The escape from Mussolini’s antisemitic Italian fascism told in ‘Pack One Bag’ podcast

By Shelley A. Sackett

David and Sergio David Modigliani reviewing documents.

Heirlooms hold the keys that can unlock family histories. For many, these stories remain untold, preserved in artifacts that are passed from generation to generation and display case to display case. They sit silently on a shelf, admired and gathering dust.
Award-winning documentarian David Modigliani’s family was different.

When his grandfather, the Italian-born economist and Nobel Prize winner Franco Modigliani, died in 2003, David’s father Sergio inherited 19 boxes of documents. He kept them in a storage unit, where they remained taped up and unopened until COVID, when David decided to check out what was inside them.

He and documentary producer Willa Kaufman had begun dating just before the country went into lockdown during the pandemic. The boxes were a perfect diversion.

What they found inside was a treasure trove of family archives including letters, personal diaries, and fascist spy documents detailing his family’s harrowing times fighting to survive during the rising tide of antisemitism in 1930s Italy. That was the start of “Pack One Bag,” a 10-part podcast that traces his family’s escape to America.

In the boxes, there were scores of love letters between Franco, then a 19-year-old economics student, and Serena Calabi, the daughter of Jewish publishing baron, Giulio Calabi (known as “The King of the Books”) and the love of his life. Although David had grown up hearing the fairytale stories about his grandparents’ epic romance and their escape from fascist Italy for the United States in 1939, these letters did more than just preserve their love; they bore witness to the perils they confronted as Benito Mussolini and his Italian Racial Laws fueled antisemitism.

Most eye-opening was the 25-page letter that Giorgio, Franco’s brother who stayed behind in Rome, wrote and sent to David’s grandfather just after the war. It detailed, in “harrowing, page-turning prose,” his experience of navigating his family and shepherding them through a gauntlet of horror during the Mussolini regime.

“Reading this letter was chilling and opened up a much deeper understanding of the universe my grandfather could have experienced had he not been so fortunate to fall in love with my grandmother and escape fascist Italy with her family before the outbreak of war,” David told the Journal.

The professional storyteller in him knew he had to get to the bottom of his own family’s story. Toting his grandparents’ love letters, he and Kaufman went to Italy to speak to surviving family members, retrace his family’s steps in Rome and Bologna, and discover the answer to a question that haunted him: Why didn’t they all just flee Italy when they could?

The couple spent months piecing together a story that includes narratives of relatives left behind, recorded in their octogenarian voices. They plumbed state archives and even interviewed former Italian prime minister Mario Draghi, one of Franco’s students. They returned home knowing they had the raw material for a thrilling and timely story. But how to best tell it?

Film has been David’s medium ever since falling in love with the collaborative process of documentary storytelling while a graduate student at the University of Texas at Austin. He has won numerous awards for his feature films, which have run on Hulu, Netflix, PBS, and HBO.

But this time was different. There were no great visual assets and most of the main characters are no longer living. His coproducer reminded him that podcasts are at heart a visual medium. “A podcast is more akin to reading a novel than film. The audience must construct and build through their own imagination the world you are trying to create for them,” David said.

Actor/producer/writer Stanley Tucci signed on as executive producer and the featured voice of Giulio Calabi. David voices his Nonno Franco and Nonna Serena.

As a kid, he had done impersonations of his grandparents for his sisters and cousins, and when his collaborators heard them, they agreed that it would be an authentic way for him to bring his grandparents to life. David always meant to record them, and regretted that he didn’t prioritize that before they died. “I felt very close to them when I was recreating them for the podcast,” he said.

Episode 1 of the series David and his team created débuted at the 2023 Tribeca Festival as “Shalom, Amore.” It won the Jury Award for Nonfiction Audio, citing its “unexpectedly moving narrative that blends the personal, political, and comical” as it takes listeners “on a journey across generations and continents.”

Later, he changed the name to “Pack One Bag” to reflect the details of his family’s story. When his great-grandparents began illegally ferrying money across the border into Switzerland in the 1930s, they packed one bag so it would look like they were going on vacation. When the Nazis banged on doors in Rome’s Jewish ghetto in 1943, they instructed them to pack one bag.

“This story is about people who happened to be Jewish in the 1930s in Italy,” David said, “but it is a universal story. It applies to people in any environmental or political crisis who have to leave their homes. What do you take with you?”

David, 44, grew up as a “Reform Jewish kid in Brookline” and was especially connected to Judaism culturally and historically. He vividly understood how being Jewish had impacted the physical locations of his family. “My grandparents were in Belmont largely because of their Jewish identity and because they left Italy just in the nick of time,” he said.

