Gathering, The

President Reagan's decision to go to Bitberg, West Germany in 1985, to visit the cemetery where German soldiers are buried amidst numerous Nazis understandably created a stir among Americans, both Jews and non-Jews. In Arje Shaw's engrossing new play The Gathering, as produced by the Jewish Repertory Company, the proposed visit prompts more than a mild verbal protest from Gabe, a widower, and a survivor of the Holocaust and the concentration camps. A confirmed agnostic, whose life has been normalized since the end of World War II by a close, loving family relationship and his success as a sculptor, Gabe becomes incensed by what he considers Reagan's stupidity and insensitivity. He feels he must demonstrate his avowed disapproval by going to the site at the time of Reagan's presence there. At a Sabbath dinner, he becomes infuriated by the forgive-and-forget response he gets from his conservative son, Stuart (Robert Fass), who has just gotten a prestigious job as a White House speechwriter. However, Gabe succeeds in gaining the support and understanding of Michael (Jesse Adam Eisenberg), his grandson, who is soon to have a Bar Mitzvah, and with whom he plays chess. Gabe's mission to Germany will include Michael's participation, but without parental approval. The young man bravely accompanies his grandfather. This, as he tries to understand his grandfather's strong and stirring feelings as well as comprehending as best as he can the paradoxical issues created by his own parents' opposing attitudes.

Headstrong and guided only by his belief that he must make a statement even if no one else does, Gabe creates a schism between himself and Stuart and Stuart's Christian wife Diane (Susan Warrick Hasho). But Stuart and Diane's anger pales next to the tension and the display of feelings unleashed when Gabe is confronted by Egon (Peter Hermann), a young German policeman assigned to clear the area. While Gabe's motives are clearly and passionately defined by his own memories of the most evil event in modern times, they are also destined to be challenged by those he loves and through the guilt and pain of a complete stranger. Although Shaw's play doesn't aspire beyond its well-made forum for questions and answers, there is a surprise denouement designed to provoke even more questions. Just as Michael's preparations for his Bar Mitzvah symbolize the next phase of his life, this maturing incident actualizes it. Through Eisenberg's astonishing and always personable performance we are with the young man every step of the way.

Under Rebecca Taylor's commendably conservative direction, Fass, Hasho, and Hermann are also memorable in a play that admirably serves to remind of us that the past, though forever a part of us, is never the end of the story.