’re already dead, comrade! Why can’t you get that fundamental fact through your thick German skull? Where do you think we are—in some kind of holiday camp? Compared to this place Auschwitz was a Sunday School picnic! Here the inmates are not permitted the "luxury" of dying! No my friend; we’ve been condemned to a damnation that is truly eternal. It’s no good complaining. This’s the fate you were warned about in church; or, if you weren’t religiously persuaded, there was no shortage of nonecclesiastical propaganda from the literary likes of Goethe, Dante and Dostoyevsky concerning the wages of sin. We all have our problems down here. If you don’t fill your backbreaking quota I’ll find myself standing in your shoes.
PRISONER: That’s another thing: I don’t have any shoes! No matter how long you tread these hot coals your feet never get used to them. Every step I take is excrutiatingly painful—[Raises feet to show GUARD their gorey soles.]
GUARD: So, you still have enough energy to crack jokes! Let’s see if you can find some humor in this? [Applies tip of trident to PRISONER’s foot.]
PRISONER screams from excrutiating pain.
GUARD: Well? Are you ready to resume your work?
PRISONER: You can’t get blood from a stone.
GUARD: Oh, you’ll bleed alright—invisibly; from every fiber of your central nervous system! [Adjusting dials on powerpack.] If you don’t believe me I can send a bolt of this lightning into your crotch that’ll make the peach fuzz on your skull stand up and shout "surrender!" [Menaces PRISONER’s crotch with trident.]
PRISONER: Well—what are you waiting for? Afraid that kind of radical shock therapy might drive me so completely mad I will no longer appreciate the insanity of this nightmare?
GUARD: No, it isn’t that—I just now had the feeling I know you.
PRISONER: And so you should! You tortured me on no less than three occasions last week!
GUARD: No, before that—up there—in "The Good Old Days"—before Germany turned herself into that hell on earth known as The Third Reich. Didn’t we meet during those now seemingly "blissful" years of the Weimar Republic?
PRISONER: It’s not likely—
GUARD: Yes it is! I remember now! You were one of those famous Gruenwaldian pianomakers!
PRISONER: That’s true enough but—your face doesn’t—[Shields eyes, trying to examine GUARD’s face.]
GUARD removes cap, revealing pair of horns which sprout from his temples.
GUARD: Does this help—or are these horns putting you off?
PRISONER: What with all this gloom and air pollution my eyes aren’t what they once were—
GUARD: My fingers have also suffered—[Extends hands toward PRISONER.]
PRISONER: No—it couldn’t be—it’s not possible!
GUARD: What’s not possible?
PRISONER: Just now—looking at your hands—my mind flashed back to a time when a certain pianist came to Gruenwald for the building of a special instrument he had commissioned—
GUARD: "A certain pianist?" There was a time when I was universally acclaimed in Germany as "The" pianist
PRISONER: Good God—you’re not—you can’t be—Manfred Kaiserling!
GUARD: When the critics compared me to Liszt it was usually Liszt who came out second best!
PRISONER: Yes, yes—it’s all coming back to me now! I was to build you a piano worthy of what was then assumed to be your long reign as Europe’s greatest keyboard virtuoso! And if that’s the case, I must ask what in the world a man like you is doing in a place like this?
GUARD: I could ask you the same question, Schwarz—it is Schwarz, isn’t it?
PRISONER: Yes, yes—Josef Schwarz! I’m flattered you would remember!
GUARD: Well, to answer your question—I wasn’t the only artistic celebrity to become a Nazi. Oh yes, not only did I join the party—in my zeal to avenge the Fatherland I volunteered for service with the SS in exterminating enemy prisoners. Believe it or not Schwarz, you are looking at an authentic war criminal. But you, a simple pianomaker —what crimes could you have been guilty of that would warrant such a Faustian damnation?
PRISONER: A very good question, Herr Kaiserling—but one which requires the telling of a longish story!
GUARD: Long or short, it is a story I must hear!
PRISONER: Before that I must ask you how it is that selfconfessed war criminals and exNazis such as you enjoy positions of power and privilege over poor devils like me?
GUARD: In the first place we aren’t exNazis; and secondly, at the end of the war there was so much overcrowding down here the authorities were compelled to make a deal with the Gestapo and SS to provide those policing skills we had so expertly acquired during that dress rehearsal for our true role, now known as "The Holocaust ." The fact is, Schwarz, if you’re going to sin it pays to think big! Not that this tour of duty is any piece of cake. Still, I must admit, by comparison we do enjoy certain creature comforts. This flask of frozen daquiri, for instance—[Takes swig from flask, then offers it to PRISONER.] Would you care for a nip? [PRISONER accepts.] Easy now—it’s ice cold! I’ve got some other goodies too. French pate, vichyssoise and real Havana cigars—which we can enjoy while you tell me your story. And for that we had better find ourselves a little privacy—how about that pit of brimstone over there? Concealed by those fumes we should be able to steal enough time for the telling of your tale of how a man who spent his entire life making pianos ended up hauling rocks in this hellhole. Speaking of which, has that drink given you the strength to resume moving this monumental load—or should I lend you a hand?
PRISONER: No, no—it might tip our hand if you were seen helping me. [Begins dragging stone block but can only make meager progress.]
GUARD: Damn it, Schwarz, I can’t wait—my curiosity is killing me! Can you start the story now?
PRISONER: I’ll try, Herr Kaiserling—[His narrative will be punctuated by sounds of his exertion.] Like all great tragedies mine had a deceptively comical beginning. Yes, the story of my downfall couldn’t have begun more happily—It was the afternoon of my son’s wedding to his childhood sweetheart—and the daughter of my neighbor, closest friend and fellow pianomaker, Dietrich Weiss—[As they approach their exit stage right, sound of music is heard.] We were having a party—Everyone was enjoying himself—A conga line had formed and—[They EXIT right.]
