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How New Yorker writer Ariel Levy adapted Philip Roth’s filthiest book for the stage
(JTA) — A scruffy, bearded Jewish man in his mid-60s — distressed, disheveled but wickedly self-satisfied — is invited to spend the night at the Manhattan apartment of an old friend and benefactor. Put up in the bedroom of the man’s college-age daughter, he slips a pair of her panties over his head and searches her drawers in hopes of finding nude Polaroids.
That’s a scene from Philip Roth’s 1995 novel “Sabbath’s Theater” and now a stage adaptation by the actor John Turturro and the New Yorker writer Ariel Levy. Turturro also stars as Sabbath, a washed-up artist best known for his transgressive puppet theater in the ’60s — and best known to readers, perhaps, as Roth’s most repellant character. Drenched, sometimes literally, in sex, the play begins with a riotous bout of intercourse and climaxes, as it were, with two old lovers remembering their kinks.
But if the book were only about sex it might not have earned its National Book Award. It is also a tender meditation on mourning: Sabbath’s Croatian mistress, Drenka Balich, is dead, as are his mother, his brother and his career. “And there are other kinds of love and loss: about mourning his family and his health and his youth and his virility,” Levy told me when we spoke earlier this week.
As a journalist, Levy often delves into the way sex and gender shape the lives of both celebrities and people on the margins. Her 2017 memoir, “The Rules Do Not Apply,” began life as an award-winning essay on her miscarriage in a hotel room while on assignment in Mongolia, when she was 19 weeks pregnant, and expanded into a rumination on her dissolving marriage and roads not taken.
The New Group’s adaptation of “Sabbath’s Theater” opened Wednesday night and runs through Dec. 17 at the Pershing Square Signature Center in Manhattan. Turturro (who played another Roth character, the craven Rabbi Lionel Bengelsdorf, in the HBO adaptation of “The Plot Against America”) inhabits Mickey’s filthy, seductive charm. Elizabeth Marvel plays Drenka and other women in his life, and Jason Kravits plays the men. The play is as dirty as Mickey’s torn carpenter’s pants, but also poignant: When Sabbath cradles the belongings of his dead brother, lost in battle during World War II, it’s an echo of the violence and loss that have become overwhelming in recent weeks.
Levy and I spoke about adapting a quintessentially Jewish writer like Roth, the appeal of flawed protagonists and how an Italian actor like Turturro captures the Jewish soul of yet another Roth alter ego.
This interview was edited for length and clarity.
With very few exceptions, adaptations of Roth’s work haven’t been all that successful. Do you agree and were thinking about how you might approach the material differently?
Well, I mean, I’d never adapted anything. Adapting Roth properly was like only one of many potentials for crises. Roth is my literary God. I like the way he uses language the most. He might not have liked me saying this because he was obviously very insistent on being an American writer, not a Jewish writer, but nobody captures the rhythm of the language of people whose first language is Yiddish and then move over to English. The way he uses those rhythms, that humor. The cultural familiarity is a powerful addition to my appreciation for his mastery of language and plot, irony and the level of his imagination, the level of his sense of play and his appreciation for what he calls, in ”Sabbath’s Theater,” the “nasty side of existence.”
John Turturro came to you through a recommendation by Hilton Als, a fellow writer at The New Yorker. Tell me about your writing process. What did you both agree on and disagree on — if you disagreed?
Oh, for the first couple of years, we kind of agreed on everything. It was the pandemic so we were going back and forth on Zoom. We had a very, very aligned vision of what the crucial stuff was. You could just tell that certain parts were going to work theatrically and certain parts were not, and then once we started rehearsing, after working on this together for two years and then going on this workshop at the National Theatre in London in January 2023 — once we got through that, we started to have a better sense of what will work theatrically. The unbelievable challenge for John was to be working on his performance and contemplating the script, because every change means a new thing you have to learn [as an actor].
Ariel Levy and John Turturro at the opening night party for The New Group Theater’s new play “Sabbath’s Theater,” at Green Fig Urban Eatery in New York City, Nov. 1, 2023. (Bruce Glikas/Getty Images)
How does a journalist learn to be a playwright? Was there anyone you were taking clues from about how to do this?
