Uncategorized
The real Jewish history behind Netflix’s ‘Transatlantic’ and the WWII rescue mission that inspired it
(JTA) — While the United States swung its door shut to most refugees during World War II, a young American in France saved thousands, including some of the 20th century’s defining artists and thinkers — such as Marc Chagall and Hannah Arendt — from the Nazis.
The rescue mission of Varian Fry, which went largely unrecognized during his life, is the subject of Netflix’s new drama “Transatlantic,” launching Friday from “Unorthodox” creator Anna Winger.
Starring Cory Michael Smith as Fry, the seven-episode “Transatlantic” aims to recreate his operation in Marseille after the Nazis defeated France and before the United States entered the war. Winger has injected several imagined romances, war efforts and characters into the fictionalized series, including one posed as Fry’s lover, named Thomas Lovegrove (played by Israeli Amit Rahav). Although Fry’s son has said that he was a “closeted homosexual,” no such person is known to have existed.
Winger believes these inventions will invite Netflix viewers to learn more about the true story.
“The people who lived through these stories are dying out,” she told the Jewish Telegraphic Agency. “My job is to bring this to a wide audience, to people who don’t know anything about it.”
The story behind the series
The real Varian Fry, a 32-year-old journalist and suit-clad Harvard graduate, showed up in Marseille with $3,000 taped to his leg and a list of 200 names in August 1940.
After France surrendered to Germany, Fry was among 200 Americans — including journalists, artists, museum curators, university presidents and Jewish refugees — to create the Emergency Rescue Committee at the Hotel Commodore in New York. This group was concerned with Article 19 in France’s armistice with Germany, which required French authorities to surrender any individuals demanded by the Germans.
The private relief organization drew up frenzied lists of anti-Nazi intellectuals who were trapped in France. With the help of first lady Eleanor Roosevelt, the ERC obtained some emergency visas and sent Fry to lead the rescue efforts in Marseille, a port city in the southern, unoccupied part of France.
What he found there was impossible to manage alone. His mission began in his room at the Hotel Splendide, where long lines of refugees waited in the morning before he woke up and at night after he went to bed. They sometimes walked straight into his bedroom without knocking, Fry wrote in a letter to his wife shortly after he arrived.
Gathering a small devoted staff, including Frenchmen, refugees and American expatriates, Fry moved his office to Rue Grignan and later Boulevard Garibaldi. Outside of Marseille he rented the Villa Air-Bel — colorfully recreated in “Transatlantic” — to house eminent writers and eccentric Surrealist artists waiting for visas.
The group developed legal and illegal branches, with the cover organization offering humanitarian relief while a behind-the-scenes operation flouted the law to help refugees escape. Using Marseille’s lively black market, the staff found hiding places, forged documents and bribed officials. Bil Spira, a Jewish Austrian-born cartoonist, forged passports for the ERC. (He was caught and deported to Auschwitz, but survived.) Resistance fighters Hans and Lisa Fittko devised an escape route to Spain, guiding refugees across the Pyrenees mountains on foot.
By the time he was forced out in October 1941, Fry’s shoestring operation had enabled 2,000 Jewish and other anti-Nazi refugees to flee Europe, including such towering artists as Chagall, Max Ernst and Marcel Duchamp, and intellects such as Arendt, Heinrich Mann and André Breton. It has been estimated that 20,000 refugees made contact with the rescue center in Marseille.
Fry’s illegal efforts made him plenty of enemies from his own country, who accused him of interfering with American neutrality in the war. He angered the state department, officials at the American consulate in Marseille and ERC members in New York. In August 1941, he was arrested by Vichy police and sent back to New York.
Fry died in 1967 at the age of 59. Only a few months earlier, he had received the Croix de Chevalier de la Legion d’Honneur, France’s highest decoration of merit — and the only official recognition in his lifetime. In 1994, he became the first American honored by Yad Vashem, Israel’s Holocaust memorial and history authority, as Righteous Among the Nations.
