The new play Liberation, by Bess Wohl, is receiving wildly positive reviews, having made a seemingly seamless transfer from off Broadway to Great White Way. The production follows a group of women in the early 70s, who meet weekly in a school gymnasium to discuss this new thing happening around them. That would be the feminist movement.
The cast has been together from the start, including the one who arguably steals the show: Betsy Aidem who, at 67, seems to go from one prestigious play to another. Just four years ago, she appeared in Prayer for the French Republic, earning a Tony nomination, and Tom Stoppard’s epic’ Leopoldstadt. Both also dealt with historical subjects: as in antisemitism during World War II.
Aidem met Bess Wohl in Williamstown several years ago.
“We had actually acted together,” she recalls, “and she was working on this play on the side. I was all in because of the subject. It brings me back to my youth when I first heard about consciousness raising, with new heroes like Billie Jean King. But mostly, I think of my own mother who had three children and was a homemaker. At that time, it may have become uncool, but she paid the bills, drove the carpools, studied art, and volunteered a lot. But you know, I learned a hundred things from her: from how to tie a shoe to what the difference was between Manet and Monet. And she could see the next generation coming up.”
One would think the James Earl Jones Theater, where Liberation is currently playing, would be the site of many gatherings for, shall we say, older and female theatergoers. Aidem says it goes beyond: “We are getting both genders and yes, the older theater crowd. But we’ve been surprised how many young women are coming, many under 30. Sort of like with John Proctor Is a Villain, they hear about us on TikTok. They realize this show deals with sexuality and how we feel about our bodies, and that is not limited to age.”
Speaking of those bodies: Spoiler alert here, but by now, many know that the second act begins in a brave and funny way. There are warnings beforehand about nudity, but one still can’t help but be surprised and amused. “I had never done nudity,” says Aidem, “And my mother was completely shocked. But you know, it’s one of the easiest scenes to do. Women sitting around talking about what they love and hate about their bodies felt very natural.” (Apparently, other performers had turned down the roles due to the scene)
Whitney White, the director of the show, can hardly rave enough about this leading lady. “Betsy Aidem has brought a delicate combination of poise and vulnerability, which has rendered a Margie both dignified and brave, despite her struggle,” says White. “I don’t think anyone else would have found Margie’s bravery and power the way she has.”
The woman who created the character also could not be happier.
“Betsy has both a fierce intelligence and a strong sense of dignity that elevate the role beyond what one might expect from someone who is ‘just’ a downtrodden housewife,” says Bess Wohl. “Far from a shrinking violet or a sad sack, she reveals an immensely powerful and smart woman who is trapped in the cage of domesticity. She is equally deft at pathos and humor but more than that is her ability to stand out in solo moments and lend her power to group scenes. She is both an individual star and an incredible team player.”
This play matters to her in all ways, but Aidem looks back at Prayer For the French Republic as being “the greatest gift of my life.”
“I did a deep dive on that one, including on my own family tree and its history facing antisemitism,” she says “And then doing a play written by Tom Stoppard on a similar subject was a dream. Stoppard is one of the most charming and brilliant men I have ever met. I don’t know how much longer he’ll be with us, but his work will always be.”
As for her future, something always comes up. One hope may be for a gig in London. “I’ve always felt American stage performers are sidelined by the Brits,” she says, “They are great, of course, and it’s wonderful they come here to do their shows, especially at places like The Shed and The Armory. But there is not enough reciprocity.”
If I had to bet on that reciprocity, I’d bet on Betsy Aidem.
Michele Willens recently profiled Dulé Hill and Elizabeth Marvel for the Daily Beast.