End Prologue
ACT ONE
Scene 1
Livingroom of Weiss home. At curtain WEISSES, SCHWARZES, EVA, SIEGFRIED and MAYOR ENTER dancing in conga line. A reception for wedding of Eva and Siegfried is in progress. The dining table is set generously with food and drink.
MAYOR: What a beautiful sight this is! Two young lovers united in the bonds of holy matrimony! These old eyes of mine never weary of seeing such bliss. As the mayor of Gruenwald I have married too many couples to count—or at least to admit! But every time I hitch a new pair it’s like the springtide reviving this wintry soul of mine. Think of the honeymoon that lies ahead! Nothing but happiness and bliss ahead for you two, eh? [Raises glass to them and drinks.]
MARIA: There’s nothing like a honeymoon! Staying in a four star hotel, sleeping late and having your breakfast served in bed while everyone else must carry on with the chores of life.
KAREN: And all of the other guests giving you the eye because you are so obviously in love—the whole world is in love with you just because you are so in love with each other! [Takes SCHWARZ’s hand.] That’s the way it was with us, anyway!
MAYOR: [Snacking and drinking.] Marriage is a wonderful institution!
SCHWARZ: If it’s so wonderful, Herr Mayor, how is it you never got spliced?
MAYOR: I could never find a woman who’d put up with me! That’s the plain truth of the matter. You have put your finger on the great tragedy of my life, Schwarz! Maybe that’s why I went into politics; how else can a bachelor like me express his paternalistic instincts? Inside every politician there is a frustrated father!
KAREN: I don’t believe that, Herr Mayor; you are far too handsome a man to be left on the vine this long.
MAYOR: Life is full of such contradictions, Frau Weiss. But I have learned to live with the irony of it all—to rise above the injustice of this earthly existence—as Wagner himself once said! Of course it’s true I should be considered an ideal husband—but somehow that simple and obvious truth has escaped the womenfolk of Gruenwald!
SCHWARZ: Well, what can you expect from the female population of a jerkwater town like Gruenwald? No, my friend—you should have done your wife-shopping in Frankfurt or Berlin!
MARIA: Are you casting aspersions on the womenfolk of Gruenwald again?
SCHWARZ: They don’t need me to cast aspersions on them.
MARIA: I think you’re trying to provoke a domestic argument right here in front of the children—
SIEGFRIED: Children? What children are you talking about,? Do you see any children here, Eva?
EVA: Don’t you realize that Siegfried and I have been married for more than an hour!
SIEGFRIED: Which makes it high time we left for the station; our steamer leaves at four sharp.
MARIA: You’re leaving so soon! Oh—Josef; they’re going, they’re leaving us! [Breaks into tears.]
SCHWARZ: What did you expect—that they’d spend their honeymoon here in Gruenwald? Besides, they’ll only be gone for two weeks and then everything will be nice and normal again. [Comforts her.]
MARIA: It will never be the same—it will never be the same again, Josef! Our only son, our baby, is a married man! Don’t you realize that? Don’t you understand how empty the house and our lives will be from now on?
SCHWARZ: We’ll get a cat, or a dog—
MARIA: [Crying on SCHWARZ’s shoulder.] Oh, Josef!
KAREN: I’ve packed you both a little lunch for the trip. Have you got everything else? Your passports?
EVA: Yes Mama; we’ve got our toothbrushes and lots of clean underwear and—
SIEGFRIED: Come on my little wife, it’s time to say goodbye and start our great adventure! [Gathers luggage; at threshold.] Goodbye everybody! Wish us luck! See you soon!
ALL: Goodbye—goodbye—good luck!
EXIT EVA and SIEGFRIED singing and laughing.
KAREN: [After pause, trying to revive spirits.] Please, finish the cake; I’ll make some more coffee. [EXIT to kitchen.]
MARIA: I’ll help you with the dishes, Karen. [EXIT after Karen to kitchen.]
WEISS: [Offering cigars.] Well, what do you think?
MAYOR: What do I think about what?
WEISS: What do you think their chances are?
MAYOR: They’re a handsome couple, Weiss, a very handsome couple. I predict a long and happy marriage. I’m something of an expert, you know. I can tell from the look in their eyes when I ask them, "will you take this man, will you take this woman"—I make a little mental note. This one will be in the divorce court in six months, this one will last nearly 20 years and then suddenly, kaput! It’s written in their eyes—
WEISS: I mean the economic situation.
SCHWARZ: They laid off 10 men in the shipping section day before yesterday.
MAYOR: That’s unskilled labor. It’s not significant—
WEISS: Being on the board of directors of the pianoworks, we thought you might know something.
MAYOR: Only what I read in the newspapers, believe me.
SCHWARZ: The papers are full of gloom and doom.
WEISS: The word "depression" keeps cropping up—
MAYOR: Here in Gruenwald what happens in the rest of the country is not important; you know that. The demand for fine pianos goes on no matter what happens to beer and shoes. We’ve been making pianos here for over 2 centuries and the factory has never closed down once in all that time, has it? Even during the last war, the production of pianos was uninterrupted.
SCHWARZ: That’s what makes me nervous, Herr Mayor. Unsold pianos are piling up in the warehouse. Nobody can remember such a thing ever happening before.
WEISS: It never has happened before and that is a fact.
SCHWARZ: That’s the real reason Maria is upset about Eva and Siegfried getting married just now.
WEISS: Not the best time to start a marriage—in the middle of a depression.
MAYOR: Please! You mustn’t keep saying that word or we will talk ourselves right into the kind of trouble you are speculating about. One day at a time, my friends; that is how we must live our lives. And today is a day of celebration! Besides, here in Gruenwald we enjoy the special protection of the Muse, do we not? She has always provided us with a miracle when we needed one, hasn’t she?
SCHWARZ: That’s certainly true, Weiss.
