The motifs of words, letters, writing, creation and musical composition are woven throughout this piece which moves fluidly through time to explore whether this "character in his own plot" was "a hero or a monster." Eppich-Harris creates such pathos with the recurring scenes punctuating his helplessness as he sits "catatonic" in the hands of these two women and the stability of his legacy is literally carried away from him. Favorite line: "Oblivion would be better than being misunderstood."

Marcia Eppich-Harris' exploration of the man, his philosophy, and his circle brings us closer to all of them; revealing the gulf between Nietzsche's own characterization of himself, and the reality he lived and suffered through. Answering the philosopher's call to love fate and embrace suffering, Seeking Nietzsche posits thoughtful questions about what it means to love someone, and what it means for that love to be unrequited, and whether Nietzsche's own self-love may be the most unrequited of all.

The first thing to make an impression is Eppich-Harris' poetic language, which serves as a beautiful ushering in to a journey about legacy. We feel in safe hands due to a resplendent atmosphere of skillfully chosen historical settings for struggles in love, debate, and power; each scene setting up a specific question regarding Nietzsche's work and its socio-political placement, his wellness, and Elisabeth's will to impose interpretation. Indeed there are generous insights into Nietzsche's work in philosophy and literature, but a remarkable achievement here is Eppich-Harris' rendering of a human drama. The play is structured to flow, engage, and inspire.