In Broken Glass Arthur Miller addresses the fate of Jews in Nazi Germany through the reactions of one New York Jewish family to the news of Kristallnacht in November 1938. Haunted by graphic news images coming out of Germany, Sylvia Gellburg takes to her bed, apparently paralysed, while her husband Phillip struggles to assimilate and ignore undercurrents of antisemitism he encounters as the only Jew working at a real estate company. Dr Harry Hyman is called to diagnose Sylvia’s affliction and the Gellburgs’ uneasy relationship fractures.
How strangely Miller’s first great hit resonates with today, in ways no one could have predicted. This beautifully measured play opens with shots of laidback family life in a typical American small town where everyone knows one another. Comfortably-off factory owner Joe Keller’s backyard is a focal point, where he and the neighbouring doctor are reading the papers. “What’s today’s calamity?” jokes David Horovitch’s amiable Joe. Cue gales of ironic audience laughter, with the US election so raw.
For a play that unfolds like a Greek tragedy, it’s surprising how much laughter is built into these opening scenes. But that’s the point: drama, and especially tragedy, is an interruption of routine.