because the Republican votes in its favor are not there.
All of these events flow through one’s mind with Strathairn’s introduction; his caution that we are far down the ski slope to authoritarianism—and what responsibility do we have to counter its poison. It should be a foreign country that this rings in our ears as a warning about, a faraway equivalent of the Germany of 1932. But it is now, here, in the relentless attacks on freedom and democracy by former President Trump and his malign acolytes.
The play’s message is made more acute by his character, because in World War II Jan Karski saw up and close and raw those suffering and dying and dead in a concentration camp, told the powers-that-be in Britain and America in 1943, and remained unheard and unheeded. We see him at the White House, overwhelmed at the décor and grandeur, and utterly deflated as it becomes clear that President Franklin D. Roosevelt has not heard a word he says.
He also wants to do something active, to scoop up the starved and beaten bodies in front of him. But he does not. That is what makes the lack of action on the part of the political leaders later so much worse for him—he tried to do something, but what he did, he worries, counted for little when he went unheard.
Strathairn is one of the actors for whom we will stop scrolling through the choices, and watch *anything* he is in. Surely he is riding a career crescendo long in the making, like 40+ years in the making
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