MAYOR: Don’t forget—Wagner himself put his blessing on this place! So let us finish this schnaps in a final toast to the honeymooners—[They refill their glasses, drink.] They are swimming in the great river of life now; gliding past the soaring scenery of the Alps, through an enchanted landscape of dreams, borne along by the unceasing waters. Even when the rains fail for a season or two, the Rhine does not dry up, does it? The Rhine has been flowing since God knows when. A few pair of unsold shoes in Mannheim or even a few surplus pianos stacked up in the warehouse of our factory won’t alter that supreme fact, will it? So let us lift our glasses to Life and Love!
They drink. MARIA and KAREN RE-ENTER with tray of coffee.
MARIA: What about all these rumors, Herr Mayor?
MAYOR: What rumors, Frau Weiss?
MARIA: About unsold pianos stacking up in the warehouse?
ALL exchange looks. Blackout.
Scene 2
The terrace of an alpine hotel. SIEGFRIED and EVA at small table. At least one other couple also dining.
SIEGFRIED: This is the way life should always be! Sitting here, high above the fray—smoking imported cigarettes, drinking coffee laced with brandy, cream and sugar while in the company of a beautiful woman—
EVA: And a handsome man!
SIEGFRIED: I don’t understand what the fuss is all about—
EVA: What fuss?
SIEGFRIED: The fuss people make about life being so tragic!
EVA: It was very nice of God to make us such an ideal couple!
SIEGFRIED: [Loudly, in order to be overheard.] We don’t really care if you overhear all these compliments we’re paying to ourselves. This isn’t a private conversation, is it Eva?
EVA: We have no secrets!
SIEGFRIED: We’re not ashamed of being on our honeymoon and having everyone in Germany know it. If we’re embarrassing you, it’s not our fault.
EVA: Why would anyone be embarrassed by seeing a pair of young lovebirds like us?
SIEGFRIED: Well, you know how it is when you’re middleaged and "sophisticated!" See that fellow over there—the one who’s pretending to hide behind his newspaper; the one whose face is beginning to turn a very bright shade of red right now as I speak?
EVA: Oh, Siegfried!
SIEGFRIED: He’s embarrassed by our being madly in love with each other. Yes he is. He definitely is. See how tightly he’s gripping that newspaper now? And notice how his wife looks the other way when I look in her direction! [Calling.] Madam, there is nothing to see over there! All of the really spectacular scenery is over here! [Kisses EVA passionately.]
EVA: Siegfried! There’s no need to be sadistic—
SIEGFRIED: Is it being cruel to show some people that two other people are madly in love with each other? Our honeymoon should be an example to everyone. It should remind them of their own amorous potentialities. Honeymoons should last forever! See now? He’s giving me that look of "You just wait and see, brother!" Well, our honeymoon will last forever, won’t it my darling?
EVA: Forever and ever and ever—[Kisses SIEGFRIED.]
SIEGFRIED: Just because we are leaving here in a few days doesn’t mean that our bliss will come to a crashing halt. We’re from Gruenwald—the place where they make those famous pianos. If you look way out there to the horizon, where the Rhine makes a last bend —where that fleecy white cloud is hovering? Well, right under that little cloud is our wonderful little town; the most wonderful little town in the whole wide world!
EVA: We’ve rented a cute little apartment on Schubertstrasse—number 37 to be exact.
SIEGFRIED: All the streets in our town are named after great musicians—in case you weren’t aware of that fact.
EVA: When we get back to Gruenwald we’re going to decorate our apartment and make it into the perfect lovenest—
SIEGFRIED: Not that we’re filthy rich or anything like that. Everything will take time. We are perfectly aware of that. Just one piece of furniture at a time—
EVA: Naturally we’ll start with the bed!
SIEGFRIED: Yes, we will certainly start with the bed! [Offering cigarette pack.] Would you like a cigarette? They’re English—[Reading from package.] "Made with genuine Virginia tobacco imported from America." No reason you shouldn’t do things right once you decide to do them, eh? I’m learning to smoke a pipe too, so like all the other menfolk of Gruenwald, when I come home from the pianoworks I can sit down and have a smoke and read the evening papers while my little bride gets supper ready for her hardworking hubby. That’s the way we do things in Gruenwald. The menfolk smoke their pipes while the womenfolk prepare their supper. Nothing very "exciting" happens there—but that’s how we Gruenwalders like it. The generations come and the generations go, and everyone is content. And, when the time comes—after I’ve become a journeyman piano tuner, we will start having our babies like everybody else.
EVA: Except that they will be the most beautiful and fantastic babies anyone has ever seen in Gruenwald!
SIEGFRIED: And when we get a little prosperous we’ll come back to a place like this for our holidays and look at the honeymooners; only we won’t make believe we’re reading a newspaper or looking at the scenery. No. We’ll look them right in the eye and show them that we’re still just as much in love as we were when we first tied the knot because we don’t see any reason why one’s honeymoon shouldn’t last forever, do we?
EVA: I can’t think of a single reason why not!
They kiss. Blackout.
Scene 3
The Weiss home. EVA unpacking suitcases; weeping now and then. SIEGFRIED smokes nervously.
KAREN: I’m sure it’s all just a temporary set back. The landlord will keep the apartment for you until Siegfried is working again.
SIEGFRIED: I just can’t believe they would lay me off while I was on my honeymoon. Me, their top apprentice pianotuner! Where’s the justice in that?!
WEISS: This isn’t a time for justice. There is a storm gathering.
KAREN: Things aren’t that bad, Dietrich; not bad enough to talk about "gathering storms!" We had our little setbacks too, children.
SIEGFRIED: Not like this; not at the very beginning. We had our hearts set on that apartment. It just isn’t fair, damn it!
WEISS: Be thankful you’ve got a roof over your heads. In Frankfurt they are—
KAREN: Please, Dietrich! Let’s not talk about Frankfurt! Did you tell the children Mayor Hermann is coming over tonight and that you’ve asked him to see what he can do personally about getting Siegfried his old job back?
WEISS: No. I didn’t want to get their hopes up—
SIEGFRIED: But between you and Mayor Hermann surely something can be arranged. It’s not as if I’m a complete nobody. I was the top apprentice piano tuner, wasn’t I? That should count for something in this topsy turvy world we are living in!