I was extremely worried and insecure about it. John knew I’d never written a play. He could have found plenty of playwrights who would have done this, but the way I’ve heard him explain it is that he didn’t want someone who’s gonna come in and say, “I know how to write a play. I’m going to rewrite this.” He wanted to use Roth’s language. We’re barely going to write stage directions, the stage directions are largely lifted from Roth’s writing. The most important thing to John was finding somebody who was Roth-reverent, and then also we just hit it off, we just liked each other. We liked the same parts of the book, and we both felt the book was a love story.
So, how did I learn to do it? I figured out that storytelling is storytelling. And also, I had John guiding me, John knows what a play is, and I had [the director] Jo Bonney guiding me through the process once we were in rehearsal.
You talked about your affinity for Roth. Was there something about “Sabbath’s Theater” that particularly connected to the things you’ve always been writing about and thinking about?
I’ve written a fair amount about the fundamental human drives for domesticity and comfort and kinship and security on the one hand, and adventure and novelty and stimulation on the other — those conflicting poles that human beings stretch between. And that’s very much in there in the realm of Sabbath. And John and I both cared a lot about the depiction of grief and the way the dead can become more real for you than the living sometimes and how, as you age, the accretion of missing people in your life just starts to pile up.
And then there is thinking about — not just sex, but the body. “Sabbath’s Theater” has so many amazing meditations on what it is to live inside a human body. I think we’re both really interested in all of that and the kind of animal reality of being a human who’s alive versus dead.
Were you worried at any point that some of Mickey’s transgressions — he has been tossed from a teaching job at a university after a phone-sex scandal with a student, he visits an old friend and rifles the dresser drawers of his host’s teenage daughter — would make him unredeemable in a post-#Me-Too era? And on the flip side, do you feel the play is pushing back against the #MeToo orthodoxy in some way?
I think that, you know, we didn’t put in every transgression from the book, but we put a lot. There’s a beautiful Garth Greenwell essay in The Yale Review about the book where he talks about how he teaches “Sabbath’s Theater” to undergraduates, and it bothers him when the question becomes whether a protagonist should be an example of moral rectitude. That’s not what art is for. This isn’t meant to be propaganda. This is raw. This is art. In some of my favorite literature of the 20th century, the moral compass, the moral core of the whole thing is reminding us that a human being is more than their worst or most repellent urges and behaviors. A human being contains multitudes. This is Mickey in all his humanity, and we certainly didn’t want to sanitize him. I mean, I think the play is still plenty, plenty dirty.
I’m going to quote your own words to you. I was rereading a profile you wrote about the film director Nicole Holofcener, and you say something about her that made me think, “Oh, this is why Levy wrote ‘Sabbath’s Theater.’” You wrote: “This is the kind of creature Nicole Holofcener is drawn to: weirdly alluring, mangled by life, and unable to resist lashing out against her own best interests.”
That’s so funny. Yeah, that’s it, isn’t it? That’s Mickey Sabbath. That’s eerie. That is Mickey Sabbath.
I have to ask you to weigh in on what I think is the world’s most boring debate, which is whether a non-Jewish actor like John Turturro should be playing a Jewish character like Mickey Sabbath written by a Jewish author like Philip Roth. Do you have any qualms about that?
I feel so culturally connected to John Turturro. I wouldn’t be a bit surprised if we had genetic overlap. I mean, it’s like the food’s different, and the accents are different, but it’s the same shit, you know? John in particular to me is very culturally recognizable. And, you know, he’s married to a Jewish person. He’s raising children with a Jewish person. He’s steeped in it. We are not an exotic.
Also, he’s an actor. It’s like a novelist, which I’m not: They can inhabit other realities. That’s what their job is.
I sometimes feel that the readership for Roth is a men’s club. I’ve rarely come across women who idolized him the way I did. Do you feel that?