The Emergency Rescue Committee merged with another relief organization and became the International Rescue Committee in 1942. It is still in operation today and currently led by a Jewish CEO, former British politician David Miliband.
What’s in the show, and why some are against it
Some of Fry’s colleagues are fictionalized in “Transatlantic,” including the Jewish Berliner Albert Hirschman (Lucas Englander), who would become an economist in the United States; the Chicago heiress Mary Jayne Gold (Gillian Jacobs); and the Jewish Austro-Hungarian activist Lisa Fittko (Deleila Piasko). American diplomat Hiram Bigham, who gave Fry crucial help and even hid writer Lion Feuchtwanger in his home, is also a character in the show.
Throughout the seven episodes, rescue missions swirl around a series of fictional love affairs. In addition to Fry’s relationship, a triangle unfolds between Hirschman, Gold and the fictional American Consul Graham Patterson. (There is no evidence that Gold romanced either with her comrade or with any American consul in Marseille.) Lisa Fittko has an affair with the fictional character Paul Kandjo, who organizes armed resistance to Vichy.
Gillian Jacobs as heiress Mary Jayne Gold. (Anika Molnar/Netflix)
Several wartime plot points are also invented, including a prison break at Camp de Mille and Gold’s collaboration with British intelligence.
The degree of fictionalization has angered some people close to the real history. Pierre Sauvage, president of the Varian Fry Institute, called the show’s trailer “shocking.” Born in 1944, Sauvage survived the end of the Holocaust in the French village of Le Chambon-sur-Lignon, although his Jewish parents were turned down by Fry’s overwhelmed committee. He became close friends with some of Fry’s fellow rescuers in their later years, including the late Gold, Hirschman and Fittko.
“Are there any red lines?” he said. “Can one fictionalize at will, with no concern for the reality of the story, for the false impression that people will get — and for the way it affects the private lives of the families of people portrayed?”
Sheila Isenberg, who documented Fry’s operation in her book “A Hero of Our Own,” has described the series as a “travesty.” Thomas Fischer Weiss, a child survivor who attempted Fry’s escape route through the Pyrenees at 5 years old, also said the historical events needed no embellishment.
“I think you should tell it straight,” he told the JTA.
The legacy of the ‘troublemakers’
Sauvage believes that if Fry and his associates were alive today, they would like to be remembered for their convictions.
“These were people who were sort of in your face,” he said. “People who knew clearly what they felt and expressed it. They would often describe themselves as troublemakers. Mary Jayne [Gold] said about Varian that he was an ‘ornery cuss’ — it took orneriness to stick to your guns.”
That orneriness was critical at a time when many Americans were apathetic to the plight of European Jews — a 1938 poll in Fortune magazine found that fewer than 5% believed the United States should raise its immigration quotas for refugees. By the summer of 1941, it was too late to open the doors. The German policy of expelling Jews had changed into extermination.
According to Sauvage, America’s refusal to accept more refugees had something to do with that shift.
“The Nazis could legitimately come to the conclusion that the world wouldn’t do anything about the murders and wouldn’t really care all that much,” he said. “What the Varian Fry mission symbolizes is people who cared.”
Varian Fry with Miriam Davenport in the first offices of the Centre Américain de Secours in Marseille in 1940. Davenport, a friend of Mary Jayne Gold, also worked in the rescue effort but is omitted from “Transatlantic.” (Varian Fry Institute)
After their year in Marseille, the rescuers settled into more ordinary lives. Hirschman became an economist with appointments at Yale, Columbia and Harvard. Lisa Fittko ended up in Chicago, where she worked hard in import-export, translation and clerical jobs to earn money, eventually joining protests against the Vietnam War. Gold divided her time between New York City and a villa on the French Riviera.
They all remembered the rescue mission as their finest hour. Speaking with Sauvage, Gold called that year “the only one in her life that really mattered.”