WEISS: There aren’t enough pianos being built for the journeymen to tune, Siegfried.
SIEGFRIED: Well, I’m not all that proud; I’ll do anything. It doesn’t have to be tuning.
WEISS: We understand that, Siegfried. We’re trying to get you into the foundry or the carpenter’s shop.
SIEGFRIED: On a temporary basis, I’ll do any kind of work. I don’t have any reservations about coming down a peg or two in an emergency. Eva! Did you hear? They are arranging a job for me in the carpenter’s shop!
EVA’s sobbing only becomes louder as she EXITS.
KAREN: We must be thankful that Dietrich’s job and your father’s job are still safe.
WEISS: Schwarz and I would be the last to go, that’s for sure.
KAREN: In the long run, everything will work out. And don’t forget, when we got married it was quite unthinkable to start out with your own apartment. We were expected to live with our inlaws until there were 3 or 4 children making such an arrangement physically impossible.
WEISS: Everything will work out fine—
EVA ENTERS sobbing, takes more clothes from suitcases and EXITS.
SIEGFRIED: It’s just that life was so perfect only a few hours ago! And now—well, it just isn’t fair.
WEISS: For God’s sake, Siegfried, you must stop thinking about what is fair and what is not fair!
SIEGFRIED: I was thinking that maybe we should move to some large city where I could tune pianos on a freelance basis.
WEISS: You think there aren’t unemployed piano tuners in all of Germany’s large cities?
SIEGFRIED: That doesn’t mean I have to stop thinking of some way out of this nightmare, does it?
ENTER MAYOR. KAREN takes his coat and hat. Greetings are exchanged.
WEISS: Any news?
MAYOR: I’ve just come from the Board of Director’s meeting. Nothing can be done, I’m afraid.
SIEGFRIED slams fist into hand. EVA ENTERS, reacts to bad news. EXIT EVA and SIEGFRIED.
MAYOR: I couldn’t even bring up the subject of Siegfried’s job at the meeting. Things have gotten much worse—much, much worse. They’re talking about—you won’t repeat any of this, will you? They are seriously talking about shutting down completely for maybe a month or two. It’s unbelievable—simply unbelievable—
WEISS: My God—closing down the whole factory!
MAYOR: Don’t panic, my friend! There may be something in the works—a small miracle might be forthcoming yet—a silver lining in these economic storm clouds—
WEISS: What silver lining?
MAYOR: The government of Gruenwald has been approached by a film company from Berlin. Reichfilms, Incorporated. From what I understand, it a very big concern.
WEISS: A film company? What has a film company got to do with the pianoworks?
MAYOR: They are thinking of maybe using our town as the location for a new film. If they select Gruenwald they will require masses of people to help with the project; even to be in the film itself as extras—and there may be some acting parts too.
KAREN: Why would they choose Gruenwald?
MAYOR: Who knows? Something about the geography or the history of the place. Who cares what shaped this particular miracle if it does the trick for us at least temporarily?
WEISS: It doesn’t make any sense. It’s too farfetched.
MAYOR: Do miracles ever make sense, Weiss? Don’t you remember, during the war, when we all thought for sure they would convert the pianoworks into a munitions plant? How could it be that while the whole world was blowing itself to bits we Gruenwalders were somehow left in peace to go on with the making of our beloved pianos? But it happened, didn’t it? And, even in that terrible time after Germany’s defeat, when we were mercifully spared? Not a single foreign soldier set foot in this town! And, when they redrew the very map of our Fatherland, we finished-up miraculously right where we had always been! The line on that map made a little detour right around old Gruenwald, didn’t it? So, why should it be all that surprising if some film company in Berlin suddenly gets the idea to come to our rescue by making a major motion picture right here in our home town? The Muse works in strange ways Weiss; we must always remember that—and we must always have faith. Faith, Weiss, can move mountains!
KAREN: Let us hope and pray that it happens. Let’s keep our fingers crossed.
MAYOR: Just think, Frau Weiss! We might all become famous movie stars!
Blackout.
Scene 4
The Weiss home. KAREN and EVA setting supper table. ENTER WEISS with lunch pail. SIEGFRIED is lounging with newspaper.
KAREN: Have you heard the latest rumors, Dietrich? Did they say anything at the pianoworks?
WEISS: Rumors about what?
EVA: Strangers have been arriving in Gruenwald all day—people from Berlin—from the Reichfilm Company.
KAREN: Frau Schwarz said she saw vans with the company name spelled out in big gold letters.
EVA: They have been taking measurements of the town square and photographing all the municipal buildings—
SIEGFRIED: Listen to this ad in today’s classified section. "Major motion picture studio seeking local people for artistic project. Acting experience not necessary. Generous pay and benefits. Apply at Chopinstrasse No.12, from 8 October—" 8 October; that’s tomorrow! [Leaps up, takes EVA in his arms and dances with her.]
WEISS: [Examining newspaper.] It doesn’t say how long the work will last.
SIEGFRIED: How can they turn us down a glamorous and talented couple such as us! Remember how the audience applauded when we played that scene in the high school production of The Taming of The Shrew? [As Petruchio.] Come, come, you wasp; in faith, you are too angry—
EVA: [As Kate.]—If—If I be waspish; best beware of my sting!
SIEGFRIED: My remedy then, is to pluck it out.
EVA: Aye, if the fool could find where it lies.
SIEGFRIED: Who knows not where a wasp doth wear his sting? In his tail!
EVA: In his tongue!
SIEGFRIED: Whose tongue?
EVA: Yours, if you talk of tails; and so, farewell.
SIEGFRIED: What, with my tongue in your tail?
They laugh, receive applause from KAREN and WEISS. ENTER SCHWARZES.
SCHWARZ: Have you read the papers?
MARIA: It’s true! The miracle is happening!
SCHWARZ: Have you heard who they say is coming to Gruenwald?
