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How a 3-hour play about antisemitism in France became Broadway’s must-see show
(New York Jewish Week) — I’ll be honest: At the outset, a three-hour play about antisemitism did not sound like my idea of a good time. After all, as the editor of a Jewish publication, I spend much of my workdays writing about and thinking about the world’s hatred of Jews.
But my trepidation evaporated within minutes of the first scene of “Prayer for the French Republic,” Josh Harmon’s Broadway play about generations of a French Jewish family grappling with their Jewish identity, their French identity and the ways in which these identities invariably clash and overlap with one another.
From the opening scenes — in which we are introduced to the Benhamou family, including a somewhat brittle but loving matriarch, Marcelle Salomon Benhamou (Betsy Aidem); a brilliant but sarcastic daughter Elodie (Francis Benhamou); father Charles (Nael Nacer) and a religiously curious son Daniel (Aria Shahghasemi) — “Prayer for the French Republic” felt like I was looking in a mirror. Or, perhaps a more accurate description would be watching a home movie — a term that has fallen out of favor but uniquely describes that experience of observing a family’s everyday interactions as seen through the lens of someone who is apart of, rather than separate from, the family depicted on screen.
The play opens in Paris in 2016, with the family in turmoil after Daniel, who wears a kippah, gets attacked on the street just before sundown on Shabbat. It’s a time of heightened antisemitism in France, most notably with the 2015 attack by an Islamist on a kosher supermarket, which killed four and terrified Paris’ Jewish community to the core. Amid fears for their safety, over the course of three hour-long acts (punctuated by two 10-minute intermissions), the Benhamous debate joining the record number of French Jews who are moving to Israel.
The nearly present-day family’s story is punctuated by flashbacks to 1944-1946, spotlighting Marcelle’s great-grandparents, Irma and Adolphe Salomon, who miraculously survived World War II by secreting themselves in their Paris apartment — unlike their other family members who had fled to the U.S. or Cuba, or endured or succumbed to the horrors of the Nazi concentration camps.
“Prayer for the French Republic” was first mounted off-Broadway in 2022, garnering awards and rave reviews. And when it moved to Broadway earlier this month, many of its key players, including director David Cromer and stars Aidem and Francis Benahmou, came along for the ride.
I had the chance to speak with Aidem, who most recently played Grandma Emilia in another recent Broadway play about antisemitism, Tom Stoppard’s Tony Award-winning “Leopoldstadt.” The 66-year-old Upper West Sider shared with me her thoughts on the play’s relevance in 2024, her personal experiences with Judaism and why live theater is an “alchemical” experience.
This interview has been condensed and lightly edited.
Molly (Molly Ranson) and Elodie (Francis Benhamou) debate Israel in a scene from “Prayer for the French Republic.” (Jeremy Daniel)
Watching “Prayer for the French Republic,” I felt like I actually knew the Benhamou family, and that I knew your character personally. Did you feel this way when you first “met” Marcelle? What was your reaction when you read the script the first time?
I got the script at the very beginning of 2020. I was set to go to Fort Leavenworth, Kansas to direct a bunch of actors for the Arts in the Armed Forces at the army base and the army prison there. I read the script before I left. They wanted to do a startup workshop — I was like, I’ve got to get out of Kansas. I literally flew back a day early to do the workshop. That’s because when I read the play, and I read the part of Marcelle, I was blown away by how I understood who she was, and I couldn’t believe the breadth of what the writer Josh Harmon was able to give to one character in a story as beautiful as this.
The world is a very different place now than it was when the play premiered off-Broadway in January 2022. After the massacre in Israel on Oct. 7 and the turmoil over the war in Gaza, how do you think the play hits differently with audiences today?
I think the play, because it is a closeup, people see themselves in this circumstance. It becomes incredibly relatable, it’s personal. It’s not a sweeping epic. I think being able to recognize people going through something that you feel you’re going through privately — when you watch it in public it expands your sense of belonging to a greater community.
How does that happen? Because I agree — watching the play was somehow uplifting, despite the difficult subject matter. The audience was laughing and engaged. Is that the magic of theater? What is it about this play that makes it feel comforting in a really fraught time?