He hopes that listeners can find some answers for the present moment from the way his family confronted their situation. “The question at the heart of ‘Pack One Bag’ is ‘when confronted with fascism, do you stay or flee? What if you can’t?’ ” David said.
Noting the upswing of nationalism, totalitarianism, and antisemitism at home and globally, he is reminded how fascism needs an “other” to survive and thrive, a subset of the population that the majority is motivated to antagonize, scapegoat, and persecute.

He cites his great-grandfather Giulio as advice to those being “othered.” “You resist as best you can for as long as you can, and then you flee,” David said.

“For those that have the privilege to exist inside a fascist society without being persecuted, the onus is on us to preserve democracy and to attempt to return society to a more inclusive and tolerant place.”

To listen to the podcast and for more information, visit packonebagshow.com.

DTF’s Timely ‘True Art’ Is A True Masterpiece

Jayne Atkinson, Fiona Robberson in Dorset Theater Festival’s Timely ‘True Art.’
Photos by T Charles Erickson

By Shelley A. Sackett

It was good planning to arrive a little early for the Dorset Theatre Festival’s world première of “True Art.” The bewitching set begged a closer look. Center stage, basking in Renaissance splendor, is Michelangelo’s “Leda and the Swan,’ mounted on a rich burgundy panel. Stage left and right are mirror rows of vertical metal grids, each loaded top to bottom with the A-list of coveted museum possessions, from Pollack to Picasso and Monet to Miro.

These were very good replicas, so good in fact, that even up close, even knowing I was in a converted barn in Dorset, Vermont, and not on Museum Mile in New York City, for a split second, I felt like I was on hallowed artistic ground. Although stage prop replicas, these paintings could evoke the same kinds of feelings as the real McCoys.

Is that a bad thing? Is “fake art” valueless? Can only authentic art evoke valid feelings? Is an emotional reaction to counterfeit art necessarily counterfeit too?

It turns out one of the central questions playwright Jessica Provenz asks in her biting, suspenseful, thought-provoking, and funny newest play is in this same vein: In the provenance of the art world, what makes something — and someone — authentic? Is it the art or the artist? Is it what’s on the canvas or what the critics have written about its artist?

Charlie Reid

And, more importantly, how much does its history and reputation as an “important” work of art influence whether and how much we do — or feel we should — like it?

Provenz has a light touch and a gift for writing colloquial dialogue, so her play doesn’t bog down under the weight of these and other important issues she raises. What a gift to make your audience simultaneously laugh, gasp, and contemplate, which she does from the moment the play starts.

The action begins in media res at Christie’s auction house. Between the Swader’s set and Joey Moro’s projections, it is as if we are in the audience as auctioneer Buddy Silver (Bob Ari) coaxes higher and higher bids out of imaginary art collectors. On the block is “Leda and the Swam,” the lost Michelangelo painting recently discovered in a farmhouse somewhere in France.

The painting sets a new record for the most ever paid for a work of art.

The scene switches to a bench in front of a painting in a gallery at an iconic and prominent museum, where we meet 22-year-old Lauren Anders (a wonderfully talented Fiona Robberson), a midwestern art history major and the new temp of Jodi Dean (the always fabulous Jayne Atkinson). Dean is the 60-something curator of Renaissance art and has a reputation for eating her interns alive. She averages one per month.

Bob Ari, Robberson

Enter J.J. Winchester (Charlie Reid), a flirty, slouchy young man around Lauren’s age who seems to have the keys that open every door in the museum yet has no articulable reason to be there. We get a lot of information from their casual and clever conversation.

Jodi, J.J. tells Lauren, is known as “Dragon Lady” and has had to claw her way to her position of power. She is the only woman being considered for the museum directorship and J.J.’s dad, the museum’s chairman of the board, is the lone holdout on her achieving this life-long goal.

The two are attracted to each other, and the actors bring an innocent carnality and spot-on delivery to their roles. Lauren tells J.J. she intends to become Jodi’s new intern. J.J. bets Lauren she won’t last the day as a temp.

As she scampers off to face the lion’s den, J.J., clearly smitten, gifts her with the tip that Jodi likes her coffee black, extra sweet.

The Swader’s marvelous set then swivels to reveal Jodi in her lair. Atkinson is perfect, playing Jodi as a gladiator and survivor who, from time to time, reveals emotions that surface through the chinks in her armor. She greets Lauren with daring and disdain. She immediately sets ground rules and lets Lauren know the lay of the land.

From the get-go, Lauren stands her ground while slyly taking the wind out of Jodi’s confrontational sails. She predicts and fulfills her desires (like coffee taken black with extra sugar) while pretending to defer, bow and scrape. Lauren is, after all, a Jodi wannabe. She is as determined and ambitious as her boss, willing to do what it takes to get where she wants to go.