MARIA: Spencer Tracy!
SCHWARZ: Maria, I asked them—
MARIA: And Katherine Hepburn, and Clark Gable, and—
SCHWARZ: They say the shooting of this film could last 6 months or even longer, Dietrich! They’re calling it a very big project—an epic!
WEISS: Who is this "they" you all keep talking about?
SCHWARZ: It’s not just idle gossip, Dietrich. It’s right here in the newspaper, the Frankfurt newspaper—
WEISS takes paper and reads.
MARIA: Now will you believe, Herr Doubting Thomas?
SCHWARZ: Why is it such a big mystery, this film they’re planning. Nobody seems to know what it’s about. The director is described as a genius who "creates his movies" as he goes along.
MARIA: "An inspired mastermind"—isn’t that what it says in the papers, Dietrich? "Divinely inspired—"
SCHWARZ: Somehow the town of Gruenwald captured his "cinematic imagination." One night he suddenly had a vision—doesn’t it say that in the article?
WEISS: Yes, that’s what it says.
MARIA: Think of Spencer Tracy right here in Gruenwald!
WEISS: It must have something to do with the making of pianos, eh? What else have we got that any other town in Germany hasn’t got?
SCHWARZ: A major motion picture about a townful of pianomakers? I don’t know—
SIEGFRIED: Did you see the ad in tonight’s paper for actors?
MARIA: We’ll be the first ones in line tomorrow morning!
EVA: Why don’t we all go together?
WEISS: Don’t forget, some of us still have to work. The world hasn’t stopped turning because some character from Berlin is coming to Gruenwald with a movie camera.
SCHWARZ: Don’t be such a stick-in-the-mud, Dietrich. This is a once-in-a-lifetime opportunity; the chance to be in a movie of epic proportions!
WEISS: I’m a pianomaker and that is all I want to be.
SCHWARZ: And how are they going to make a film about the pianomakers of Gruenwald without a fellow like you in it? Hey? Answer me that, Herr Dietrich Weiss—pianomaker par excellence!
Blackout. In darkness, voice of MAYOR is heard over loudspeaker:
MAYOR: Citizens of Gruenwald! This is your mayor speaking to you. You are hearing my voice via the miracle of the loudspeaker system that has been installed throughout our town by Reichfilms, Incorporated. This new tool of modern communications has been presented to us as a permanent gift by Reichfilms, Incorporated to keep and use for our civic purposes after their film project has been completed. I am using it now for the first time in order to explain what will be happening here in the coming weeks and months. No doubt you have all heard the many rumors about wonderful things taking shape in Gruenwald; well, most of those rumors are, I can tell you, absolutely true! I can also tell you officially that the actual filming will take six months or longer, and that extensive use will be made of the local labor force. Also, because the town council of Gruenwald has granted certain rights and privileges to Reichfilms, Incorporated, there will be a handsome subsidy paid into our treasury which will more than make up for the loss of tax revenues from the pianoworks during the present temporary economic slump. So, my fellow citizens, the miracle we have all been hoping and praying for has happened. And now it is my pleasure to introduce Herr Alois Gruber, the Assistant Production Chief of Reichfilms, Incorporated, who has a few words he wants you to hear.
GRUBER [Off.]: Citizens of Gruenwald! For those of you who were successful at yesterday’s interviews and auditions, packages will be delivered to your homes tomorrow containing legal forms which must be filled out prior to your participation in our film project. Those of you with acting assignments will also be receiving your costumes in these same packages. You are to try on these costumes and make the appropriate alterations. You will also be receiving, simultaneously, your first Reichfilms, Incorporated pay checks. Please give special attention to the instruction sheet that comes with each costume. You will be expected to wear your costumes throughout the entire term of your contract, indoors and outdoors. The only exception being the time during which you are sleeping, when you are perfectly free to choose your own style of nocturnal attire. That is all I have to say to you at this juncture.
MAYOR [Off.]: From time to time, citizens of Gruenwald, Reichfilms Incorporated, will be issuing instructions to you over this loudspeaker system. Henceforth these instructions will have the force and effect of law. And so, my fellow Gruenwalders, I bid you all a good night and pleasant dreams!
Scene 5
The Weiss home at breakfast time. WEISSES, SIEGFRIED and EVA in robes or pajamas. Doorbell rings. SIEGFRIED EXITS, returns with 4 bundles or packages to which envelopes are attached.
SIEGFRIED: Look, look! It’s happened! We’re on the payroll! [Tearing open envelope.] 215 marks! At those prices I must be the bloody star of this film!
ALL open envelopes and react to size of paychecks. Then packages are opened and costumes they contain are examined. Costumes are as follows: SIEGFRIED—uniform of SS Officer but minus identifying insignias; WEISS—priest’s black suit with white dog collar; KAREN—evening gown of aristocratic lady; EVA—severe but well-tailored business suit.
SIEGFRIED: Well, what have we got here?
EVA: You must be some sort of policeman, Siegfried. Black really suits you. And look at Papa!
WEISS: Bless you, my children! [ALL laugh at his pantomime priest; then, to KAREN.] And whom do I have the honor of addressing?
KAREN: I’m blessed if I know! I must be a grand lady of some kind—but I’m not sure I’m happy about how far south this neckline plunges.
SIEGFRIED: Look here Mother Weiss—I think you’re supposed to partially conceal your bosom with these—[Produces handful of jewelry from Karen’s costume package.]
KAREN: They almost look real, the way they sparkle—
EVA: Well, there’s certainly nothing very glamorous about my costume.
SIEGFRIED: I don’t know. This underwear looks pretty glamorous to me! [Holds up luxurious French lingerie.]
KAREN: That suit is very well-tailored, Eva; and these labels all say Paris. I would guess it’s some kind of businesswoman’s costume.
SIEGFRIED: A lady executive—a woman of power and mystery!
ENTER SCHWARZES wearing black caftans.
KAREN: What’s this?
