Little Lark of London

“If we do not honestly try to understand how it happened then, it will happen now.”

Wiesenthal, written by Tom Dugan and performed by Christopher C Gibbs, is making its London premiere at the King’s Head Theatre. The show goes into the life of Simon Wiesenthal, a Holocaust survivor known as a “universal hero” for tracking down Nazi war criminals after World War II. Recently, we had the chance to talk with Tom and Christopher about Wiesenthal and its run at the King’s Head Theatre. We discussed how they each got started in the world of theatre, the creative process for Wiesenthal and what they hope audiences take away from the show. 

How did you first get started in the world of theatre?

Christopher: I got into theatre (in 1961) because my father told me it was a great way to meet girls.  He and my mother had met in theatre and my wife and I met in theatre, so it worked fine. 

Tom: Girls. I also liked the pride of accomplishment when audiences responded well to my work . . . But mostly it was the girls.

What inspired the creation of Wiesenthal? Had you known about Simon Wiesenthal before the project?

Christopher: I had not known about Simon before the project. I have a PhD in History, but my speciality is US History. I knew about the Holocaust, but not about Simon specifically.  

Tom: My dad received the Bronze Battle Star and Purple Heart in WWII. Of all his stories about his time in Europe, the one that impressed me the most as a kid was when his unit (the 329 infantry) liberated the Langenstein-Zwieberge concentration camp, part of the Buchenwald concentration camp system in Germany. I was riveted by the extremes of the situation – unfathomable cruelty vs. complete compassion, enormous courage vs. revolting cowardice. Feeling the 35-year-old shrapnel under his skin I said to him, “Boy, Dad, you must really hate Germans.” His answer surprised me, “Nope . . . There are all types of people, good and bad. I don’t judge by what group somebody belongs to; I judge by how they behave.” When I read Simon’s obituary in 2005 and it mentioned his rejection of collective guilt, it dawned on me that that was the lesson my father was trying to teach me when I was a kid. It was that connection that drew me to Wiesenthal’s story. Simon Wiesenthal not only spent his life tracking down and bringing to justice Nazi war criminals, he also defended a few German and Austrian officers who refused to participate in “the final solution.” He not only fought for the rights of Jewish Holocaust victims but Soviet, Polish, Gypsy, Jehovah’s Witness and homosexual victims as well. For me, Simon Wiesenthal was a true 20th-century hero.

What was the creative process like for Wiesenthal?

Tom: Lots and lots of research, which began at The Museum of Tolerance here in Los Angeles. I read everything I could on Wiesenthal’s life and work, I watched all the documentaries I could find and then I interviewed many survivors. I then held many readings and preview performances of the play, listening to audiences’ comments thereafter, which led to many rewrites. After three years I felt the play was ready to open.  

As an actor, to prepare for the role, I studied extensively with a dialect coach to perfect an Austrian/Hungarian accent. With director Jenny Sullivan, I’ve worked hard to recreate the walk and mannerisms of a man in his late 80s. I had padding created to wear under my costume to help complete the illusion that I weigh more than I do (Wiesenthal weighed about 230 – I weigh 180). In the beginning, I shaved the top of my head to mirror Wiesenthal’s balding pattern – hair on the sides, not on top – and finally, it takes about an hour to apply the old age makeup to my face, hands and neck.

What is it like portraying Wiesenthal on stage?

Christopher: I love playing Simon – he makes me laugh, he makes me angry, he makes me intolerant of bigoted, misogynistic politicians seeking my vote.

What is it like to be returning to this show and bringing it to London?

Tom: I’ve never left Simon. I still perform the play dozens of times every year across the country.  Since it opened in 2009, I calculate that I’ve performed Wiesenthal over 1,000 times. A few years ago, I released the rights for others to create their own productions. Wiesenthal has been produced across the US, in Mexico, Isreal, Spain, Canada, India, Australia, Italy, the Caribbean and Scotland, and now I’m particularly excited about this current production in London. 

Christopher: The Fringe was wonderful and I’ve always loved London (memberships at IWM and British Museum); The King’s Head looks like a lovely venue . . . Working with Mark Liebert (director) is fabulous and I can’t wait to get started.

What do you hope audiences take away from Wiesenthal?

Christopher: Takeaways from the play – “If we do not honestly try to understand how it happened then, it will happen now.”  “The human savage still lurks just below this wafer-thin veil of civilization; all we can do is contain him.”  And always – Remember!

Tom: The most important takeaway can be summed up in one of the final lines in the script – “The human savage still lurks just below this wafer-thin veil of civilization. You call him Hitler or Stalin, Mao Zedong, Kaddafi or Bin Laden; he will always be a part of us. All we can do is contain him . . .”

How would you describe Wiesenthal in one word?

Christopher: One word, based on things audiences have said to me – “Powerful.” 

Tom: Hope.

Wiesenthal runs from 3 to 15 September at the King’s Head Theatre. For more information and to purchase tickets, click here.

Photo Credit: Rod Penn