Jodi is on her way to an important press conference. It turns out that Jodi and Buddy, Christie’s auctioneer, art dealer, and her sometime boyfriend, are the ones who found the lost Michelangelo masterpiece, “Leda and the Swan.” Her Renaissance department was the anonymous bidder that purchased it.

It also turns out that Lauren did her thesis on that very painting. She does not share her boss’s enthusiasm for the painting or the story of how it was miraculously discovered. Her challenge is to figure out how to navigate in a dangerous sea of deception and high stakes while maintaining her integrity and her job.

Against this thriller backdrop of smoke and mirrors, truth and lies, Provenz weaves a fabulous page-turner plot that examines two meaty topics. First is a deep look into what it takes for a woman to achieve power in a male world and the lengths she will go to retain it as she reaches the twilight of her career.

The second is the whole notion of authenticity, both in the art world and the world of everyday honor and decency. Do facts matter? Does the truth matter? Does getting it right matter as much as getting ahead?

A woman in power? Facts mattering? Timely indeed.

Robberson, Atkinson

Director Michelle Joyner has an all-star cast to work with, and she milks their talent and Provenz’s script for all they’re worth. Atkinson, known on stage and television, has the chops to tap into both Jodi’s inner Dragon Lady and her insecurities with humor and humanity. Ari plays Buddy with equal parts smarm, charm, and menace. Reid is chameleon-like, understated and enigmatic one minute, and taking the helm and righting the ship the next.

But it is Robberson as Jodi’s protegée Lauren who really shines in every scene. She has a physicality of gesture and facial expression that dares the audience to look away from her. Hopefully, DTF theatergoers will see more of her next season.

“True Art” is chockful of great lines, high production value, and stellar performances, making it a theater lover’s trifecta of bounty. Yet it also leaves us with plenty to spark after-theater conversations, which are the measure of the most satisfying experience.

Jodi is at her rawest and most honest at the play’s end, when she looks herself in the eye, acknowledges the corners she cut and compromises she has made for the sake of her ambition, and wonders if it was worth it.

“What if my life’s work is wrong? What am I then?” she asks softly. What indeed.

“True Art” – Written by Jessica Provenz. Directed by Michelle Joyner. Scenic Design by Christopher and Justin Swader; Costume Design by Barbara A. Bell; Lighting Design by Patricia M. Nichols; Sound Design by Jane Shaw; Projection Design by Joey Moro. Presented by Dorset Theatre Festival, Dorset, Vermont. Run has ended.

A.R.T.’s Innovative “Romeo and Juliet” Elevates and Grounds Shakespeare’s Masterpiece

Emilia Suárez (Juliet) and Rudy Pankow (Romeo) in A.R.T.’s  Romeo and Juliet.
Photo Credits: Nile Scott Studios and Maggie Hall

By Shelley A. Sackett

Diane Paulus, Artistic Director at American Repertory Theater, has raised the bar on production values so often, we’ve come to expect the unexpected from her. From 1776 to Pippin to Gershwin’s Porgy and Bess, Gloria: A Life, Jagged Little Pill, Waitress, SIX, and moretheatergoers in Boston have benefitted from her inspiring collaborations and razor-sharp skills to enjoy Broadway-bound productions right in their own backyard.

Romeo and Juliet is no exception.

Working with a creative team of stellar talent, Paulus has breathed contemporary life into Shakespeare’s 16th-century well-known and oft-quoted masterpiece.

The tragic story is a familiar tale of star-crossed lovers caught in the crosshairs of a family feud so old that its origins have faded from memory. Paulus said she wanted to focus on the couple’s feelings for each other and highlight their love instead of their families’ hate. By using movement, evocative music, lighting, and a spectacularly efficient set, she creates the perfect stage upon which such a transformation can — and does — happen.

As with all Shakespeare (and especially in productions where there are no projected captions to serve as guides), a plot primer can be helpful.

Juliet Capulet (Emilia Suárez of Hulu’s Up Here fame) and Romeo Montague (Rudy Pankow of Netflix’s Outer Banks) meet and fall instantly in love at a masked ball hosted by Juliet’s parents. They profess their devotion when Romeo, unwilling to leave, climbs the wall into the orchard garden of her family’s house and finds her alone at her window. Because their well-to-do families are enemies, the two are married secretly by Friar Lawrence (the fabulous Tony Award winner and multiple nominee, Terrence Mann).

When Tybalt (Alex Ross), a Capulet, seeks out Romeo in revenge for the insult of Romeo’s having dared to shower his attentions on Juliet, an ensuing scuffle ends in the death of Romeo’s dearest friend, Mercutio (Clay Singer). Impelled by a code of honor among men, Romeo kills Tybalt and is banished to Mantua by the Prince of Verona (Jason Bowen), who has been insistent that the family feuding cease.