MARIA: We haven’t the faintest idea what it all means. These are the socalled "costumes" that came in our bundles.
EVA: You look like Jews—
SCHWARZ: There: what did I tell you, Maria—Jews! That’s what we look like in these getups!
MARIA: It must be a mistake. We’ll go see that fellow Gruber tomorrow.
SCHWARZ: Look at what Karen is wearing. Are you supposed to be some kind of royalty Frau Weiss?
MARIA: Those look like real diamonds.
KAREN: They couldn’t be real.
SCHWARZ: You know what our neighbors, the Krugers, got in their packages? She’s a nurse and he’s an airplane pilot.
WEISS: An airplane pilot? What the devil’s an airplane pilot got to do with a film about pianomakers?
ENTER MAYOR to his own mock fanfare, dressed in skyblue uniform of a Luftwaffe Fieldmarshal.
MAYOR: Tata! Well? What do you think of this outfit? Isn’t it all very extravagant?
SCHWARZ: [Indicating his caftan.] To us it’s all very confusing, Herr Mayor.
WEISS: I would say there is a definite military flavor to everything.
KAREN: There do seem to be a lot of uniforms—
WEISS: Frankly, I don’t like the looks of it.
MAYOR: Of what?
WEISS: It brings back memories of the war.
MAYOR: This is only a movie, Weiss.
WEISS: It’s not good to stir up such painful memories.
MAYOR: Ah! You see? Weiss is already playing his part! For a moment you really had me fooled, Dietrich! You sound exactly like a priest. Congratulations! I didn’t know you had such a talent for acting.
WEISS: I’m not acting. Something really does bother me about this moviemaking business. It just doesn’t make sense turning the entire town upsidedown like this—and everyone suddenly believing they’re "actors" and "film stars"—
EVA: It can happen though. I mean, film stars have been discovered in small towns like Gruenwald. Wasn’t it Marlene Dietrich who came from a little village near Munich?
MARIA: No. I’m sure she was a Berliner right from the start.
WEISS: I’m only saying that we shouldn’t go completely crazy over this thing.
MAYOR: [Saluting, clicking heels.] Whatever you say, padre!
EVA: [To MAYOR.] Is it true that the hotel is filled up with Hollywood stars?
MAYOR: Who knows what is happening, my dear. My head is swimming. Limousines are pulling up in front of the town hall all day long. I’m constantly shaking hands with all sorts of people. Flashbulbs keep going off in my face and reporters are calling me on the telephone for interviews. People are even asking for my autograph!
MARIA: Herr Mayor, we can tell you frankly that we are not happy with these costumes of ours. Perhaps you could use your influence to—
MAYOR: My dear Frau Schwarz, I can only tell you that some of the most distinguished citizens of Gruenwald—the Zimmerman’s for instance—have been sent the identical costumes.
SCHWARZ: The Zimmerman’s? Really? Well, maybe we should just wait and see.
MAYOR: My advice exactly, Schwarz; when in doubt, just wait and see!
Blackout. In the darkness a voice is heard over loudspeaker.
LOUDSPEAKER: Citizens of Gruenwald Attention! A massmeeting of cast members of the film project will be held in the Sports Palace this evening at 8 o’clock sharp. Attendance is compulsory!
Announcement is repeated.
Scene 6
The Weiss home. WEISS and KAREN, still in costume. He smokes his pipe. She knits.
KAREN: I still think we should have gone to the massmeeting, Dietrich. The announcement said attendance was compulsory.
WEISS: You know I don’t like crowds.
KAREN: We might be missing out on some very important information—
WEISS: I’m sure Eva and Siegfried will tell us everything that happened. That’s all they live and breathe for nowadays—this infernal "film project" of theirs.
KAREN: What else is there for them?
WEISS: At the rate things are going there won’t be anything else for anyone to do in this town! Do you realize we are actually short of employees at the pianoworks? Every pianomaker in Gruenwald believes he is an actor now, and will be for the rest of his life. They all have stardust in their eyes. I tell you Karen, it’s complete madness! Look at us! Sitting here in these idiotic costumes in our own livingroom! I’ve a good mind to put my overalls back on this very minute.
KAREN: You wouldn’t dare!
WEISS: Why not?
KAREN: It would violate our contracts.
WEISS: But what sense does it make to be dressed like this all of the time?
KAREN: They want us to get the feeling of our parts—the parts we are going to play in the film.
WEISS: And what are these "parts" we are going to play? There is no script for this "Great Film Project"—and no one seems to know anything specific about anything in general. It’s mass confusion. It’s idiotic. I think this "genius from Berlin" is trying to make fools of us all. That’s why he came to Gruenwald—because it is a town full of idiots!
KAREN: Details like that were going to be explained at tonight’s massmeeting they said.
WEISS: They keep telling us everything will be explained, but it never is. Do you know there is talk that a whole busload of prostitutes arrived in Gruenwald from Hamburg yesterday?
KAREN: There are so many rumors, Dietrich. You yourself are always saying we should not put any stock in gossip.
WEISS: Well, it’s not gossip, my dear Karen, that you can no longer set foot in the town square. It’s been fenced off with barbed wire and there are armed guards at the gates of the city hall. Our own town square and we can’t even go near it—if that isn’t madness then I don’t know what madness is!
KAREN: We were told that a temporary city hall was being built out in Westfield.
WEISS: Westfield! Are we supposed to hike way out there to pay a water bill? We’ve had a perfectly good city hall for more than 1200 years and I see no reason why—
ENTER EVA, SIEGFRIED and SCHWARZES in film costumes and high spirits.
EVA: You should have been there! It was so spectacular—the entire population of Gruenwald was at the Sports Palace! There was a torchlight parade—
SIEGFRIED: The sky was all crisscrossed with the beams of gigantic searchlights! It took your breath away—
MARIA: The stage was filled with real movie stars—so many you couldn’t begin to count them!
