I had the absolute pleasure of getting to witness the premiere workshop production of Dachau for Queers, opening night over this Philly Fringe festival. TLDR: it’s one of the absolute best pieces I’ve seen in years.

Comprising 25 scenes, we follow Jonah Goodson, a young man sentenced to three months in a psychiatric hospital after committing the “crime” of homosexuality and his encounters with friends, family, enemies, handsome actors and one rather friendly spider in the corner. This piece moves like a symphony as the scenes progress. Sometimes in a different key or time signature, but all referring to the same motifs and themes. All coming together to create one beautiful piece of music. And while each scene could stand on its own as an enjoyable vignette, the collection comes together to tell a heart warming and thoughtful story that is absolutely greater than the sum of its parts.

Daniel Neer (playwright) plays with time, location and pacing in a way that the MCU could only dream of these days. We travel from the 1940’s in Germany to present day California with effortless style. His research into the source material shines through as the drug induced psychedelic experiences we witness are all grounded by testimonies or articles from survivors of the Atascadero Psychiatric Hospital. Running at a crisp 85 minutes, Neer’s efficient use of words and ability to write fully realized characters into a scene in just a few pages keep the story moving and focused on its task. 

Putting this piece together and handling its delicate subject material is done expertly by Ted Gorodetzky. The minimalist approach with suggestive set pieces and only key props allow the story and actors to come through. Each character and scene is tightly packaged with clear goals in mind as we watch Jonah grow up in his mind. I must also take a personal moment to appreciate, whether it be Ted or Daniel’s doing, the task of luring the audience into a false sense of security only to turn us on our heads. There is a fabulous sequence where we witness a drug induced episode of the Ed Sullivan show! Complete with quirky nurse co-host, Mr Spock, and a Miss America who only wants to twirl her baton. Like any good studio audience, we were invited to, and happily, applauded when the sign indicated we should. Only after Jonah is introduced as our guest, and a more nefarious treatment began, did we realize we had been accidentally applauding for electroshock therapy the entire time. I love moments like these where I’m lured into a seemingly innocent act expected from an audience member. Only to realize I’ve become part of the challenge that Jonah must overcome. It was one of the moments I was most engaged in the story, and only had me rooting even more for Jonah to come out on top in the end. Well done to both Ted and Daniel for this moment of beautiful theatrical craftsmanship.

Getting to watch Jonah live his life we encounter a number of characters, all played by our cast of five. Tristan Jenis (Jonah) maintains a focus and softness throughout the entire production. Looking up to superheroes and frequently calling upon Superman to give him strength as he undergoes the terrible treatments at the hospital, Jenis portrays Jonah with an innocence and sense of morality that would impress the likes of both Clark Kent and Peter Parker. Heroes are made by their hardships, and if Jonah doesn’t end up with a comic book, then I will have some words for both DC and Marvel. 

Surrounding Jonah are a menagerie of characters each more engaging than the last. Gorodetzky (who performs along with having directed the piece!) frequently portrays Jonah’s antagonists. The doctor giving him treatment, his abusive father and a twisted version of Ed Sullivan. How amazing it was then as Gorodetzky shows up as Superman himself (Clark Kent if we’re getting technical), to bolster Jonah into creating a motto for himself to give him strength when he needs it most. Avery Leach gives life to a number of figures around Jonah from an aggressive Hospital assistant, to a fellow patient who promises that in seven years they’ll meet, fall in love and eventually be together forever. Leach gives each of these characters such heart, that even as an orderly, there’s a desire to truly help Jonah get better. Sometimes through ill means, and sometimes through love as we watch his portrayal of Jonah’s grandfather simply state “There’s nothing wrong with the boy”.

Sach does just the same as her sing-song secretary rails out against the click clack of the typewriter as Jonah goes through intake at the hospital. It’s hard not to find Sach on stage as her presence fills the space and invites you in. Even as Jonah’s teacher cruelly tears his comic in half (it absolutely would have been a collectible!) and we see a moment of regret as we watch Jonah’s mom contemplate if sending her son away to this place was the right thing to do. Rounding out this incredible cast is Neena Boyle who I’m convinced may actually be five different people. Her encounters with Jonah are full of love, support and comfort. We see a candy striper trying to ease his discomfort and Jonah’s sister as his only true defender at the Thanksgiving dinner table. Boyle manages to completely quiet the theatre as she joins Jonah on stage as a prisoner of Dachau in Germany, playing a clarinet and even as she enters you immediately feel the weight of this character and the air becomes still so we could watch these two people connect.

The absolute best part of going to see this was talking about it afterwards. No matter who I spoke to, we had more questions, more ideas, more realizations of what we had watched, how people grow and how time changes and teaches us. This is a piece that lives on even after you leave the theatre, which is exactly what I hope for when going to see a show. Getting a production team and cast of this caliber together to tell a story so in tune with each other is much more rare than it should be. I hope to see this piece take on a life of its own, and (sooner rather than later) receive a full production so that the story can reach more people, more ears and more hearts.