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I found it slightly curious to read Thilde and her son's story so thoroughly in the play's Introduction, complete with anecdotes and reminiscences, only to have the self-same story re-told in the play. Forster presents the audience with an epic canvas in Don't Mention Casablanca, drawing on the most potent and broad-ranging themes of the twentieth century: the rise of Hollywood, World War I, the plight and enforced Americanisation of European exiles, the genesis of World War II, and the beginnings of Holocaust.
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She also demystifies Curtiz the Hollywood icon, portraying him as brash, chauvinistic and prone to malapropisms in English, his second language '[Y]ou know fuck nothing about making movies In order to deal with this material from her own family history, Forster constructs Don't Mention Casablanca in part as a memory play. The scene is memory and is therefore non-realistic. Act one, scene one. Don't Mention Casablanca articulates primarily from memory.
However, it is not the writer's memories we see depicted, but her father's. The device Forster uses of the older narrator recalling his younger life - and playing both the man and the boy - continues to be a potent one.
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In each case, the same actor plays man and boy. Forster approaches this dramatic problem slightly differently, casting two different actors in the roles of the narrator Thilde's son as an elderly man and Michi Thilde's son as a young boy.
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This device lends a sense of poignancy to Don't Mention Casablanca as the audience sees the young boy juxtaposed with the old man he will become. The older narrator also provides a sometimes wry commentary upon the action, and allows for large tracts of time to pass through a few well-chosen words.
Brechtian elements are evident in Don't Mention Casablanca's dramaturgy and the author's instructions for its staging. It had a fake cover with her picture and byline on it. Ludwig Foerster and Michi headed to Austria. It was during this journey that Michi was informed that he was a Jew. In Vienna the two were supported by the Jewish community for six months. A visa was secured for Michi, and at end of , the newly discovered Jew sailed to America by himself at the age of When the teenager arrived in California that same year, his mother informed him that she had not, in fact, ever been married to his famous father.
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He also realized that the great director wanted nothing to do with him. Eventually, Thilde Foerster succeeded in getting a court to order child support from Kertesz in California. Forster says the play made it into the finals in a playwriting competition in the late s.
If it had won, it would have been staged at Lincoln Center. She spent the end of her life in a nursing home after surgery for a brain tumor. Forster was the only member of the family in California when her grandmother died.
The playwright remembers her grandmother as a witty, politically aware woman who was a good storyteller. She says that the two of them were quite close, despite the fact that Thilde Foerster revealed almost nothing about her life. Forster had felt that she was a failure as a Jew because she lacked a Jewish education as a child, but over the years she has decided that she is part of the Jewish people.
Don't mention Casablanca [Book Review]
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