SCHWARZ: And, Dietrich, you’ll never guess; but these caftans we’re wearing? They are only being worn by "the Chosen Few," my boy! From now on all actors wearing caftans get paid in gold, real gold—and you know how important that is the way prices in paper marks have gone crazy lately.
MARIA: And the names of the caftanpeople will actually be listed in the credits of the film—you know what credits are: when the film starts, how they list the names of the important cast members right there on the screen.
EVA: And guess what part your little Eva has been assigned, Mama.
KAREN: The glamorous Parisian espionage agent?
EVA: No.
KAREN: A mysterious femme fatale?
EVA: No, no—the answer is "no"—no part at all!
KAREN: I don’t understand—
EVA: I’m not going to be in the film.
KAREN: I still don’t understand!
SIEGFRIED: Eva is going to be the personal assistant to the Great Director himself!
KAREN: The Director? The cinematic genius from Berlin? The man they are saying will be the greatest filmmaker in the history of Germany?
SIEGFRIED: In the history of the world!
EVA: That’s right. Your own little daughter will be rubbing elbows with the brightest luminaries of the art world.
KAREN: But why?
EVA: Actually mama, I think it’s only because I can take shorthand dictation. That is the way he likes to work; that’s his style. He’s constantly dictating ideas and orders to people.
MARIA: There are lots of other girls in Gruenwald who can take shorthand, Eva. He must have chosen you for some other reason.
EVA: What difference does it make? Who cares about reasons? The important thing is we start shooting the film tomorrow. The director himself told me that—see! [Shows her stenographer’s notebook.]
WEISS: Not for me it doesn’t. I’ve decided there will be no more of this foolishness for Dietrich Weiss! [Removes dog collar.] Starting tomorrow I’m just what I always was, a maker of pianos—and damned proud of it.
SCHWARZ: But Dietrich, that’s impossible. At the meeting they announced the pianoworks are being shut down for the duration of the film project.
WEISS: There! Now do you see what’s happening? For the first time in over 200 years there won’t be any pianos made in Gruenwald. Famine, pestilence, war—they could not do it. But now the making of this stupid "movie" has. If that isn’t craziness, what is?
SCHWARZ: Actually, I think they just want to get the inventory down, Dietrich. The film is just an excuse. In any event, do we have much choice now? If you want to work there is only one paymaster in this town—Reichfilms Incorporated.
EVA: [Sitting on arm of Weiss’ chair.] Poor papa! You shouldn’t make fun of him! [Embraces WEISS.] It’s not easy for him to bear the burden of our sinful ways! But you’ve always been the serious one, haven’t you Papa? That is why I’ve always loved you so—my serious little Daddy. How terrible it would be if everyone were as serious as you! Then you wouldn’t be the special person you are.
Lights begin fading to black.
WEISS: Now you’re making fun of me too, aren’t you, Eva?
EVA: No, Papa, no! I wouldn’t dream of doing that to you—
Blackout. In the dark a voice is heard over the loudspeaker.
LOUDSPEAKER: Citizens of Gruenwald Attention! Tomorrow’s battle scene at the pianoworks will commence promptly at 0800 hours. All participants will report to the production hut at the east wing by 0600 hours. A field breakfast will be provided to all authorized personnel. At 1400 hours today the air-raid sirens will sound throughout the town. You are to react to this as if it were a real air-raid by reporting to your assigned shelters. Precisely 6 minutes after the sirens stop, a series of special pyrotechnic effects is scheduled. You are warned that the detonating effect of these pyrotechnics can be extremely harmful. Consequently you must keep out of those areas posted with danger signs. All those wearing caftans, attention! At 0700 hours tomorrow morning you will be transported to the camp at Westfield. You will be allowed to take only what you can carry in the special shopping bags you have been issued. A meal will be provided at the camp; so no food should be taken with you. Remember: all Caftan People will be transported at 0700 hours tomorrow morning!
Scene 7
The Schwarz home. SCHWARZES busy packing shopping bags adorned with yellow Mogen Davids. A knock at front door.
MARIA: It’s not 0700 yet, is it Joseph?
SCHWARZ: No, it’s 10 minutes before—0650 hours. [Goes to door.] Yes? Who is it?
WEISS [Off.] : It’s me, Dietrich. I just want to say goodbye.
SCHWARZ opens ‘door.’ WEISS ‘ENTERS.’
SCHWARZ: You say that like we were leaving on a long trip!
MARIA: It’s only to Westfield, Dietrich!
WEISS: Yes, I know; but I have a feeling—
SCHWARZ: A feeling about what?
WEISS: That I won’t be seeing you two again.
SCHWARZ: [Still trying to pack shopping bag.] You have no idea how difficult it is deciding what to take, Dietrich. [To MARIA.] You think they will be providing us with toothbrushes and soap?
MARIA: Better take a toothbrush. Soap I’m sure they will provide.
SCHWARZ: What about underwear and socks?
MARIA: Yes.
SCHWARZ: Yes what? Yes, they will provide them? Or yes, we’d better take our own?
MARIA: We’d better take our own.
SCHWARZ: I don’t have any more room in my shopping bag! [To WEISS.] You would think an organization like Reichfilms, Incorporated would have provided some guidelines on what you are supposed to bring and what you are not going to need!
WEISS: Yes, that is what one would think alright—
MARIA: That’s just the point, Josef. Can’t you get it through your thick skull? They told us at the massmeeting they wanted us to react as if everything in the film was really happening to us? Well, that is what we are supposed to be doing at this moment. We are supposed to be acting like people who are suddenly being sent to a concentration camp and have to decide what they can fit into these bags. We are supposed to feel the feelings of people who must leave most of their possessions behind and maybe never see them again for all they know.
SCHWARZ: [Joking lamely.] Well, my feelings are—I don’t like it one little bit!
WEISS: Maria, maybe you can explain something to me; something I can’t seem to get through my thick skull. Why is it that anyone would want to round up all of the people wearing caftans and transport them to a special camp like this—"concentration camp"—at Westfield? That, it seems to me, is the real question: not whether you should take a toothbrush or not take a toothbrush. Is there an answer to that question, Maria?