A refugee story for troubled times
Fry’s rescue mission inspired Julie Orringer to write “The Flight Portfolio,” a 2019 novel that became the basis for “Transatlantic.” Orringer was captivated by the image of a young man arriving in Marseille, idealistic and unprepared for the depth of anguish he would find.
“The task was way too big,” she told the JTA. “He realized quite early on that he was going to ask for help, that he was going to have to turn to others who had deeper experience. And in collecting this group of incredible individuals around him, he assembled a kind of collective mind that really could make a difference under the very difficult circumstances that he faced.”
She believed that Fry left an example for the inexperienced. “If you‘re the kind of person who wants to take action on behalf of refugees, but doesn’t know how to do it, ask for help,” she said.
Winger, a Jewish Massachusetts native who has lived in Berlin for two decades, conceived of making a series about Fry in 2015. Germany saw an influx of more than a million migrants that year, most of them fleeing Syria’s horrific civil war. She optioned Orringer’s book in 2020.
“I thought a lot about the fact that people like us — artists, Jews, both — had to leave Berlin as refugees, but now there were so many people coming to Berlin as refugees,” said Winger.
Then, just as she started filming “Transatlantic” on location in Marseille, a new war broke out in Europe.
“The war in Ukraine started three days into the production and there was a whole other wave of refugees coming to Berlin,” she said. “Suddenly we were making it in another refugee crisis.”
Russia’s invasion of Ukraine hit close to the show, whose cast and crew hail from across the continent. Winger’s cinematographer is married to a Ukrainian woman. In Berlin, she saw thousands of refugees crowding into the central train station, some without shoes, food or plans for shelter.
“I think it gave us all a strong sense of purpose,” said Winger.
—
The post The real Jewish history behind Netflix’s ‘Transatlantic’ and the WWII rescue mission that inspired it appeared first on Jewish Telegraphic Agency.
Uncategorized
We’re losing control of AI. Is Judaism the key to keeping it from killing us?
If you always dreamed of working in artificial intelligence, perhaps you studied computer science, or math. Who knows, maybe you did computational biology to better understand how to build a neural network. What you probably never imagined might be useful was Talmud, halakha and Jewish history.
Yet those are exactly the skills Judd Rosenblatt, founder of AI consulting company AE Studios and AI ethics nonprofit the AI Alignment Foundation, is looking for.
Rosenblatt thinks that the evolution of Jewish thought might be core to solving a very specific — and worrying — issue with artificial intelligence.
That issue is recursive self-improvement, or RSI, the process of an AI editing itself, and then editing those edits, and so on — all without humans in the loop, checking its work or even knowing about the changes. This skill is the current holy grail of AI research, because it will allow for exponential speed in improvements; every major AI company is racing toward RSI and, according to rumors, Anthropic has likely already achieved it. That means changes at a speed and scale human brains are not built to comprehend.
But RSI isn’t just a way to quickly improve AI — it is also the end of human control and oversight over artificial intelligence. It’s a sort of Ship of Theseus paradox, which asks whether a boat is the same object after all of its boards have been replaced. If AI rewrites itself over and over, faster and faster, will it cease to be the machine humans created and become something we can’t understand, predict or control? Which is where Rosenblatt’s project comes in.
“How do you make something that is poised to get exponentially smarter than you continue to do what you think is right and good?” he said. “How do we make it such that it does not kill us?”
This project is known in the business as AI alignment — basically, to make sure AI aligns with human values and ethics. The challenge is that AI might edit out those values during its upgrading; we already have evidence that AI will discard certain commands if it concludes they are extraneous or contradictory to its other goals. So the AI needs to believe that these ethical tenets are useful or valuable enough that it doesn’t delete them when it is rewriting itself.
The crux of Rosenblatt’s research is figuring out how to keep those values alive. He’s not only looking at Judaism; he’s also considering the history of thought, immune systems and even bookkeeping for ideas. (He is himself Jewish, raised Reform and bar mitzvahed — and recognized this may give him a bias toward halakha.) He is particularly interested in far-fetched ideas, outside the current Overton window of alignment techniques, none of which he thinks are sufficient for the coming problem of RSI.