I mean, until his mature period, [his] women weren’t as interesting. They didn’t come off the page the way the men did. So I can understand, you know, it’s a drag reading a novel where the women aren’t coming off the page. It doesn’t feel great. But then everything changes: When he grows up he becomes this incredibly sophisticated, nuanced writer who realizes that women are half the human race. “Sabbath’s Theater” is the work that preceded the American trilogy [“American Pastoral,” “I Married a Communist” and “The Human Stain”]. That’s when everything starts to become like a masterpiece, and that’s when the women get really interesting. I defy anyone to find a richer, more complicated and fascinating and alluring female lead than Drenka. I mean, she’s unbeatable.
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Drexel University Professor Stole Signs From Synagogue, Police Say
Illustrative: People pass a cluster of signs outside a pro-Hamas encampment at Northwestern University in Evanston, Ill. on April 28, 2024. Photo: Max Herman via Reuters Connect
A Drexel University professor allegedly participated in a mass theft of items from a synagogue in a suburb outside Philadelphia, a local NBC affiliate reported on Tuesday.
Mariana Chilton, 56, a professor of health management and policy at Drexel, has been accused of stealing pro-Israel signs from the Main Line Reform Temple in Lower Merion Township, traveling there from her neighborhood of residency, Wynnewood, Pennsylvania. Chilton allegedly drove the getaway car while two other accomplices, Sarah Prickett and Sam Penn — who is from New York — trespassed the synagogue and absconded with the loot.
“We are just taking them because we feel like it is a representative of genocide,” Chilton told law enforcement after being caught in the act, the report stated. She then, after offering to “just put them back,” refused to identify herself and comply with other lawful orders.
Video evidence provided by a local resident placed Chilton and her accomplices at the scene of the crime, and a Main Line Reform Temple official identified the signs recovered from her car as the temple’s property. That was enough for law enforcement to charge her with several offenses, including conspiracy and theft. She is also charged with driving without a license and not registering her vehicle.
Drexel University has not responded to The Algemeiner‘s request for comment for this story.
Experts have told The Algemeiner in the past academic year that while the conduct of anti-Zionist students should be reported on, the role of faculty in fostering and engaging in antisemitic acts should be closely scrutinized. Last semester, anti-Zionist faculty attached themselves to anti-Israel, pro-Hamas demonstrations, sometimes breaking the law by preventing officers from dispersing unauthorized demonstrations and detaining lawbreakers.
At Northeastern University in Boston, professors formed a human barrier around a student encampment to stop its dismantling by officers, and at Columbia University, anti-Zionist faculty at the school, as well its affiliate Barnard College, staged a walkout in support of the demonstrations and demanded the abeyance of disciplinary sanctions against anti-Zionist students — dozens of whom cheered Hamas and threatened more massacres of Jews similar to Oct. 7 — who violated school rules.
Chilton’s case is unlike any other reported in the past year, however. While dozens of professors have been accused of abusing their Jewish students and encouraging their classmates to bully and shame them, none are alleged to have resorted to stealing from a Jewish house of worship to make their point.
Mass participation of faculty in pro-Hamas demonstrations marks an inflection point in American history, Asaf Romirowsky, an expert on the Middle East and executive director of Scholars for Peace in the Middle East, told The Algemeiner in April.
Since the 1960s, he explained, far-left “scholar activists” have gradually seized control of the higher education system, tailoring admissions processes and the curricula to foster ideological radicalism and conformity, which students then carry with them into careers in government, law, corporate America, and education. This system, he concluded, must be challenged.
“The cost of trading scholarship for political propagandizing has been a zeal and pride among faculty who esteem and cheer terrorism, a historical development which is quite telling and indicative of the evolution of the Marxist ideology which has been seeping into the academy since the 1960s,” Romirowsky said. “The message is very clear to all of us who are looking on from the outside at this, and institutions have to begin drawing a red line. The protests are not about free speech. They are about supporting terrorism, about calling for a genocide of Jews.”
Follow Dion J. Pierre @DionJPierre.
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White House Cites Biden Clash With Netanyahu Over Iran as Proof of President’s Mental Fitness
US President Joe Biden hosts the 2023 Teacher of the Year event at the White House in Washington, US, April 24, 2023. Photo: REUTERS/Kevin Lamarque
Amid growing concerns over US President Joe Biden’s mental fitness, key White House officials are suggesting his foreign policy discussions with Israeli Prime Minister Benjamin Netanyahu, including a clash over how to respond to Iran’s unprecedented military attack on the Israeli homeland earlier this year, serve as evidence that he is still capable of leading from the Oval Office.