MARIA: If there is, they haven’t explained it to us yet.
WEISS: I’m asking you , Maria, not Reichfilms Incorporated!
MARIA: [Still fretting over shopping bag.] I haven’t really given it a thought, Dietrich. I just haven’t had the time to think about it. There are so many decisions that have to be made. I mean, does one take an old photograph with its priceless sentimental value or does one take the stock certificates one owns in the pianoworks?
SCHWARZ: One simply hasn’t got time for philosophical questions in such a situation, Dietrich.
WEISS: It is in just such a situation that we should become philosophical, Josef! Can’t you see what this film project is doing to us all?
SCHWARZ: I’m sorry, Dietrich, but at the moment—
WEISS: [Taking SCHWARZ by wrist.] Josef—we have worked side by side for more than 30 years and never in all of that time has there been a cross word between us. Never have we lost our tempers.
Sound of auto horn.
SCHWARZ: [Breaking free from WEISS.] That’s it—the signal. We must go now! Goodbye, Dietrich!
MARIA: Give our regards to Karen—goodbye! [Gives WEISS quick kiss on cheek.] And don’t look so glum! It’s not the end of the world!
EXIT SCHWARZES.
WEISS: No. I guess not. It couldn’t be. It’s not possible.
Blackout. In the darkness a voice is heard over loudspeaker.
LOUDSPEAKER: Citizens of Gruenwald! Attention! Commencing at 1600 hours today a curfew will be in effect from the hours of 1600 to 0600 daily for those not having the appropriate documentation issued by Reichfilms, Inc. This curfew will be strictly enforced so as to prevent any interruption to, or interference with, the nighttime shooting schedule. Violators will be subject to the full force of the law. Acting contracts will be summarily canceled. Attention soldiers of the 115th Infantry Battalion! You are ordered to report immediately to the west bank of the Rhine for the shooting of the battle scene at the bridge. Notice to the entire population of Gruenwald is hereby given that the area between the autobahn and the concentration camp at Westfield has been heavily mined with live explosives. You are forbidden to enter the area between the autobahn and the concentration camp at Westfield!!! A special notice to the users of municipal utilities: Owing to the heavy requirements of Reichfilms, Inc. during the shooting of crucial scenes, the following restrictions will go into effect tomorrow: Water for domestic purposes only may be used between 1600 and 1630 hours. The same restriction applies to domestic gas consumption. All electrical services will be terminated forthwith until further notice.
Citizens of Gruenwald attention! Because of the unsettled monetary conditions caused by the film project, all further fiscal transactions in Gruenwald will be made with Reichfilms, Inc. Marks. All other currencies will be considered null and void. Trading in gold is strictly forbidden and violators will be dealt with in the harshest terms.
Scene 8
The Weiss home. Darkness. WEISS lights candle.
WEISS: Who’s there? Karen? Is that you?
SIEGFRIED: No, it’s me, Siegfried.
WEISS: [Lighting another candle.] Where are the others?
SIEGFRIED: They’re coming in Fieldmarshal Hermann’s car. Well, Karen is anyway. Eva is staying at the castle with the Director. God, I’m exhausted—
WEISS: Well, you go to bed. I’ll wait for Karen.
SIEGFRIED: Can’t go to bed. Have to collect my combat gear. Got orders for the Eastern Front. There’s a staff car waiting outside for me. We’re counterattacking at dawn. What’s the matter with the lights?
WEISS: They have turned off all the power because of the battle scene at the bridge. It wouldn’t look right to have houses with their lights on during a battle scene, would it?
SIEGFRIED: [Yawning.] Now I know why they say war is hell.
WEISS: Believe me, Siegfried, the real war wasn’t half so bad as this "makebelieve" one we’re having. What are those emblems on your uniform?
SIEGFRIED: I don’t know. They’ve been passing them out to all of the military personnel before they go on camera. It’s called a "swastika," I think.
WEISS: I don’t like the look of it—and what’s this, a death’s head?
SIEGFRIED: The insignia of the SS.
WEISS: The SS? What is this "SS?"
SIEGFRIED: Who knows—I’ve got to pack and leave. Damn this blackout! [EXIT to bedroom, stumbling as he goes.]
WEISS: I have to do something! This is becoming a real nightmare!
SIEGFRIED: [Returning from bedroom.] Can’t find a damn thing in there. To hell with it. I’ll go as I am!
WEISS: Where is this "Eastern Front" you’re reporting to?
SIEGFRIED: Just over in Felsburg. The Felsburgers are playing Russians, it seems.
WEISS: You mean to say Reichfilms, Inc. has taken over Felsburg, too?
SIEGFRIED: I guess so. Anyway, I’ll see you and Eva in a couple of days or so—
Sound of car horn.
WEISS: Siegfried, don’t go!
SIEGFRIED: I have to—this may turn out to be my big scene.
WEISS: No you don’t have to! They are not going to put you up against a wall and shoot you, for God’s sake! It’s only a film company—please, listen to me!
SIEGFRIED: Sorry, padre, but duty calls! [EXIT.]
WEISS: [Sitting.] Dear God, please let this all be a dream. Let me wake up and find myself in my bed next to my dear wife and let it be early September; let it be the morning after the wedding reception we had for Eva and Siegfried. Maybe you are punishing me for the pessimistic things I said that day. It often happens that you dream about some little thing you said during the day—well, Lord, I am punished; I am chastened. I understand the nature of my sin; that I wasn’t content with the blessings you had already bestowed upon me. I wanted everything to remain perfect for all time. I know now that no human happiness can ever be perfect and eternal. But there is no need to punish the entire population of Gruenwald for my arrogance. I will accept the temporary slump in the piano business—and the unemployment of my son-in-law—[Quite drowsy now.]—I promise you Lord that—if you will just let me—wake up to find—that all of this has been—only a—bad dream—I—[Falls fast asleep.]
End Act One