Sharon Catherine Brown and Suárez

Juliet’s father (Terence Archie), unaware that Juliet is already secretly married, arranges a marriage with the eminently eligible Count Paris (Adi Dixit). The young bride seeks out Friar Laurence for assistance in her desperate situation. He gives her a potion that will make her appear to be dead and assures her that if she takes it, he will arrange for Romeo to rescue her. She complies.

Romeo, uninformed of the friar’s scheme because a letter of explanation has failed to reach him, returns to Verona on hearing of Juliet’s apparent death. He encounters a grieving Paris at Juliet’s tomb, and reluctantly kills him when Paris attempts to prevent him from entering. There, he finds Juliet in the burial vault. Unaware that she is only sleeping, he gives her a last kiss and kills himself with poison. Juliet awakens, sees the dead Romeo, and kills herself. The families learn what has happened and end their feud.

At Wednesday’s preview performance, magic and pathos were on stage from the opening scene that revealed Amy Rubin’s simple, thick butcher block set bathed in spot-on, evocative lighting (Jen Schriever). Actors push the heavy door open, symbolically revealing the opportunity for closed doors to open. Later, the flexible set will metamorphosize into Juliet’s balcony, a tomb and a party. All of that possibility is communicated in the first few moments.

Background rumbling and emergent music (created by sound designer Daniel Lundberg and the composer of the play’s original music, Alexandre Dai Castaingset the tone for the opening fight scene, a West Side Story-esque stand-off between two teenage gangs. These are the Capulet and Montague clans, and the fury that boils in their blood is masterfully choreographed by fight consultant Thomas Schall and director/choreographer Sidi Larbi Cherkaoui. When the scene freezes into a bellicose tableau, the depth underlying this hostility is fixed on each light-bathed face. (Note: West Side Story is a modern adaptation of Romeo and Juliet that shares many themes and tells a similar story but is set in the 1950s in New York City’s Upper West Side).

Pankow, Terrance Mann

The impacts of visual imagery, light and sound throughout the two and one half hour (one intermission) production never wane. Rubin’s set frequently pivots to frame two or three scenes, providing simultaneous glimpses of different versions of the same event. Early on, as Romeo and Juliet prepare for the party her parents are throwing, Romeo and his buddies cavort stage left while Juliet preens stage right. The effect is as charming as it is enthralling.

Other special production moments are the use of globe lights (brilliant!), a warpath drumbeat soundtrack (by Dai Castaing), and the opening scene after intermission, when Juliet, wrapped in a white sheet, is lit like a fairy and the soft plunk of a harp highlight her delicate dancer’s gestures.

While enough can’t be written in praise of its production value, the real stars of Romeo and Juliet are the actors and the Bard’s sumptuous language. Cast standouts include Suárez as a stunningly lithesome Juliet, Nicole Villamil as Lady Capulet, Juliet’s mother, and the truly awesome Mann as Friar Laurence.

These three (and several other) actors seem to savor the play’s rich lines, lingering over some and articulating with a deliberateness that allows the audience to savor along with them. Unfortunately, some (most notably Singer as Mercutio) race through their lines, swallowing some of the glorious puns and humor that balance the play’s tragic overtones. A suggestion to A.R.T. is to consider following Shakespeare on the Common’s lead and provide projected captions. Absent that, audiences might want to read the play (it’s a short-ish one!) before or shortly after seeing this production. The added appreciation value is well worth the time spent.

Pankow, Suárez

Paulus ends the play on a note of hope despite the carnage that the Verona families’ feud has wrought. As Romeo, Juliet, Thibault, and Mercutio are eulogized and buried, the full cast is on stage. Bright white light bathes the scene as the entire community comes together to bury their dead and plant a garden. Despite the gloomy peace that reigns, the Prince of Verona reminds its citizens, “All are punished. For never was a story of more woe than this of Juliet and Romeo.”

As Capulets and Montagues sow flowers and trees, we imagine Adam and Eve in the Garden of Eden and the innocence and hope of starting fresh and turning the page. In the current climate of political and environmental angst, who can’t benefit from a message that hints at the possibility of restoration, revitalization, and rebirth?

Romeo and Juliet’ – By William Shakespeare. Directed by Diane Paulus. Movement and Choreography by Sidi Larbi Cherkaoui; Original Music Composed by Alexandre Dai Castaing; Scenic Design by Amy Rubin; Costume Design by Emilio Sosa; Lighting Design by Jen Schriever; Sound Design by Daniel Lundberg. Presented by American Repertory Theater at the Loeb Drama Center, 64 Brattle St., Cambridge through October 6.

For more information and to buy tickets, go to https://americanrepertorytheater.org/