I think there’s something that alchemically happens in live performance. [Plus, director] David Cromer is incredibly insistent on true behavior — not doing what he calls “theatrical behavior” but really letting things get uncomfortable, showing their smudges, showing where people lose their footing. When audiences see that, they instantly enter into the center of the character’s anguish, because they’re not perfect. They’re imperfect. I think it helps them relax and go, “Oh, I do that too. I know what that feels like.” I think that’s a tribute to Josh’s writing and tribute to David’s directing, and the actors he’s assembled, who are willing to be foolish and willing to be lost. And I think that’s what makes the experience universal.
You’ve had a couple of heavy years, coming off “Leopoldstadt,” where you play Emilia, another Jewish matriarch, this time in a family epic set before and during the Holocaust. What similarities do you see between these two characters?
Emilia supposedly walked from Kyiv to Lviv on foot, which is something like over 500 miles, during one of the pogroms — she’s a survivor. She was very tough. I mean, the line that I said at the end of the 1899 [scene] was, “They used to hate us for killing Christ, now they hate us for being Jews. God, give my grandchildren the desert.” So Theodor Herzl was, at that moment, coming up with this plan [for a Jewish state in Palestine] that a lot of the Viennese thought, “Oh, who wants to give up high society and the culture that we live in, which is the best of Europe, and go live in some terrible desert?” That has a very similar theme to a family in Paris [in “Prayer for the French Republic”] thinking they live in the best, most cultured city in the world, and thinking the only safe place to go is Israel. That similarity is interesting to me.
The Benhamou family of Paris conducts a Passover seder in a scene from Broadway’s “Prayer for the French Republic.” (Jeremy Daniel)
How would you describe your own Jewish identity?
I was raised in Phoenix, Arizona, which didn’t have a large Jewish community. But I noticed in like fifth or sixth grade that all the boys were going to this thing called Hebrew school. So I asked my mom if I could also go to Hebrew school. I was a year younger than my brother and she’s like, “I’m not doing two carpools a week. You can go to your brother’s class.” So I was the only girl in my Hebrew school class, and I was the first girl at my temple to be bat mitzvahed. This was the ’60s. The only reason I kept at it was because I figured out, early on, I had a good ear and photographic memory. So they [the teachers] thought I was extremely proficient, but it was just that I figured out I had a gift.
Was this the start of your acting career?
It was a skill I didn’t know I had; it just came out at that time. Also my father, who had been raised more religiously than I, I could feel his pride that I would take an interest in this. And then I raised my son — he went to Hebrew school, he was also bar mitzvahed, even though I was a single mom and his father was Catholic. I just was like, “Yeah, we’re gonna carry this on.”
“Prayer for the French Republic” is such a deeply Jewish play. How would you describe its audience? Do you think it resonates with non-Jews?
Oh, absolutely. I have a lot of friends that aren’t Jewish, who said, “I really, really loved the play. I learned a lot.” I think Elodie’s monologue is very helpful, in a certain way, for people to say, “Gee, I didn’t think about the size of Indonesia and Pakistan and Nigeria and India being so vastly larger [than Israel]. But why is our news cycle so fixated on that?” I think people learn a lot; I think they say, “It doesn’t matter that this family is Jewish — the interaction between the siblings and the parents and the children is universal.” The actual crisis of the play has to do with something else, but their internal family dynamic is universal.
“Prayer for the French Republic,” a production of the Manhattan Theatre Club, is at the Samuel J. Friedman Theater (261 West 47th St.) through March 3. Click here for tickets and information.
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The post How a 3-hour play about antisemitism in France became Broadway’s must-see show appeared first on Jewish Telegraphic Agency.
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US Condemns UN for Extending Mandate of Anti-Israel Official Francesca Albanese
Francesca Albanese, UN special rapporteur on human rights in the Palestinian territories, attends a side event during the Human Rights Council at the United Nations in Geneva, Switzerland, March 26, 2024. Photo: REUTERS/Denis Balibouse
The United States has “strongly denounced” the United Nations for extending the tenure of controversial UN Special Rapporteur Francesca Albanese, repudiating the decision as an example of “antisemitic hatred” within the international organization.
“The Human Rights Council’s (HRC) support for Ms. Albanese offers yet another example of why President Trump ordered the United States to cease all participation in the HRC,” the US Mission to the UN said in a statement on Tuesday. “Ms. Albanese’s actions also make clear the United Nations tolerates antisemitic hatred, bias against Israel, and the legitimization of terrorism.”
