Book Review: Oberammergau: The Troubling Story of the World's Most Famous Passion Play

Oberammergau: The Troubling Story of the World's Most Famous Passion Play
by James Shapiro
The Oberammergau Passion Play has been in near-contintual production sine 1643 when (as legend has it) terrified townsfolk promised it in return for divine protection from a plague. This hoary drama seems innocent and pious enough on its surface. But after the Holocaust, as many sought the roots of the slaughter of millions of innocents, the people and traditions of Oberammergau came in for their share of scrutiny. This scrutiny topok on special urgency when the Catholic Church officially changed its position in 1965, in the landmark document "Nostra Asetate," in regard to the charge of deicide against the Jews. This book focuses on the seesaw attempts in the last 40 years to rid the play of its antisemitic elements and bring it into line with official Church teaching.

Author James Shapiro makes no secret of his Jewishness, and has produced a remarkably even-handed account of the play's history and theology as well as attempts to expunge strands of anti-Semitism and Christian triumphalism. Shapiro follows the effort of Oberammergau natives Otto Huber and Christian Struckel to emphasize the Jewishness of Jesus while making a work that traditionalists would tolerate, the public would pay to see and Jewish organizations could live with. They attempt to deal with aspects of the play that show Christianity as prefigured in Old Testament writings. This idea is odious to Jews, who bridle that this "typology" reduces their faith to a preview of coming attractions. But it remains an aspect of Christianity that is difficult, if not impossible, to dislodge.

The struggle within the Oberammergau community is the struggle of Christians everywhere. It may even be the divine mandate for our time--to use the analytical tools of our age to strip away layers of hatred varnished over gospels accounts that themselves are antagonistic toward Jews. To uproot hatred of Jesus's neighbors and family while retaining the Jesus of faith is no small undertaking. No wonder that less committed people have chosen one of two easy ways: to blame only the Jews for Jesus's death or to call all religion irrelevant. The book also details the self-serving myths surrounding the Oberammergau play's origins and the piety of the "simple peasant folk" who lived there. Oberammergau residents have not been above selling outsiders on the myth that they so inhabit their roles that they are hyper pious even out of play season. Indeed, Shapiro shows how this myth cuts both ways--ensuring the play's popularity, but trapping its actors in an impoverishing economic rigidity between cycles.

The book neither swells on nor shies away from the dark side of Oberammergau. The community, like others in Germany, tends to whitewash its Nazi past and is surprisingly blind to its deeply-seated and axiomatic anti-Semitism. One "Jesus," Nazi party member Alois Lang, played the lead role even after the war. During the war, a jet engine plant was situated just outside of town. And the notorious Dachau concentration camp was a mere 75 miles away. Some Oberammergau residents seem genuinely baffled that a play that casts Pilate as a hero and Jews as money-hungry could be seen as anti-Semitic. Even the younger residents come perilously close to reverting back to old attitudes when encountering pressure and bad press from the Jewish organizations they are courting. And in spite of the wish for residents to keep the world at bay, modernity rears its head -- Oberammergau youth are no different than other in having abandoned devotions; and married women clamor to be allowed into the play.

"Oberammergau" does wonderful job of depicting the contradictory threads that run through producing a gospel drama in an age when the old certainties--the virtue and inevitable triumph of Christianity, the eternal guilt of the Jews, the historicity of the gospels--have been called into question. In many important ways, the drama replays themes of great and global import--the rehabilitation of those who participate in evil, the need to hear the voice of the persecuted, and the need to root out wickedness from one's own heart. "Oberammergau" asks us the same question posed by its play's central figure, asking whether we have ears to hear and the purity of heart needed to break out of shackles that blind us to our own evil and to the suffering of our fellows.