“A lot of the biggest breakthroughs in the history of science come from individuals with strong hunches that no one else believed in. But these people chose to stick with their hunches,” Rosenblatt said.
He believes that finding “neglected visionaries” who are outside the norms and might struggle to find funding, and pairing them with a team of engineers and tech-minded experts, could lead to a breakthrough. To do this, he is taking some of the profits from his AI consulting firm AE Studios and putting them into the nonprofit AI Alignment Foundation.
“It’s interesting to study what has survived adversarial pressure over long periods of time. So you can say let’s study things that have survived evolutionary adversarial pressure,” and examine biological survival mechanisms, he said. “And then there’s civilizational adversarial pressure.”
Before the Second Temple was destroyed, Judaism revolved around temple sacrifice and the priesthood. Yet after its destruction, Judaism didn’t die; instead, it became something different.
The reason Judaism survived is not despite the changes, Rosenblatt hypothesizes, but because of them. “I think a tradition that reinterprets nothing is the more fragile one,” he said. “A rule that cannot be bent, cannot adapt to a new world and dies out.”
There are interesting parallels between the structure of arguments in the Talmud and the problem of RSI: Both involve constantly layered, referential rewritings; it even preserves the ideas that do not end up winning the arguments canonized in the writings. In the Talmud, the original text — the Torah — is interpreted into the Mishna, the Gemara and countless later commentaries that shift the practice of the laws over time. Yet certain values remain. Some of Judaism’s traits have even survived an even bigger change: Christianity. Yet even Christianity keeps some of Judaism’s core ideas, like monotheism and pikuach nefesh, the idea that saving a life supersedes any other command.
“It is maybe the best working example that I know of that survived the total destruction, multiple times, of the thing that was it,” Rosenblatt said. “And it did that using mechanisms that it built into itself, on purpose. That is the alignment problem, stated in Jewish terms.”
Another promising angle is the idea of covenant as a relational bond; Jews inherit the covenant, but must also choose to engage with Judaism, and with God, just as the AI might one day have to choose to preserve certain values even as it adapts them.
“Everything that lasts in Judaism is sort of organized around a covenant which endures the transformation from one generation to the next,” he said. “You inherit it, but you also choose to participate in it.”
Of course, Judaism has changed enormously over time — and some people might argue that its core has changed enormously too, with many Jews centering tikkun olam over keeping kosher, for example, or differing widely on Israel or even not believing in God.
But Rosenblatt said this is part of the point; some traits get selected for and last through major changes, and others don’t, just like in evolution. That’s how you winnow it down to its strongest components.
The question is what is that core that remains, and why. Rosenblatt has a lot of ideas. But he didn’t want to tell me what his hunch about Judaism’s eternal core; he doesn’t want to bias anyone. He wants those neglected visionaries to come and tell him their biggest, best ideas. The door is open.
The post We’re losing control of AI. Is Judaism the key to keeping it from killing us? appeared first on The Forward.
Uncategorized
The Israeli rescue operation that was tailor made for Hollywood
In the early hours of July 4, 1976, Israel completed a stunning and unprecedented military action that saved 102 Israeli lives. A French plane traveling from Tel Aviv to Paris had been taken over by hijackers demanding the release of 53 Palestinian prisoners held in several countries, including 40 in Israel.
Rerouted to Entebee, Uganda, a pro-Palestinian country headed by the savage dictator Adi Amin, the plane sat in the terminal, surrounded on all sides by armed Ugandan soldiers. The hijackers set a deadline stating that if their demands were not met they would start murdering the hostages. The ordeal dragged on for seven days.
Fifty years later, the extraordinary event still resonates — for those who celebrate Israeli brilliance and bravery as well for those who view the hijackers as freedom fighters embracing a just Palestinian cause.