Albanese, an Italian lawyer and academic, has held the position of UN special rapporteur on human rights in the Palestinian territories since 2022. The position authorizes her to monitor and report on alleged “human rights violations” that Israel supposedly commits against Palestinians in the West Bank and Gaza.
Earlier this month, the UN Human Rights Council renewed the mandate of Albanese, despite widespread calls from several countries and NGOs urging UN members to oppose her reappointment due to her controversial remarks and alleged pro-Hamas stance.
Critics of Albanese have long accused her of exhibiting an excessive anti-Israel bias, calling into question her fairness and neutrality.
Albanese has an extensive history of using her role at the UN to denigrate Israel and seemingly rationalize the Palestinian terrorist group Hamas’s attacks on the Jewish state.
In the months following Hamas’s Oct. 7, 2023, atrocities across southern Israel, Albanese accused the Jewish state of enacting a “genocide” against the Palestinian people in revenge for the attacks and circulated a widely derided and heavily disputed report alleging that 186,000 people had been killed in the Gaza war as a result of Israeli actions.
The United Nations launched a probe into Albanese last summer for allegedly accepting a trip to Australia funded by pro-Hamas organizations. She has also celebrated the anti-Israel protesters rampaging across US college campuses, saying they represent a “revolution” and give her “hope.”
While speaking at a Washington, DC bookstore in October, Albanese also accused Israel of weaponizing the fallout of the Oct. 7 slaughters to justify the continued “colonization” of Gaza.
“The 7th of October is a tragic date for the Israelis, but this is what also triggered the opportunity for Israel to complete and channel the project of colonial erasure. Israel seized the opportunity to complete that plan of realizing Jewish sovereignty only in the land of Palestine,” Albanese said at the time.
The UN official has also decried Israelis as “foreign” Jews who expelled “indigenous” Palestinians from their land for the purpose of creating an exclusionary ethnostate, erasing the millennia-long presence of Jewish people within the land of Israel. She has also repeatedly condemned Israel as a “colonial” enterprise, comparing the Jewish state to British India or French Algeria.
“They used to say, let us colonize Palestine as the Brits have colonized India, as the French have colonized Algeria, because up to 70 years ago, colonialism was totally acceptable. Today, it’s not and so the narrative has changed,” Albanese said.
The post US Condemns UN for Extending Mandate of Anti-Israel Official Francesca Albanese first appeared on Algemeiner.com.
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Award-Winning French Actress Mélanie Laurent Joins ‘Fauda’ Season 5 Cast in Lead Role
French actress Mélanie Laurent. Photo: yes Studios.
Multi-award-winning French actress Mélanie Laurent will take on a lead role in the fifth season of the popular Israeli television series “Fauda,” Israel’s yes Studios announced this week.
Laurent’s film credits include “Inglorious Basterds” (2009), “Now You See Me” (2013), and “Operation Finale” (2018). She has two César Awards and a Lumières Award. Her most recent work includes last year’s “The Flood,” a French-Italian film where she played Marie-Antionette, and the French-language film “Freedom,” which she wrote and directed.
Laurent will be featured in seven of the nine episodes in season five of “Fauda,” according to yes Studios. Details about her character and role in the Hebrew-language show have not been revealed, but she will star alongside “Fauda” co-creator and lead star Lior Raz, with whom she previously worked on the 2019 Netflix film “6 Underground.”
Season five of “Fauda” is expected to premiere on yes TV in Israel in early 2026 and will later stream worldwide on Netflix, where the first four seasons of the award-winning show are already streaming. Yes Studios announced in March that filming for “Fauda” season five will begin in late April.
The upcoming season will be filmed in Israel and overseas, following the “Fauda” team on a private mission. Details about the plot for the new season have been kept under wraps. The fifth season will mark 10 years of “Fauda” airing in Israel and around the world on Netflix.
Israeli actor Idan Amedi said in February he will not return for the fifth season of “Fauda” because of his music career and ongoing rehabilitation from injuries he sustained while fighting with the Israel Defense Forces in the Gaza Strip during the Israel-Hamas war that began in 2023. Amedi starred in the show as undercover agent Sagi Tzur, who is the husband of intelligence officer Nurit (Rona-Lee Shimon), who will still be featured in the show’s next season. It remains unclear how “Fauda” will address the exit of Amedi’s character.
