By John Lyle Belden
It’s interesting that Marcia Eppich-Harris relates her writing of the play, “Seeking Nietzsche,” now premiering with Southbank Theatre Company, “out of order in 30- to 45-minute blocks, simply writing whatever I had time to blast out.” This scattered approach reflects how German academic and philosopher Friedrich Nietzsche (1844-1900) reportedly composed one of his more notable works, “Thus Spake Zarathustra,” which is referenced in the play.
True to a philosopher of at the edge of the modern world, this dramatic examination of the man goes back and forth, from his deathbed to his early academic career, to his various works, and to his key relationships. Lukas Schooler in the brushy mustache bears a resemblance to Nietzsche, and his talent at interpreting the often-misunderstood personality brings him brilliantly to life, noting, in Eppich-Harris’s words (that Friedrich would likely have said, given the chance), “Some men are born posthumously, as I was.”
The set, designed by Aric Harris, is a theatre of Nietzsche’s decaying mind – papers everywhere – which fits neatly into the pit-like indoor amphitheater of Shelton Auditorium at Butler University. Evren Wilder Elliott, familiar with being misunderstood and the struggle to make one’s self the best man possible, directs with an eye to portraying a man whose life and opinions were ever on the move, never predictably fixed. Nikki Sayer is stage manager.
In Nietzsche’s world, we meet his firmly conservative sister, Elisabeth Forster-Nietzsche (Amalia Howard), whose German Nationalist pride easily adopts the anti-semitism his brother never felt. There is also Lou Salomè (Trick Blanchfield), with whom Friedrich and another companion attempt a philosophical commune – a sort of thruple with no sex, but a lot of longing. That doesn’t last, but Salomè’s deep platonic affection for him does. Celebrated composer Richard Wagner (James Mannan) is embraced as a father figure; his works were as brilliant as his views on society were toxic. Swept up by the former, Nietzsche finally cannot tolerate the latter.
Much of the difficulty in understanding the philosopher was due to his fluctuating viewpoints, scribbled roughly on various sheafs of paper; this was further distorted by the posthumous editing of his sister, an eventual admirer of the new German Chancellor.
I joked to Eppich-Harris that I would have named the play, “God is Dead, and I’m Not Feeling Too Well, Myself,” but that sentiment does sum up the feeling of her “Finding Nietzsche.” In Wilder’s hands, with bold support by Howard, Blanchfield, and Mannan, we get from Schooler an intriguing soul always suffering in some manner – mentally, spiritually, and especially physically – but with an underlying cord of humor than never quite breaks until the moment he sees his legacy likely forever tainted, when we see the ghost of the man who mourned God, nearly cry.
Pardon the tangent, but consider how on short video online platforms, you can see an exploding object with the video run in reverse. The outer damage and exploded bits collapse towards the initial blast, finally bringing the true object in focus. This play hits “rewind” on the violently interpreted concepts such as the “ubermensch,” bringing us back to the contrary yet certain man who went out for a walk and came back with some insight.
A brilliant exploration of a man, his philosophy, and how they molded each other before changing the world, the play runs Thursday through Sunday, Sept. 21-24, at the Shelton, 1000 W. 42nd St., Indianapolis (Seminary side of the Butler University campus). Information at southbanktheatre.org, tickets through Butler Arts and Events.
