The true story of Miriam Freedman, Holocaust survivor, through a multidisciplinary exploration that is as hopeful as it is heart wrenching.
At the top of As Long As We Are Breathing, the audience is instructed to breathe. Subtly, void of expectation, our eyes close and we listen as Caroline Gruber, who plays the older Miriam in this production, takes us through a guided meditation. We keep coming back to breath. This eases us into the world of the play, submerging us in the appreciation of what it means to breathe therein be alive. At the time, breathing seemed like a given. To breathe freely, confidently, is what it means to be human. We hold onto this feeling, and as we learn more about Miriam’s life, the simple act of breathing feels increasingly precious.
Miriam Freedman, now 90 years old, has an incredible story to tell. Born in Slovakia a few years preceding the Nazi regime, she went by the less-Jewish ‘Eva’ in her homeland. A child who loved to play and run, sporty in every sense, movement drives her zest for life. To move, to breathe, and to play, is to live for Miriam. This is starkly contrasted by her experience in hiding during the Holocaust. Moving or breathing too loudly meant getting caught. As Long As We Are Breathing takes us through the life of Miriam Freedman as she survives the Holocaust and makes her way to London, when she discovers yoga and meditation, which offers her a means to process her trauma. Her relentless appreciation for these tools is highlighted, offering a new appreciation for the audience. Zoe Goriely, who plays a young Miriam, embodies a myriad of experiences that pave the path of Miriam’s life, wildly varied in their nature. She speeds about the stage, excitedly portraying Miriam as a child playing with the other kids outside, Miriam in hiding, Miriam losing her father, Miriam experiencing liberation, Miriam making her way to England, Miriam making peace and forgiving; a whole life is packed into one performance with admirable deft. Caroline Gruber holds the production together with narrative capacity, serving as an anchor for the piece. James Hinchliffe’s impressive musical capabilities provide the soundtrack to the production, flitting between instruments and truly painting the auditory picture of the world of the play.
Playwright Diane Samuels has created a truly touching homage to the life of Miriam Freedman. Her valuable legacy is beautifully enshrined by this piece, a story which will hopefully and deservedly be told again and again and again.