What would you do for money? What would you do for the right amount of money? To what extent does the reason behind the action allow you to justify the action you choose to take?
Let’s make it more concrete:
- In this environment where there is hatred toward the government of Israel and those running Gaza: If someone offered you a billion to kill Netanyahu or the Hamas leadership, would you do it?
- If someone offered you a billion to off the leader of a nation that clearly was corrupt and dishonest, and could arguably be argued to be leading that that nation into ruin, would you do it?
- If you were living in a city that was on the manufacturing downturn, would you accept a billion to kill a civic leader who had committed a crime in his or her past?
This, at its heart, is the question in the play The Visit, currently running at the Pasadena Playhouse (for about one more week). We saw the show Saturday night, but it was a busy weekend and I’m just getting to the writeup.
The play, written by Friedrich Dürrenmatt, premiered in 1956. A musical version was written in 2001 for Angela Lansbury, but it didn’t make it Broadway until 2015 (where it didn’t do so hot, as is often the case with Kander-Ebb musicals that are ahead of their time in term of subject matter—Chicago being a primary case-in-point). Pasadena Playhouse is doing the 1956 original play. I do hope someone does the musical version in Southern California some day.
The play tells the story of the fictional impoverished Swiss town of Güllen. The towns main industries have dried up, and everyone is living moment to moment on the government dole. The town has pinned its hopes on Claire Zachanassian. Claire, formerly Clara, left town when she was 17, and through a succession of husbands, acquired enormous wealth and has been very generous with it. Learning she is coming to town, the town leaders pull out all the stop. They even enlist a former paramour of Clara’s, Anton Schill, to take her around town. Although initially things are cordial, she soon relates the reason for her visit: She will give the town a billion—500 million for the town itself, and 500 million to be divided among the citizens of the town—if they kill Anton Schill. The reason? A simple case of “he done her wrong and used male privilege to come out smelling like a rose, while she left in disgrace”. I’ll leave the details to the show.
The town initially says “No way.” It’s immoral and unethical, after all. But then, people start buying things on credit. New shoes. Fine food. Cars. But when that bill comes due, what do they do? Town leaders go so far as to plead with Claire to not impose the condition. But she ends up revealing that it was she who bought the factories and closed them down, and that (in fact) she owns almost all the land in the town. She set up the condition that would force the town to accept her condition, and let human nature do the rest.
That, in essence, is the show. It is very much a tragicomedy: A comedy (with many laugh-out-loud moments), but with a really dark undertone. The play was originally written as an allegory for the Marshall Plan. In the aftermath of WWII, the Marshall Plan offered the nations of Western Europe almost $14 billion dollars, but with conditions. Instead of the Federal government granting money directly to Europe, American businesses would provide technology, expertise, and materials to Europe as a strategic partner, and in exchange, the Federal government would purchase stock in the US businesses to reimburse them. In this way, Europe would receive the aid it needed, American businesses would receive capital investment, and the federal government would make a profit when the stock was sold. For the nations of Europe, was it ultimately a good deal? Did they sell their soul for the money?
Today, that allegory is far in the past. Yet the corrupting power of money, and the corrupting power of the desire for revenge, remains. We need only look at the Trump administration, which is bent on using its money and power to get revenge on those whom it thinks has harmed it. It withholds or promises money to institutions to get them to behave the way it wants, and to take revenge on those it doesn’t like. Is it moral? Is it right? Does the end justify the means? These are questions that this play raises.
If you walk out of the play asking yourself those questions, then arguably the play has done its job.
The original play was adapted Maurice Valency; his adaptation also was the basis for the musical (he also did the adaptation of The Madwoman of Chaillot that became Dear World). The play has been updated to somewhat modern times: they start with landlines and train travel; by the end, they have cellphones and 24-hour news cycles with laptops and flatscreens. It is unclear if these updates are due to Valency or the director, Darko Tresnjak. They are a bit jarring, but this is a fantasy world and so belief is suspended.
The staging was interesting. There was primarily a shabby train station, which opened up to provide three settings on a turntable. These settings served as the Shill store, the local tavern, and an office that served various purposes. Costumes were of varying periods: they started out old, and evolved into the very modern. My wife noted that the costumes used for Claire were very expensive (she noted something about a pump with red bottoms, the cheapest of which is over $1,000).
Performances were very strong, notably Jefferson Mays as Anton Schill and Melinda Page Hamilton as Claire Zachanassian. But I also liked Jennifer Chang as the Shopkeeper, Mark Jacobson as the Station Master, and John Lavelle as the Burgomeister.
One additional thought: As I’m writing this up, I’m listening to the 2025 revival of Bat Boy: The Musical. Both Bat Boy and The Visit are interesting explorations of the humanity of a town (or the lack thereof), against something that mob beliefs want you to believe is evil. Is Anton Schill evil? When he was younger, he did vile things to Claire; but in his subsequent life, he was more exemplary. Does his later life absolve him of his earlier behavior? To what extent does early behavior taint us for life? [and this is certainly relevant: Think about the whole #metoo and cancel attitudes]. In the case of Bat Boy: Does the mere fact that someone is different doom them? Can culture and subsequent education overcome origin and difference?
