Nadya Menuhin, a literary agent with a rich history of work in the theatre world, has adapted The Passenger into a stage play, a compelling work originally written by Ulrich Alexander Boschwitz. The novel, penned by a Jewish German refugee in 1938, offers a chilling and immediate portrayal of a man on the run after Kristallnacht.
For Menuhin, the book’s pace and its thriller-like qualities drew her in. She explained that the novel’s intense directness seemed perfect for the stage, especially in an intimate setting like The Finborough Theatre. The process of translating the novel to a theatrical medium, she reflects, was all about capturing its raw immediacy. “I wanted it to feel fresh and immediate, just as it did when I first read it,” she shared. Menuhin deliberately avoided the distancing effect of historical texts, seeking instead to bring the story into the present.
While adapting such a complex narrative, Menuhin had to make choices about how to handle the language and the historical context. In particular, she noted that while concentration camps existed in 1938, they were not yet the death camps we associate with World War II. Acknowledging that the story is now read “backwards” by modern audiences, she was conscious of how different the implications of these events might feel when viewed with hindsight.
As she worked on the adaptation, Menuhin made significant changes, such as paring down the numerous characters in the novel to create a more focused narrative for the stage. However, the essence of the story remained intact. In fact, she worked closely with Professor Michael Berkowitz at UCL for historical advice, ensuring the adaptation stayed true to the novel’s arc.
Themes of Memory, Trauma, and Survival
When it comes to the themes of the play, Menuhin draws attention to Otto Silbermann, the central character who is caught in a frantic attempt to escape the rising Nazi regime. Menuhin finds Otto’s character particularly fascinating for his aloofness and lack of self-awareness. “He’s an aloof businessman thrust into a situation for which he is completely unprepared,” she explained. “There are deeply moving moments, moments of warmth and connection, and then of course an irony that emerges from the absurdity of a totalitarian state.”
The exploration of memory and trauma is central to The Passenger, as Otto grapples with his experiences during the First World War and his memories of the past, which seem increasingly fractured. “He reassesses his entire system of beliefs as everything he thought he knew about himself is stripped away,” Menuhin noted. These themes resonate deeply in today’s political climate, and Menuhin pointed out that The Passenger may feel more relevant now than ever, especially given that the brutalities of Nazi Germany had not fully manifested at the time the book was written.
Character Development and Theatrical Challenges
Creating a compelling portrayal of Otto Silbermann on stage proved to be a challenge for Menuhin, as the character’s internal struggles needed to be conveyed without relying on inner monologues. In her adaptation, she ensured that Otto’s emotional depth was still communicated through his actions and language. The rehearsals brought discoveries, with the actors’ performances contributing to shaping the emotional landscape of the character.
“I’ve found it challenging to show what Otto has lost, to convey what his life was like before everything changed,” she reflected. Menuhin also acknowledged that while the novel’s situational humour, particularly in the absurdity of Otto’s plight, was difficult to capture, it was essential for the piece’s tone.
Collaboration and Rehearsal Process
Menuhin described the rehearsal process as a highly collaborative effort. Working alongside director Tim Supple and dramaturg Joseph Alford, the team shared a common goal: to strip away sentimentality and find the raw truth of the material. Menuhin emphasized how the cast brought the play to life, ensuring that every moment of the story was infused with emotional authenticity.
During rehearsals, one breakthrough moment occurred when the actors and the team allowed Otto’s situational humour to shine through, capturing the absurdity of his predicament. Yet, the subject matter remained heavy, and Menuhin highlighted the importance of staying focused on the dramaturgical process despite the emotional weight of the story.
Personal Influence and Artistic Legacy
As part of the Menuhin family, known for its artistic legacy, one might wonder how Nadya’s upbringing has shaped her approach to theatre. When asked about this, she mentioned that she’s drawn to the rhythm of language. While she feels language is more concrete than music, she finds herself fascinated by the ways sound and silence communicate just as much as words. “I love hearing people speak through walls, to not hear what they’re saying but to hear the rhythms, tempo, and intonation,” she explained. Though her family doesn’t frequent the theatre, it was a friend who first introduced her to the art form, sparking her own journey into it.
For Menuhin, the goal in adapting The Passenger was to avoid the common tropes of Holocaust-era literature, striving instead to make the audience lean in rather than lean back. The production’s electronic soundscape, thanks to Joseph Alford, was deliberately chosen to avoid overused motifs, with a preference for electronic music over more traditional instruments like strings or clarinets.
Looking Forward
When asked about future plans, Menuhin’s enthusiasm for the adaptation process was clear. “I’ve loved the adaptation process—it uses my mind and presents many challenges,” she said. She has a few ideas in mind for future projects, including films, books, and original stage works. Collaboration is central to her creative process, and she admires the dynamic partnership between Mickey Down and Conrad, the creators of Industry. “I’d love a writing partner,” she admitted. “I love collaboration.”
As for what she hopes audiences take away from The Passenger, she hopes they find themselves engaged in the story’s complexity, finding space to have their own thoughts while being moved by its intensity. “I hope it thrills, disturbs, and makes them laugh,” she said, reflecting the multifaceted nature of the play.
Final Thoughts
For Menuhin, the most rewarding part of working on The Passenger has been the people she has met along the way. “Learning from them has been the most fulfilling part,” she reflected. And as for seeing the play come to life on stage, she admits to feeling a mix of excitement and nervousness, a testament to the passion she’s poured into this project.
Summing up The Passenger in one sentence, she laughed and quoted director Tim Supple: “A 90-minute bullet train to hell.”
Photo credit: Toby Parsons Productions.
Featured image: L-R: Tim Supple (Director); Joseph Alford (Associate Director Sound);
Nadya Menuhin(playwright), at The Passenger on press night.