As Israel’s longest running action series, “Fauda” follows a team of elite Israeli undercover agents as they hunt down and apprehend terrorists. The show is based on the real-life experiences of its creators, Raz and journalist Avi Issacharoff. The new season is being led by season 4 director Omri Givon (“Hostages”) and written by Omri Shenhar (“Tehran”). “Fauda” is produced by yes TV and L. Benasuly Productions for yes TV.
“Fauda” crew member Matan Meir was killed in action in November 2023 while fighting in Gaza as an IDF reservist.
The post Award-Winning French Actress Mélanie Laurent Joins ‘Fauda’ Season 5 Cast in Lead Role first appeared on Algemeiner.com.
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Israel Will Keep Gaza Buffer Zone, Minister Says, as Truce Bid Stalls
Smoke rises from Gaza after an explosion, as seen from the Israeli side of the border, April 14, 2025. Photo: REUTERS/Amir Cohen
Israeli troops will remain in the buffer zones they have created in Gaza even after any settlement to end the war, Defense Minister Israel Katz said on Wednesday, as efforts to revive a ceasefire agreement faltered.
Since resuming military operations last month, Israeli forces have carved out a broad “security zone” extending deep into Gaza and squeezing some 2 million Palestinians into ever smaller areas in the south and along the coastline.
“Unlike in the past, the IDF [Israel Defense Forces] is not evacuating areas that have been cleared and seized,” Katz said in a statement following a meeting with military commanders.
“The IDF will remain in the security zones as a buffer between the enemy and the communities in any temporary or permanent situation in Gaza — as in Lebanon and Syria.”
In a summary of its operations over the past month, the Israeli military said it now controls 30 percent of the Palestinian enclave.
In southern Gaza alone, Israeli forces have seized the border city of Rafah and pushed inland up to the so-called “Morag corridor” that runs from the eastern edge of Gaza to the Mediterranean Sea, between Rafah and the city of Khan Younis.
It already held a wide corridor across the central Netzarim area and has extended a buffer zone all around the frontier hundreds of meters (yards) inland, including the Shejaia area just to the east of Gaza City in the north.
Israel says its forces have killed hundreds of Hamas fighters, including many senior commanders of the Palestinian terrorist group, since March 18 but the operation has alarmed the United Nations and European countries.
More than 400,000 Palestinians have been displaced since hostilities resumed on March 18 after two months of relative calm, according to UN humanitarian agency OCHA.
Katz said Israel, which has blocked the delivery of relief supplies into the territory since early March, was creating infrastructure to allow distribution through civilian companies at a later date, but the blockade on aid would remain in place. Israeli officials have noted that Hamas often seizes humanitarian aid heading into Gaza for its own use and will sell the rest to Gazan civilians at high prices, using the money to fund its terrorism operations.
He said Israel would pursue a plan to allow Gazans who wished to leave the enclave to do so, although it remains unclear which countries would be willing to accept large numbers of Palestinians.
RED LINES
The comments from Katz, repeating Israel‘s demand on Hamas to disarm, underscore how far away the two sides remain from any ceasefire agreement, despite efforts by Egyptian mediators to revive efforts to reach a deal.
Hamas has repeatedly described calls to disarm as a red line it will not cross and has said Israeli troops must withdraw from Gaza under any permanent ceasefire.
“Any truce lacking real guarantees for halting the war, achieving full withdrawal, lifting the blockade, and beginning reconstruction will be a political trap,” Hamas said in a statement on Wednesday.
Two Israeli officials said this week there had been no progress in the talks despite media reports of a possible truce to allow the exchange of some of the 59 hostages still held in Gaza for Palestinian prisoners.
Israeli officials have said the increased military pressure will force Hamas to release the hostages but the government has faced large demonstrations by Israeli protesters demanding a deal to stop the fighting and get them back.
Israel launched its war in Gaza in response to the October 2023 attack by Hamas on southern Israel that killed 1,200 people and saw 251 taken hostage.
The post Israel Will Keep Gaza Buffer Zone, Minister Says, as Truce Bid Stalls first appeared on Algemeiner.com.
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