This is what theatre is supposed to do: Raise questions like this that make one think. Through settings and story, create situations that parallel today’s life, forcing us to look at our behavior. What makes someone evil? What makes them worth saving? What is the power of money in the equation? Can money make a morally reprehensible act acceptable?
And with this, we come to the key question of any writeup: Should you see this show? I think the answer is obvious now: Yes. This show is a reflection of today’s society. It will make you think about the question of whether a bargain with the devil is worth it, and where is the evil in the world.
The Visit continues at the Pasadena Playhouse through October 4. Tickets are available through the Playhouse website.
Credits
The Visit. Written by Friedrich Dürrenmatt. Adapted by Maurice Valency. Directed by Darko Tresnjak.
Cast [underscores indicate “at our performance”; strikeouts indicate “not at our performance”; ↑ indicates “swung up”]: Christian Barillas Teacher; Kenajuan Bentley Ryan W. Garcia Bobby; Jennifer Chang Shopkeeper / Frau Schill; Ricardo Chavira Policeman; Danny Cron Max; Matthew Patrick Davis Pastor; Melinda Page Hamilton Claire Zachanassian; Matthew Henerson Doctor; Mark Jacobson Station Master; Adrian Latourelle Painter; John Lavelle Burgomeister; Jake Levy Conductor / Kobby / Hermine / Karl / Reporter; Jefferson Mays Anton Schill; Ian Joseph Paget Pedro / Truck Driver / Reporter / Movement; Will Pellegrini Mike; Hilary Ward Innkeeper / Frau Burgomeister; Lauren Worsham Lobby / Adolphine / Ottilie / Reporter.
Production and Creative: Friedrich Dürrenmatt Playwright; Maurice Valency Adaptor; Darko Tresnjak Director; Alexander Dodge Scenic Designer; Charlotte Devaux Costumes; Matthew Richards Lighting Designer; Jonathan A. Burke Sound Designer; Aaron Rhyne Projection Design; Alberto “Albee” Alvarado Hair / Wig / Makeup Design; Rocio Mendez Fight Coordinator; Miranda Johnson-Haddad Dramaturg; David Nevell Dialect Coach; Ryan Bernard Tymensky Casting for the role of Claire; Ian Joseph Paget Movement; Brad Enlow Technical Direction / Production Supervisor; Bonnie McHeffey General Manager; Jenny Slattery Assoc Artistic Director; Davidson & Choy Publicity Press Representative; David S. Franklin Production Stage Manager; Alyssa Escalante Asst Stage Manager; Sue Karutz Asst Stage Manager.
Administrivia
I am not a professional critic. I’m a retired cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; The Soraya, Chromolume Theatre, and 5-Star Theatricals.
Want to find a show: Check out the Theatre Commons LA show list. Other good lists are the Theatre in LA listings; the TodayTix listings; OnStage 411 (use the “shows” drop down); and Theatermania. If you are looking for discount tickets, TodayTix (unlike their predecessor Goldstar Events) doesn’t handle the small theatres in LA. Luckily, Theatre Source LA has a new initiative: StageRushLA for discount tickets.
Sadly, we recently lost one of my favorite theatrical venues due to fire: the historical building housing Newhall Refinery, Care/Tucker Design, The Main, and El Troc was destroyed by a 3-alarm fire. Luckily, Canyon Theatre Guild next door was spared. I’ve been attending “The Main”, and it’s previous incarnation, Rep East Playhouse, since all the way back in 2006. Twenty years. Let’s pour a glass for the art and artists of Rep East/The Main, and hope that small and vital venues like The Main return to Santa Clarita soon. While you’re at it, contribute to support the artists of The Main who lost all their gear (they were in the middle of a show run). Do what you can to support theatre in Santa Clarita. I am: Our outing next weekend for Come From Away is to the Olive Branch Theatricals production, in the Valencia Town Center. The leaders there got their start through REP and CTG.
Upcoming
Key: 
Theatre / 
Music / 
Other Live Performance – Next 90ish Days (
indicates ticketing is pending).
- September: Catch Me If You Can at The Colony Theatre;
- October: The Outsiders at BIH/Pantages; Come From Away at Olive Branch Theatricals; Branford Marsalis & Dianne Reeves Celebrate John Coltrane at The Soraya; Les Miserables at 5-Star Theatricals; Gershwin and the Golden Age (feat. Michael Feinstein) at The Soraya; The Who’s Tommy at BIH/Pantages.
- November: Things are Looking Up at the Binge Festival of Free Theatre/Santa Monica Playhouse (Livestream); Passing Strange at Pasadena Playhouse; Oh Mary at CTG/Ahmanson; Dance Theatre of Harlem at The Soraya; Road Show at Chromolume Theatre; Destiny of Desire at CTG/Taper.
- December: Candide at LA Opera; Big Fish at Conundrum; Spanish Harlem Orchestra at The Soraya; Christmas Carol Goes Wrong at CTG/Ahmanson.