The event inspired an array of films, most of which depict the harrowing week-long episode with a fair degree of verisimilitude. But, viewed through a post-Oct. 7 lens, each reflects divergent points of view.
The best known are Victory at Entebbe, Raid on Entebbe (two star-studded American blockbusters), 7 Days at Entebbe and Operation Thunderbolt. The latter, an Israeli produced Academy Award nominee for Best Foreign Language Film (1978) and no longer available for streaming in the United States, was praised for its authentic feel and historically accurate backdrops, military equipment and uniforms. In its first iteration, Arabic, Hebrew, French and English were spoken. In a later version, dubbed for an international audience, everyone conversed in English. It presented the Israel Defense Forces in a glowing heroic light.
Victory at Entebbe was the most starry of the lot, featuring Elizabeth Taylor, Kirk Douglas, Richard Dreyfus, Burt Lancaster, Theodore Bikel, Anthony Hopkins and Helen Hayes. Though it, too, casts the Israeli commandos as epic figures, at its core it’s about the entrapped Israeli passengers and their present, also past, lives and their conflict-ridden or romantic interactions, some of which bordering on absurdity.
There’s the sometimes wise and sometimes dotty grandmother archetype (Hayes) hoping the plane might be hijacked to India since she’s never been there before and would like to visit. One religious Jew demands kosher food, while others insist upon lighting Shabbat candles. A young girl (Linda Blair, post-Exorcist) tries to cheer everyone up with chocolates. And back home in Israel, her mother (dreadfully played by Taylor) has lost her mind and incoherently screams something about red ribbons.
The characters are way over the top. My favorite is the female German hijacker Brigitte Kuhlmann (played by Bibi Besch), strutting about and barking, often shrieking, demands at the Israeli hostages.
Most of the films create a thread between the victims of the Holocaust and the Jewish passengers. The Jewish hostages are brutally segregated into a separate room in the terminal and treated far worse than the others. In one particularly ham-fisted Victory scene, a Jew with a Belgian passport refuses to be housed with Israelis. He is a Belgian, he insists. Later, he is overwhelmed with guilt because he didn’t identify as a Jew. Another passenger reassures him that trying to survive is fully understandable. Sound familiar?
The most successful film of the films is Raid on Entebbe (1976), directed by Irvin Kershner and starring Peter Finch, Charles Bronson, Martin Balsam, Jack Warden and Sylvia Sidney. It embodies all the elements of a well-conceived airplane hijacking thriller, coupled with archival footage featuring iconic American newscasters of the period covering the happenings as they unfolded. Like many disaster films, it presents a cast of interacting characters with subplots that, unlike Victory at Entebee, are plausible, at least within parameters, and don’t overwhelm the film.
A high point here is the Jewish actor Yaphet Kotto’s Idi Amin, at once a ferocious figure and a buffoon. Careerism, opportunism and self-promotion are at his core. His cheery “Shalom, Shalom” while waving to the Israeli hostages is bone-chilling.
The film is unequivocally told from the Israeli point of view and is especially vivid in its depiction of the internecine struggle within the cabinet. Defense Minister Shimon Peres and others argue that Israel has never given in to the demands of terrorists and to do so now would create a dangerous precedent. Others respond that lives are at stake. Outside in the streets, protesters demand that the cabinet negotiate with the hijackers. On the surface, the Israeli government is proceeding with diplomacy at the very moment it has launched a complex military intervention.
It’s a high-risk sneak attack in the middle of the night, involving four cargo planes carrying between 100-200 soldiers and escorted by Phantom jet fighters. They fly close to 2,500 miles from Israel to Uganda and within 90 minutes of landing the commandos have rescued 102 of the hostages, killed the hijackers and dozens of the Ugandan guards. It’s a nail biter.
But there are losses too, including the murder of Major General Yonatan “Yoni” Netenyahu (older brother of the Prime Minister), the spearheading force behind the rescue. The impromptu Kaddish uttered by the soldiers flanking his body on the return flight is quite moving.
