Kafka and Son

That Kafka was dominated by his father is commonly known. The extent of his fealty is revealed in this hour long monologue, which threads his letters home into a single, overpowering complaint, including episodes from his childhood, the father's reaction to his son's marriage, and a brief interlude where the father responds to his son's complaints. Kafka is pictured as craven, his daddy a monster.

For Kafka fans, Alon Nashman's study is a gripping look at the private life of a great author. Had Kafka not been posthumously revered, however, there is only a horrible tragedy. Nashman never really takes sides, letting the son appear pathetic and the father shadowy and sinister.

The feathers that adorn the stage, serve as quills and fall from the set add to the dark atmosphere. But despite scenic embellishments the strength of Kafka's presence is such that the subject matter never goes far beyond the specifics of his life. The performance functions more as a method of navigating his novels than making any statement about paternal tyranny, except in the vaguest terms. Theatrically, it is imaginative, and Nashman has a striking charisma, even when he is bringing out Kafka's most pitiful bleatings.

Certainly fascinating as a look at Kafka's personality, and as an insight into his motivations, it is a solid example of how one man can hold the attention on stage, without ever taking flight and finding the more resonant hollows of this particular relationship.