Biden and Netanyahu engaged in a heated back-and-forth in the immediate aftermath of Iran launching a massive missile and drone salvo at Israel in April, according to a new report by the New York Times. The US and other allies helped Israel shoot down nearly every drone and missile. The attack caused only one injury.
However, the Times revealed that while Netanyahu initially wanted to respond to Iran in a forceful way, Biden threatened to withhold US support in the event of a major Israeli retaliatory strike, arguing it would risk sparking a regional conflict in the Middle East.
“Aides present in the Situation Room the night that Iran hurled a barrage of missiles and drones at Israel portrayed a president in commanding form, lecturing Prime Minister Benjamin Netanyahu by phone to avoid a retaliatory escalation that would have inflamed the Middle East,” the Times reported. “‘Let me be crystal clear,’ Mr. Biden said. ‘If you launch a big attack on Iran, you’re on your own.’”
“Mr. Netanyahu pushed back hard, citing the need to respond in kind to deter future attacks,” the report continued. “‘You do this,’ Mr. Biden said forcefully, ‘and I’m out.’ Ultimately, the aides noted, Mr. Netanyahu scaled back his response.”
Israel’s military response was small and appeared aimed at minimizing the risk of escalation.
The Times report, headlined “Biden’s Lapses Are Said to Be Increasingly Common and Worrisome,” came on the heels of Biden delivering a widely-panned presidential debate performance last Thursday against former US President Donald Trump. Biden’s performance, which oftentimes appeared incoherent and muddled, set off alarm bells in Democratic circles, sending the president’s allies scrambling to extinguish concerns over his age and mental acuity.
While highlighting rising concerns, the news story also noted instances in which, according to aides, Biden appeared coherent and capable, citing the exchange with Netanyahu and his handling of the Iranian missile attack more broadly as one such example.
However, an anonymous Biden administration official told the Times that they are unsure whether Biden could hold his own against adversarial foreign leaders such as Vladimir Putin of Russia.
On Wednesday, the White House directly attributed quotes to Netanyahu in which the Israeli premier reportedly said he found Biden “very clear and very focused” during his visit to Israel following the Oct. 7 attacks by Hamas. According to a White House spokesperson, Netanyahu also reportedly cited the “more than a dozen phone conversations, extended conversations with President Biden” as evidence of the commander-in-chief’s vitality.
“Some White House officials adamantly rejected the suggestion of a president not up to handling tough foreign counterparts and told the story of the night Iran attacked Israel in April,” the New York Times reported. “Mr. Biden and his top national security officials were in the Situation Room for hours, bracing for the attack, which came around midnight. Biden was updated in real time as the forces he ordered into the region began shooting down Iranian missiles and drones. He peppered leaders with questions throughout the response.”
During its first direct attack on Israeli territory, Iran in April launched roughly 300 missiles and drones at the Jewish state.
Leading up to the attack, Iranian officials had promised revenge for an airstrike on Iran’s consulate in Damascus, Syria that they attributed to Israel. The strike killed seven members of Iran’s Islamic Revolutionary Guards Corps (IRGC), a widely designated terrorist organization, including two senior commanders. One of the commanders allegedly helped plan the Hamas terrorist group’s Oct. 7 massacre across southern Israel.
Israel has neither confirmed nor denied involvement in the incident.
“After it was over, and almost all of the missiles and drones had been shot down, Mr. Biden called Mr. Netanyahu to persuade him not to escalate. ‘Take the win,’” Mr. Biden told the prime minister, without reading from a script or extensive notes, according to two people in the room. In the end, Mr. Netanyahu opted for a much smaller and proportionate response that effectively ended the hostilities,” the article added.
Days later, Israel responded to the Iranian aggression by launching a modest missile attack on an airbase near Isfahan. The Jewish state sought to show that it could effectively target key strategic locations in Iran while not escalating the conflict any further. Netanyahu insisted on launching a retaliatory attack against Iran, arguing that ignoring the Iranian strikes would incentivize more attacks against the Jewish state.
