‘The dead cannot protest. We can and must’
David's Gift
Andy Mackie
Alan Caig Wilson
Gordon Davidson
The Theatre Workshop Community Company
Robert Rae
April '99
Synopsis
This play narrates the intersection of two stories. A memorial stone is found at the site for the new Scottish Parliament. Engraved on it are the names 'Hannah' and 'Pieter'. The architect Sarah presumes that it commemorates two members of the Jewish community, erected as it was in the traditionally Jewish area of Edinburgh. It transpires that it pays tribute to the wife and son of David Ferguson; they both died at Auschwitz. Parallel to this story there is a narrative about neo-Nazism in Britain, looking at the violence and irrationality of this movement through the eyes of a young girl Cathy who is drawn into it. Learning about David's story, a local women's group invites him to come and speak to them. They throw a large party that includes Jewish food and entertainment. Cathy is also invited to this event and is touched by David's story, learning that difference is not to be feared but celebrated. David is disturbed by this party and suggests that the only way to fully understand the Holocaust experience is not to listen to him speak but to travel to the scene of the crime itself. The second act follows David and the women and a collection of other diverse individuals to Auschwitz. It shows the impact of the camp on the characters; emotion, anger and a new ways of thinking about life are all explored. They return with the conviction that such events should not be forgotten, and with a renewed belief in the need to confront racism and hatred in the modern world. The memorial stone, 'David's gift', is resituated between the Scottish Parliament and the Scottish heritage centre, between present change and past reminiscence. Theatre Workshop have been committed to exploring Jewish identity through plays such as Of Nettles and Roses (1996)
