Josh Harmon’s play has an amazing production history; a total home-run first-time outing for a young, talented playwright who scored big with this chamber play getting not one, but two Roundabout Theatre productions for this study of young American Jews mourning the loss of their “poppie” and practically gouging their eyes out in the process. I struggled with this play when I first read it 3 years ago in spite of all the talent bounding off the page. But by the time I made my peace with the excoriating portraiture and the horrid behavior we see on stage, the play’d become a bonafide hit and Studio Theatre landed it before we could get a response from the agent. Our loss. Studio’s winner. Congratulations to Serge Seiden once again. I think our student subscribers were quite taken by all the onstage viciousness and, more importantly, the negotiation of religious identity and family legacy. Should be fun to read these responses.
Alex Mandell, Irene Sofia Lucio, Joe Paulik and Maggie Erwin from the Studio Theatre production
And from the New York production at Roundabout Theatre.
From left, Tracee Chimo, Molly Ranson, Philip Ettinger and Michael Zegen in a studio apartment setting in “Bad Jews,” at the Black Box Theater in Manhattan.
We took in something new this week, in Idris Goodwin’s new play at Forum Theatre (which premiered at Actors Theatre of Louisville in the 2012 Humana Festival), a play about the early days of hip-hop and rap as adopted by three suburban kids, Hank, Julian, and Luann and how they “navigate tumultuous family relationships, cultural isolation, and the search for authenticity.” How We Got On is directed By Paige Hernandez with a lot of reverence for a cultural expression that’s still very much with us today and the old days of hip-hop still feel very fresh and relevant (to these ancient ears at least) to what’s coming out now. The play’s use of music feels new even as it looks back almost 30 years — that’s an interesting irony and an effective twist.
So curious about how this production——added late in the planning stages of our political theater course (just after the semester started, by something of a popular demand to give more diversity to the line-up of thematically related work we were seeing)——feels both a part of, and a departure from, what we’ve been seeing up to this point. We’re bearing in mind that what we saw on Thursday night was a very first preview performance, with more rehearsals still to come for the talented ensemble and creative team still refining this lively 90 minute production. A big thanks to Forum Theatre for convening (as they always do) a great discussion on stage for all of us to participate in.
Four years ago, we offered a play from Israel that involved an unseen rabbi’s violent tendency towards his wife, as she slowly revealed her drama to a group of women in her monthly visits to the neighborhood mikveh. Hadar Galron’s play, Mikveh, was a long-running hit in Israel and caused a sensation, and some concern, when we presented the English language world premiere on our stage in 2010.
MIKVEH by Hadar Galron, directed by Shirley Serotsky – illustration by David Polonsky
The play showed the beauty of the mikveh ritual and the power of women coming together to seek solace in the cleansing, healing waters and blessings associated with ritual submersion. But because the play involved not just spousal abuse but also a death by drowning in the mikveh (and not just one suicide, but ultimately, in the end, two!) it was feared that the play would “give a black eye to the orthodox community” in its melodramatic portrait of life in and around the mikveh. It’s worth a visit back to our blog entries from that Voices From a Changing Middle East 2010 Festival dedicated to the Voice of the Woman. Lots and lots of drama surrounding that show. Was it right to put such a frank (or heightened) portraiture on our stage? Certainly at the time, the Embassy of Israel thought it was worth it. They loved the play and bought the entire house for one performance to share it with friends from the diplomatic community. This was the kind of work coming out of Israel—a play that brought Israeli audiences from secular as well as religious background together by the thousands—that wanted to be shared with American audiences; that demonstrated the Israeli theater fulfilling its cultural mission and purpose.
Amal Saade and Tonya Beckman Ross in Mikveh
Now a new real-life mikveh drama has unfolded before us and I’ve asked those who want to, to respond personally and associatively to what they’ve been reading or hearing. Many will be learning about the mikveh ritual for the first time in reading about this terrible violation. But most of us—especially the women amongst us—know what it means to be watched and to be made to feel unsafe because of that furtive gaze.
This is a chance to share your thoughts about the recent scandal at Kesher Israel Congregation in Georgetown. And to reflect on the sensitivity of discussing—and indeed, perhaps, someday maybe dramatizing—such events in public.
I’ve ask students to think about this story, and its relation, in whatever ways come to mind, to G-d’s Honest Truth. We’re approaching our comments with care and sensitivity.
What does it mean when these crimes and violations are made public?
How do we feel about the theater’s role in returning to these stories of religious scandal?
Earlier this week, we began rehearsals for Tony Kushner’s thrilling new masterwork, The Intelligent Homosexual’s Guide To Capitalism and Socialism With a Key To The Scriptures. I want to share with you my own opening remarks to the company of amazing actors, designers, staff and supporters, and our always extraordinary partner in art, director John Vreeke. But first let’s hear from John, and productions designers Misha Kachman and Ivania Stack. Here’s a video peek from our first day of rehearsals:
To see the video, click here.
Opening Welcome Remarks, from the Artistic Director:
As concerned as we are with the clock [because we want to make sure we get to the end of this play before 11:00 and it’s 6:15 now and we’ve got presentations and breaks to account for, so I’ll talk in a hurry]
It’s important that we lead with our love; how it leads to why we’re here
That we open with passion in presenting our purpose:
Which is to bring a great thing-—this thing called I-HO—-to life.
To do justice to a great mind, a brilliant voice, and bring this fabulously fractious family into vivid relief as they say try to goodbye to each other
while trying to save each other
from the shattering loneliness of losing; losing the battle, losing memory…
while striving to renew their union (to each other).
Some quick context about why we’re here — about what this play is doing here of all places?
This first question:
Do you remember where you were when you first encountered Angels in America?
You were younger, I’ll bet.
So was Tony Kushner. In Angels, Tony wrote, as a young gay renegade, brilliant and better than anyone.
What was your first impression of Angels?
[That’s the prompt for our student theater-goers—To respond to the blast of reading Angels for the first time. Or alternately, talk about reading Homebody/Kabul, so near and dear to Theater J-goers’ hearts.]