Still, at the end you cheer for the Israelis even as you mourn the irretrievable loss of life.
Seven Days in Entebbe, directed by José Padilha, stands in stark contrast to the other films, focusing its attention on three of the hijackers. There is the furious Palestinian and two Germans, whose motivations are more enigmatic. The one woman (Rosamund Pike) seems the most eager to kill anyone or everyone. Her rage is far more existential and free-floating than it is political or even targeted.
The gentlest of the lot and the most conflicted (vividly acted by Daniel Brühl) is a left-leaning German publisher, who wants to make a statement that puts him on the right side of history, at least as he sees it. His posturing becomes all too real when he realizes he may actually be called upon to pull the trigger. Throughout, he grapples with Holocaust history and the moral complexity and resonance of contemporary “Germans killing Jews.”
“You are here because you hate your country,” says the Palestinian, “I am here because I love mine.”
“Jews came to Palestine and did to our people what your people did to them,” he adds. “Go back to your nice life. I go back to nothing.”
The dramatization of philosophical differences among the hijackers, informed by class and experience, is not without interest. Unlike the other films, this movie concludes on an introspective and perhaps even conciliatory note as Prime Minister Rabin says that in the future Israel will have to negotiate.
Most off-putting is the interspersed presence of the Batsheva Dance Company. Its members are on a stage seated on folding chairs in a circle. Abruptly, they twisting this way and that to evoke anguish. In each segment the tortured movements grow increasingly intense. These choreographic bits that also serve as bookends to the film are pretentious, totally unaccounted for, serve no discernible purpose, and bring to mind badly done satire.
The topic of the Entebbe raid has surfaced once again with Boaz Dvir’s compelling To Kill a Nazi, which just debuted in Los Angeles. Though it is a documentary, it has the feel of fiction.
It tells the little known story of business consultant Michel Cojot, who was committed to tracking down and killing Klaus Barbie (“the butcher of Lyon”). Barbie was responsible for the deportation and ultimately the death of Cojot’s father in Auschwitz. But when Cojot was in shooting distance of Barbie, he couldn’t do it and tore himself apart for what he viewed as his cowardly indecision. For him, that indecision was both a personal and Jewish flaw.
Depending on your viewpoint, either through destiny or coincidence, a year later he found himself on the ill-fated Air France flight and was unwittingly given a second chance to redeem himself. And he did, facilitating relationships with the hijackers and pilot and flight crew. In so doing he negotiated a plan and retrieved information that played a major role in the successful outcome of the raid. Though the French government still hasn’t honored him Cojot, who died in 1999, found peace with himself as a Jew and a human being.,
It’s a theme that has an indefinite shelf life. And it couldn’t be more timely in light of the surge in antisemitism, the rift among Jews and the ongoing internal and external battle of what it means to be a Jew.
The post The Israeli rescue operation that was tailor made for Hollywood appeared first on The Forward.
Uncategorized
Two plays stage three years of infighting over Israel
The last three years of Jewish life can be read as a singular drama with no last act.
The Hamas attack on Oct. 7, 2023 proved to be just the first bloodletting in a renewed cycle of violence and recrimination. Israel responded with its destructive campaign in Gaza. Far from the theater of war, American Jews reckoned with renewed fears of antisemitism and fractures within their own communities and families.
Before that October had even ended, about two weeks into a discourse that’s still nowhere near to disappearing, Michel Hausmann, the artistic director of Miami New Drama, reached out to playwright Jonathan Spector to create a play reacting to the moment.
The writer’s response: a categorical no.
“I was like, ‘That’s the worst idea I’ve ever heard. I wouldn’t touch that with a 10-foot pole, it’s too scary and hard and complicated,’” Spector, a Tony winner for his play Eureka Day, recalled, “but you know, he was very persistent.”
“I think I wore him down,” Hausmann, a Venezuelan-born Jew, told me.
