June 22, 1940. France and England have declared war on Germany. Gertrude Stein (Linda Bassett from Call the Midwife) and her wife, Alice B. Toklas (Catherine Russell), are sheltering at their Bilignin home in the French Alps with Bernadette (Natasha Karp) who acts as their maid. The couple is expecting several visitors. Alice tells Gertrude that Agatha Christie (Sophie Thompson), who was invited, is bringing Lillian Hellman (Juliet Stevenson) and Dorothy Parker (Debbie Chazen). “There are Americans in Europe besides us?!” Gertrude exclaims.

The writer, who often refers to herself in the third-person, is unfamiliar with Parker and considers “Lily-ann”, pronunciation she uses to annoy Hellman, “a contemptible bore.” Alice points out that her wife felt that way about Yeats too, and yet she quotes him liberally. “Now that he’s dead I can appreciate him,” Gertrude retorts. “Then just picture Lillian dead too,” comes the response. Singular characters and their relationship are clearly established.

Before the literary contingent arrives, a young American woman named Mary (Sarah Solemani) shows up a day early, travel being unreliable. Actually Muriel Gardiner, a real historical figure, she’s a member of the Resistance. Stein is Jewish. The courier has come to pick up promised cash donation towards fake passports and bribes that will help get Jews out of Europe. “Why are you doing this?” Gertrude asks. “Because it’s the right thing to do.” “Who told you that?” “I did.” “You were correct.” (Shades of Stein’s staccato writing voice pepper more fluid speech.)

Gertrude explains. “The Jews have produced only three original geniuses, Christ, Spinoza, and myself and how can a genius turn its back on the entire race?” Risk and outcomes are discussed. Gertrude and Alice admire Mary. The young woman plans to sleep at the train station but is convinced to stay when she learns Hellman is coming. A last name is concocted for her, as is a visit purportedly based on literary correspondence with Gertrude.

The guests descend. Again, character and relationships are well drawn. Lillian is dour, cynical, selfish/brutish.“I’m glad you didn’t pick up on account of us,” she remarks upon entering. Thwack goes the gauntlet. Gertrude tips a drink into her lap. “No scotch for the bitch, Bernadette.” Alice asks Bernadette to fetch a towel. “Let it air dry,” Gertrude snaps. Dorothy is wry (not funny), cocky, weary, attentive. Agatha is curious, pragmatic, clip. In the course of the meeting, a river is imbibed. Tongues loosen, boundaries are pushed and/or ignored.

The women talk about marriage, love affairs, (you’ll recognize names), art, bohemia, a child, an abortion; Agatha’s disappearance – the country was combed and she was presumed dead; Lillian’s play The Children’s Hour which centers on a tragedy involving a lesbian couple. “It wasn’t easy for us to see,” Gertrude notes. “It made us look so ugly.” “It was escapism,” its author oddly responds.

They remember Paris. “What happens when Germany invades?” Lillian challenges. Mary, who’s identified herself as a psychiatrist (true), is questioned several times about her presence abroad. Inquiries get more forceful as the evening proceeds. “Are you a friend of the Jews, Miss Christie?” Mary asks. “The Jews can read,” Agatha answers. “How do you feel about Hitler?” the young woman presses. “The man’s a ninny.” Agatha refers to the camps as “rumors.” When Mary admonishes we have to fight, Lillian says America won’t get involved. It isn’t “our” problem.

Tandem prying is applied to the presence of Bernadette who has a German accent. One explanation fades, another, more telling is revealed. Also exposed are each writer’s views on personal responsibility and the war. Occasionally, someone is jarred at hearing herself. Uncertainty and danger are addressed. (The others will leave, while Gertrude and Alice stay in France throughout.) While searching for dance music, the group chances across Marshal Pétain’s alarming announcement of surrender. (In French – this sounds like the actual, scratchy recording)

Mary’s purpose and identity is revealed. “What makes you think you can save them all?” Lillian asks. “…then why save only a few?” Bernadette’s horrific secret is shared. Actions are taken – some extremely surprising. A major one will turn up in a Hellman novel 23 years later. The epilogue tells us about each protagonist after the war.

The piece is smart, specific, and compelling. McCasland fluently creates individual voices weaving history, emotion, and opinions into communal subject matter. Acting manages to be reactive despite being shot at separate locations. (Kudos to Director Hannah Chissick who also has characters disappear when they exit, leaving an echoing empty space.) Minor props – a cigarette, glasses, a hat – work well to define.

Catherine Russell’s Alice is just as we’d imagine her – grounded, tolerant, watchful, devoted and oh, that voice. Linda Bassett is a revelation as Gertrude, her timing and tone wonderful. The two are chemically perfect. As Mary/Muriel, Sarah Solemani creates a thoroughly empathetic character, credibly roiled without overacting. (McCasland’s take on her is deft.)

Juliet Stevenson’s elongated pronunciation is very Hellman, her antipathy often infuriating. Debbie Chazen’s Dorothy Parker is a brighter, looser presence as if she cares less. Natasha Karp’s Bernadette is turned tightly in. She’s stirring with the character’s backstory.

Highly worth viewing.

Little Wars by Steven Carl McCasland
Directed by Hannah Chissick
Broadway On Demand
Available on the web, mobile, Apple and Android app store, Apple TV, Roku, Chromecast, and Amazon Fire TV.

In support of Women for Refugee Women

For those interested in Stein’s war years and writing: Gertrude Stein: A complex itinerary, 1940–1944 by Edward Burns