In attempting to close its 60th season on a spectacular note, the Milwaukee Repertory Theater tackles The History of Invulnerability, a large-cast, high-tech play that takes the audience from the Midwest to Nazi prison camps in Europe during World War II.
The play attempts to intertwine two related stories. One is the life of Jerry Siegel, creator of the comic book hero, Superman. It is a memory play of the last two hours of Siegel’s life. He appears throughout as an old man, dressed in pajamas and a bathrobe. Yet the story actually begins decades earlier, when a teenage Jerry foolishly sells the rights to his creation for $130. He spends the rest of his life trying to gain recognition (and payment) for the famous superhero, whose twirling cape, fitted tights and shirt emblazoned with an “S” logo become iconic to the point of absurdity. We learn that Superman’s image becomes attached to almost every item under the sun, from toys and games (naturally) to clothing, food products, cars, etc. His popularity is worldwide.
The other, murkier story is captured in Jerry’s mind, which often travels to Nazi prison camps. Somehow, copies of the Superman comic book are smuggled into a camp, which encourages Joel, a teenage Jewish prisoner, to actually believe that Superman will come to rescue them. Joel keeps this notion alive despite the horrific scenes he views daily. It is, perhaps, his only link to sanity. Two adult male prisoners scoff at his childish notion, but they, too, harbor dreams of being released from their hellish environment. The prison camp isn’t realistically rendered onstage, although the three prisoners wear the traditional-looking striped pajamas associated with the camps.
As the script bounces back and forth between these two locations, along with New York City, the audience learns that the Superman character initially was purchased by a couple of thugs with ties to the Mob. One of them believes that the “pulp” market, which originated with “adult” (i.e., pornographic) comic books, could be re-crafted as reading material for kids. He correctly envisions a cheaply made product that could be sold at a huge profit for as little as a dime per copy
Although Superman was only one among many superheroes who eventually graced comic book pages, Superman’s history is a fascinating one. There’s enough within Siegel’s own story to capture the imagination and add historical tidbits (for instance, he marries the model he used to create the Lois Lane character).
Later, when the audience learns that Siegel abandons his own son after divorcing the boy’s mother, it brings a certain irony that could be explored further. Siegel often refers to Superman as “his son,” while at the same time refusing to acknowledge his own actual son. He even denies his son’s existence in a newspaper profile. One must conclude that Siegel is so guilty about being a poor father that he chooses not to be a father at all.
Siegel also has a daughter, and that relationship is never explored, either. Instead, we learn that Siegel can’t come close to creating another viable comic book character. Both he and his longtime partner, artist Joe Shuster, are reduced to working menial jobs until a public outcry forces the now-legitimate comic book company to cough up some salaries for the two men.
Yet even this triumph doesn’t deter Siegel from attempting to keep reign on the fate of Superman. He cringes as younger writers – now in charge of Superman’s future – give him even more dazzling super powers than the considerable ones with which he started. Through these scenes as well as the entire production, Siegel actually has real-life conversations with an actor dressed as Superman.
Since the actor isn’t able to demonstrate any of Superman’s powers (except to destroy a Nazi guard’s rifle with his bare hands, among other low-key stunts), the production wisely uses technology to give the story some oomph. More than a half-dozen enormous storyboards serve as the play’s backdrop. The ever-changing boards – plus an excellent infusion of music and lighting – give this show its “wow” factor. Under the direction of Mark Clements, the Rep’s artistic director, a snazzy blend of new and familiar actors give a wide range of performances. The main character, Jerry Siegel, is perhaps a bit too bumbling (even at 81, the age when Siegel dies), as portrayed by Bob Amarel The other main character, Superman, adapts a bit of an attitude as portrayed by the handsome JJ Phillips.
Most of the other actors in this 19-member cast play multiple roles. One of them, Michael Kroeker, must not only be the level-headed Joe Schuster but also appears as Hitler, Elia Kazan, and several other roles. Kroeker is impressive as Schuster, who adds some weight to Jerry’s flights of fancy. Other splendid performances are given by well-known local actors Angela Iannone and Gerard Nugent, in partnership with newcomers JJ Phillips (Superman) and Greg Wood.
Unfortunately, director Clements ends the play with a graphic, gruesome scene of naked actors, huddled together, waiting in the death camp’s crematorium for the gas pellets to fall. It is memorable, to be sure, but not for the right reasons. It takes away from Jerry Siegel’s own story, and that’s a shame.