The result of this exploration is Birthright, a domestic epic that touches on international news and centuries of Jewish thought. The play, now at MCC Theatre after a 2025 debut at Miami New Drama, follows six friends, most of whom met on a Birthright trip in 2006. It opens in the pre-smartphone age and ends in the social media-saturated aftermath of Oct. 7. Overall, it covers 18 years, an intentionally Jewish number.
“I feel like so many of the ways that these kinds of arguments play out is people leap very quickly from a thing that happened yesterday to a thing that happened 80 years ago to a thing that happened 2000 years ago,” Spector said. “It’s too narrow a lens if we’re only looking at this moment.”
Spector landed on the organizing idea of a Birthright trip after conducting interviews with a diverse group of American Jews, most of whom mentioned the free journey to Israel. (Spector, raised Conservative in the DC suburbs, like his characters, didn’t participate in Birthright; he hasn’t been to Israel since he was 15.)
Hausmann, whose theater only produces world premieres and designs its season to cater to the local Cuban, Venezuelan and Jewish communities, commissioned Spector because as early as Oct. 8, he imagined the response from the cultural field would be missing complexity or morphing into activism.
In truth, theaters have been slow to respond. Seasons have featured shows about antisemitism and Israel, but for the most part, they’d been in development before these issues were on everyone’s minds and social feeds.
Joshua Harmon’s A Prayer for the French Republic moved from its 2022 off-Broadway run to a Dec. 2023 Broadway opening largely unchanged. But amid the mounting headlines, the historical irony of the central family’s ultimate choice to relocate to Israel for safety was devastating in its new theater.
Itamar Moses’ The Ally, which premiered at the Public in Feb. 2024, looked prescient in its dissection of campus activism surrounding Israel. It concerned a Berkeley professor caught between his liberal values and his Israeli parentage. Moses’ show was scheduled for the season well before Oct. 7, but debuted just after. The playwright chose not to touch the Hamas attack, but conclude right on the cusp of it.
By the time Giant, about Roald Dahl’s antisemitism, transferred from the West End to Broadway earlier this year, many online seemed to have no problem with Dahl’s blithe Holocaust inversion, accusing the play of vilifying someone who was merely an advocate for the persecuted neighbors of the Jewish state.
Birthright and S. Asher Gelman’s The Zionists: A Family Storm, which opened at Miami New Drama in April and is now playing at Barrington Stages in the Berkshires, are the first major American plays directly addressing a post-Oct. 7 Jewish world.
Gathering the storm
Gelman told me his play emerged out of what he saw as betrayal from his progressive artistic community, which immediately sought to “contextualize” Hamas’ barbarity.
“I watched complex histories become flattened and simplified for ostensibly propaganda,” said Gelman, whose previous plays include the gay polyamory play Afterglow. He was floored by the views of some people in his circle who labeled him, as an American-born Israel citizen who lived in Tel Aviv from 2006 to 2016, a “white colonizer.”
He started taking notes, and about a year after Hamas’ invasion of Israel, began work on his play, about a wealthy and well-connected Jewish family on vacation in the Turks and Caicos. (Gelman’s parents are Jewish philanthropists, like the matriarch and patriarch in the play; one of his sisters, like the play’s youngest son, has funded pro-Palestinian groups.)
In setting up the drama, a kind of staged debate between the liberal Zionist family and the anti-Zionist wicked son and his husband, Gelman had to think of a way to keep the warring factions in the room to have the conversation.
His solution was a violent metaphor: a hurricane raging outside their deluxe bungalow.
“I think that the beauty of The Zionists is that you have to sit down through it, you have to hear a point of view, wherever you stand,” said Hausmann. Perhaps because of the play’s title, he said, members of Jewish Voice for Peace picketed the production in Miami. In one performance, an audience member shouted back as one character made his case for anti-Zionism.
“All extremes are upset at us, and so I think that we’re doing something right,” Hausmann said.