IRGC Brigadier General Amir Ali Hajizadeh said that Iran is waiting for “the opportunity” to launch a new round of strikes against Israel, Iranian media reported on Tuesday, potentially boosting Netanyahu’s argument that a smaller response would invite further attacks.
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Journalist at US-Based Nonprofit Promoted Stabbing Israelis, Depicted Rescued Hostage as Pig Drinking Blood: Report
Palestinian terrorists ride an Israeli military vehicle that was seized by gunmen who infiltrated areas of southern Israel, in the northern Gaza Strip, Oct. 7, 2023. Photo: REUTERS/Ahmed Zakot
A journalist at a US-based nonprofit posted tutorials on how to commit stabbing attacks and depicted a rescued Israeli hostage as a pig drinking blood, according to newly surfaced social media posts.
Eitan Fischberger, a communications analyst and former Israel Defense Forces (IDF) staff sergeant who first broke the story on X/Twitter, alleged that Mahmoud Ajjour, a correspondent for The Palestine Chronicle, posted disturbing images and videos to his Instagram page.
Fischberger posted screenshots and screen recordings of the posts.
According to The Chronicle‘s website, Ajjour is a photojournalist and correspondent for the outlet, which is a US-based 501c3, or nonprofit organization.
One of the posted images depicted Noa Argamani — an Israeli who was kidnapped from the Nova music festival during Hamas’ Oct. 7 terrorist attacks in southern Israel, and then rescued in an IDF special operation last month — as a pig drinking blood from a Coca-Cola bottle.
Here, for example, Ajjour posted a picture of Israeli hostage Noa Argamani, portrayed as a pig drinking the blood of Palestinians.
Noa, as you recall, was freed by Israeli forces in the same rescue operation in which Ajjour’s terrorist colleague was killed pic.twitter.com/oiLCqekxbl
— Eitan Fischberger (@EFischberger) June 30, 2024
In Oct. 2015, Ajjour posted a picture of a masked Palestinian holding up a knife, with the caption, “I declare it a revolution.”
That time — from approximately Sept. 2015 to June 2016 — was referred to as the “knife intifada,” as there was an uptick in Palestinian terrorist attacks, particularly using knives, against Israelis in Jerusalem, along with other parts of Israel and the West Bank.
Ajjour also seems mighty fine endorsing stabbing attacks pic.twitter.com/xi2MnZVddl
— Eitan Fischberger (@EFischberger) June 30, 2024
During that same month, Ajjour also reportedly posted a two-part tutorial on how to carry out stabbings with the caption, “May Allah protect them,” likely referring to those who were engaging in such attacks.
So much, in fact, that he uploaded a two-part instruction video showing off some best practices for stabbing Israelis pic.twitter.com/Z12rVo4Enx
— Eitan Fischberger (@EFischberger) June 30, 2024
Then, in 2023, after the son of a Hamas preacher was killed when a device he was trying to launch at Israel exploded, Ajjour mourned his death on Instagram. “Your father’s legacy is proud of you,” he wrote alongside a picture that included what appeared to be a Hamas flag.
And here, Ajjour mourns the death of Bara’a al-Zard, son of Hamas preacher Wael al-Zard.
Silly Bara’a died in an explosion caused by a device he was trying to launch at Israeli forces near the Gaza security fencehttps://t.co/vZR6IW0shF pic.twitter.com/ipQw55BYd7
— Eitan Fischberger (@EFischberger) June 30, 2024
This is not the first time a journalist from The Palestine Chronicle was alleged to have either supported or partaken in terrorism.
Abdallah Aljamal, who was a correspondent for The Chronicle, allegedly held three Israeli hostages in his home, according to the Israeli government. He was killed during a raid that rescued four hostages, including Argamani. After the allegations came to light, The Chronicle changed Aljamal’s status on its website from a correspondent to a contributor.
The Palestine Chronicle did not respond to a request for comment for this story.
Fichberger wrote that he wants the US House Ways and Means Committee to investigate The Chronicle for what seems to have become a pattern.
“If The Chronicle is let off the hook for employing an actual terrorist hostage-taker, it would prove that the American counter-terror legal apparatus really is irreparably broken,” he wrote.
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