‘The Steel Man’ – Two Generations Moving On From Trauma

By Alix Cohen

The rage of Holocaust survivors has been identified as untreated Post Traumatic Stress. Oblivious transmission of trauma to the next generation is common. Camp casualties had to bury their feelings or navigate a world that couldn’t comprehend their experiences. Residual rage, grief, and terror heavily shaped emotional atmosphere of households.

Hungarian Leo Gellert (Sam Guncler) carried unimaginable experiences to America. His now deceased wife and adult son Jake (Leighton Samuels) endured remnants of his torment.There were perpetual yelling arguments and frequent beatings.

Leo has passed on perception of imminent threat, paranoia. Both he and his son believe the world is fundamentally unsafe. Jake feels guilty – he didn’t suffer; his father deserves extra love and attention. The son learned to walk on eggshells. He’s risk averse.

Nonetheless, Jake loves his father, continuing to visit Leo and help him as he grows older. Both attend synagogue, the son sings. Today, Leo proclaims he won’t go back due to the impersonal nature of a new Rabbi’s service at his wife’s unveiling. (The unveiling of a gravestone, traditionally a year after death.)

With the trepidation of a child caught in the cookie jar, Jake asks Leo’s permission to bring his girlfriend, Christine (Amanda Kristin Nichols) to meet him. A Lutheran, the young woman is a free thinker and nascent hippie. Despite a conservative family, she’s cut her own career path as an investigative reporter. Jake is an actor.

The couple plan to go to New York after Jake’s show. He has a drama school scholarship, she a job at The Village Voice, but he just can’t seem to broach the subject with Leo.

Chris finds the old man charming, not at all as described. She looks forward to learning about Shabbat.(A traditional lighting of candles to begin a period of rest and renewal.) In the course of the evening, however, Leo irrationally blows up at something, they argue, and she leaves. Dynamics become clear.

Meanwhile, Leo has tracked the man who betrayed his family to the Nazis. The culprit is in Miami. An address has been secured, a gun purchased.

“Moving on” is rarely about forgetting the past. Instead, it’s a process of integration: learning how to carry the trauma without letting it dominate the present or dictate the future. ‘Easier said than done. Leo and Jake both take a step. Christine makes her own, independent decisions.

Gary Gitter continues his exploration of Jewish themes by burying a bit deeper into the effect of the past. The story is realistic and sympathetic, yet dramatization just misses. Perhaps we need to see a bigger example of Leo’s fury. The piece is not as impactful as it might be.

Director Joe Brancato has proven skill with kitchen sink/working class drama. Understated rhythms allow temper to burst with full and suggestive effect. No move or gesture is without motive. That Leo is careful to lock his door whenever someone goes out is telling.

Sam Guncler’s survivor is palpably proud. There’s an old school elegance to his manner as if, perhaps, an educated man. The actor manifests a life force fueled by barely contained rage. That he’s limber, though somewhat frail is credible. A deft portrayal.

Amanda Kristin Nichols delivers a smart, tenacious Christine. We believe that her upbringing galvanizes the young woman. Realization of Jake’s attachment to his dad emerges gradually as does her own resolution.Progression is satisfying to watch.

Leighton Samuels emerges believably cowed almost from the start. Timidity is endemic. We know early on he’ll have difficulty following through with Christine. Evidence of a bit more internal struggle would aid the story.

The 1983 Pittsburgh living room Set by Christopher & Justin Swader seems decorated by Leo’s deceased wife. It’s feminine, conservative, and minimal, creating an atmosphere of austere pride of place.

Costumes (Christian Fleming) serve male characters but do Christine no favor in poor aesthetic taste and bad fit.

Max Silverman’s Original Music & Sound Design srrives organic.
Projections (Brian Pacelli) are well displayed and potent.

Photos by Carol Rosegg

Penguin Rep Theatre presents
The Steel Man by Cary Gitter
Directed by Joe Brancato
Through December 13, 2026

59E59 Theaters   59 East 59^th Street https://www.59e59.org/