In his 7th April 2002 preview of the off-Broadway revival of Andorra in the New York Times, Jonathan Kalb reminds readers of the contrast between the enormous success on German-speaking and European stages of the original 1961 production and its 1963 failure on Broadway. The discrepancy between these reactions is telling in terms of culturally different audience expectations concerning a play written in German having to do with anti-Semitism.
Similar to several other of Frisch’s texts, a nucleus of Andorra appeared in his Tagebuch 1946-1949 [Diary 1946-1949] (1950). The author did not return to his original brief sketch, called “Der …
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