The yelling matches in the play tip into the tedious at times, and the grievance-laden backstory given to the anti-Zionist Aaron — he’s a recovering drug addict whose IDF donor brother outed him as gay when they were kids — seems to support a familiar claim made against Jewish critics of Israel: They are acting out against their upbringing rather than out of a real conviction.
While the show pays lip service to the Jewish value of questioning, it often seems disinterested in the anti-Zionist perspective, privileging the gradient spectrum of liberal Zionism in a queer, multiracial modern family with at least one convert and two descendants of refugees.
Gelman, 42, says he thinks anti-Zionist Jews of a younger generation (the Aaron character is 34) may arrive at their beliefs because they don’t remember a pre-Netanyahu Israel or Rabin and Arafat shaking hands on the White House lawn.
They’ve only “known one type of Israel,” he said.
The art of argument
Spector wrestled with the arguments he wanted his characters to make. The show could have easily been a back and forth about the Peel Commission or suicide bombings during the Second Intifada, but the more ideas he included, the more the play flatlined.
“It’s, like a three hour 10 minute running time and only 15 minutes of it is arguments,” Spector said, “but I probably wrote and have cut two hours worth of arguments.”
He took care to make sure the points of view were rooted in character and their evolution: The most outspoken anti-Zionist character, Izzy (Molly Bernard), evolves from working for J Street to leaving the group chat when her friends send a link to The New York Times walking back its reporting on the 2023 Al-Ahli hospital explosion, which rushed prematurely to blame Israel for the strike. By that point, we can glean how everything from Izzy’s fertility to her disillusionment with her work has shaped her worldview.
Spector came to realize that the question he was examining wasn’t a solution to the Israeli-Palestinian crisis or in winning a debate (he thinks social media has gamified conversation), but a change within American Judaism.
In the second half of the 20th Century, he said, Jewish institutions made an effort to pitch a big, tolerant tent to embrace all levels of observance. “As the main dividing line within American Jewish life has shifted from your religious practice to your beliefs about Israel, there’s been a similar kind of shift away from tolerance from people on both sides of that divide,” he said.
He’s less interested in passing judgment on this development than trying to make sense of it. It’s a view expressed by the character of Izzy in his play.
“I can go up on the bimah at my parents’ shul and I can say I am married to a woman, I can say I don’t keep kosher, I can say I don’t believe in God,” she said, noting how she’d not just be accepted but welcome. “The one thing that would get me kicked off the bimah, kicked out of the shul, kicked out of my family is if I say I am an anti-Zionist.”
Spector said so far a minority of audience members have been uncomfortable with his show. (The evening I saw it, there were young people with tattoos and men in kippot; by contrast, the crowd at The Zionists, typical of my theatergoing there, looked to be almost exclusively of retirement age.) His own views have naturally evolved with the play – he’s been working on it for years, and the facts on the ground have changed.
“It’s a little bit difficult for me to separate the work on the play and the evolution of my own feelings and beliefs,” he said. “If I could sum those up in a sound bite, I wouldn’t need to write a three-and-a-half hour play.”
Hope for healing?
Birthright was the first entry in Miami New Drama’s Jewish Play Commission. Hausmann said some donors wished the piece was more “feel-good,” but said he thinks it is, ultimately, healing.
Spector doesn’t use that word.
”Midway through writing it, I was definitely like, ‘Oh my God. How am I going to find an ending to this that is not just like unrelentingly bleak and depressing,’ because that was certainly how I felt in the moment about where things were.” We black out on a scene of people coming together in a shared grief.
The Zionists ends at a moment of uncertainty amid a wrathful, Act of God weather event. For Gelman, the ambiguity and anger are the point, and point to a way forward.
“Discomfort, disagreement, it’s a feature of a great relationship, not a bug,” Gelman said. “With the privilege and luxury of actual physical safety comes the responsibility to be brave and the responsibility to be uncomfortable. Discomfort is the price we pay for community.”
The post Two plays stage three years of infighting over Israel appeared first on The Forward.
