{"id":862,"date":"2026-07-09T12:36:44","date_gmt":"2026-07-09T12:36:44","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=862"},"modified":"2026-07-09T12:36:44","modified_gmt":"2026-07-09T12:36:44","slug":"birthright-and-giant-tackle-jewish-identity","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=862","title":{"rendered":"\u201cBirthright\u201d and \u201cGiant\u201d Tackle Jewish Identity"},"content":{"rendered":"
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The Oakland-based playwright Jonathan Spector wrote \u201cBirthright\u201d\u2014his warm, haimish, ultimately frustrating new drama\u2014on a dare. Weeks after October 7, 2023, Spector was \u201ccajoled\u201d by a peer to dig into the generational fracture among American Jews, a split that deepened precipitously after the catastrophes in Israel and Gaza. At first, Spector said no. Who could blame him? The risks included glibness and finger-wagging, not to mention the danger suggested by the metal detectors outside the production now at M.C.C.<\/p>\n

Read more \u00c9ric Rohmer\u2019s Novel \u201c\u00c9lisabeth\u201d Is a Precocious Literary Triumph<\/a><\/p>\n

So it\u2019s strange to report that the play Spector constructed from such volatile material is an oddly uplifting project\u2014a witty, tender portrait of left-leaning Jews that, by its final moments, feels hobbled by a pulse of wish fulfillment, a desire for closure at any cost. We meet six millennial hopefuls in 2006, shortly after they\u2019ve returned from Birthright, a free ten-day trip to Israel that is designed to create, in attendees, a bond with the Jewish state\u2014and, not coincidentally, attractions to fellow-Jews. (Like the hookup-heavy youth group N.F.T.Y. and the summer-camp circuit, Birthright aims to vaccinate Jews against that diluter of the tribe, intermarriage.) The trip seems to have worked: Izzy, a vulnerable, dry-humored lesbian, played with a hummingbird intensity by the wonderful Molly Bernard, marvels that the experience is hard to describe to anyone who hasn\u2019t been through it, like sharing a dream. (\u201cThey\u2019ll listen for a while, but then at a certain point\u00a0.\u00a0.\u00a0.\u201d) Her peers will be her \u201cmish<\/em>-fucking-pokah<\/em>,\u201d her chosen family.<\/p>\n

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The gang has gathered, at the behest of Izzy\u2019s bossy, flirty childhood friend Chaya (Zo\u00eb Winters), for an intervention. The Yale good girl Alona (Molly Ranson), fresh off a tryst with an I.D.F. soldier, is toying with making aliyah\u2014moving to Israel. The other five intend to talk her out of it. Why step off the gleaming escalator of Diaspora success? It\u2019s a zippy, sexy debate that expands as we follow the new friends (and Chaya\u2019s chatty mom, played by a terrific Liz Larsen) for eighteen years, and as their lives kink into unexpected shapes. At three hours and twenty minutes, the play\u2019s length may sound daunting, but, under the fleet direction of Teddy Bergman, \u201cBirthright\u201d races by, bright and light and often very funny, its crisp exchanges like gleaming stones skipping across an ocean of pain. In addition to the three women, we meet the proto-blogger Noah (Eli Gelb), who\u2019s crushing on Chaya; the boozy indie rocker Emerson (Nate Mann); and the free spirit Lev (Hale Appleman, all legs and grins), who ditched the Birthright tour midway through, and is so disarmingly openhearted that even when he ghosts a lover he is quickly forgiven.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Each act takes place at the suburban home of Chaya\u2019s family: the first, \u201cTwo Jews, Three Opinions,\u201d weeks after the trip, and the second, \u201cA Palace in Time,\u201d in October, 2016, around a hot tub, where the gang assembles to celebrate (and debate) Alona\u2019s wedding to an Israeli. The final act, \u201cRight of Return,\u201d marks a sadder occasion, in 2024. Between the acts, a screen displays an ingeniously calibrated cascade of digital interactions: initially, Yahoo and \u201c.edu\u201d e-mails; then a Facebook group, BirthLeft; and gradually\u2014as the political landscape tilts ominously\u2014a WhatsApp group. These feeds sparkle with good news, from shiny jobs working for Barack Obama or for the PAC<\/em> J Street to marriages and babies. Then, not long after October 7th, someone abruptly exits the chat.<\/p>\n

The moment made me gulp. I\u2019ve seen similar splits occur in my own circles, and it was exciting and disturbing to imagine these conflicts made visceral onstage. Spector is clearly concerned with the pernicious consequences of technology, its ability to numb emotions and steer people into ideological cul-de-sacs. During the third act, in a cunning effect, when anyone picks up a phone, the screen\u2019s contents are displayed on a wall as the lights fade, muting the friends onstage. These techniques echo a brilliant scene in Spector\u2019s best-known play, \u201cEureka Day,\u201d a satire of wokespeak at a Berkeley private school, in which a Facebook Live chat turns feral during an argument over vaccines. In its richest moments, \u201cBirthright,\u201d like \u201cEureka Day,\u201d nails the struggles of flawed do-gooders to find meaning, along with the pain of seeing friends age. It\u2019s especially touching when dramatizing the dimming of Lev\u2019s youthful glow into wary alienation, summed up in a passing remark: \u201cYou would have been a good rabbi if you hadn\u2019t fallen for the wrong chick.\u201d Critics have rightly tagged \u201cBirthright\u201d as a Jewish \u201cBig Chill,\u201d but it also has the puppyish verve of \u201cFriends,\u201d had Ross, Rachel, and Monica been allowed to talk like real Long Island Jews. There\u2019s a sensual specificity to the staging, from the Proustian sight of a teal-butted 2001 iMac to the sounds of news junkies snarking about Thomas Friedman or trading in-jokes about the shrimp at an Israeli wedding.<\/p>\n

And yet a bratty skepticism welled up in me as the play unfolded. Clashes flared only to be tamped out; repercussions were softened, often comedically, as an outsider crashed the debate. Lines were uncrossed. Plays, like people, have value systems. I share the ones central to \u201cBirthright\u201d: talking across divides, keeping the conversation going. I, too, am frustrated by the online reflex to sneer. But those ideals block the play from being fully honest\u2014by letting ugliness stick around. \u201cBirthright\u201d culminates in a fiery showdown in Act III, when the left-wing Izzy and the liberal Chaya wield phones like knives, competitively Googling \u201cTheodor Herzl colonialism\u201d and \u201c1930s partition plan Israel\u201d as Noah struggles to talk them down. The moment has a trace of Aaron Sorkin; I usually mean this as an insult, but in Spector\u2019s case it\u2019s not all bad. Everyone\u2014including Alona, the only one who\u2019s lived in Israel\u2014gets to make their case in full, just as the anti-vaxxers did in \u201cEureka Day.\u201d But is it enough to hear people out? To retreat to \u201cIt\u2019s complicated\u201d?<\/p>\n

Read more Broken<\/a><\/p>\n

I kept sensing the elisions. We hear about MAGA<\/em> Zionists\u2014Fox News-watching fathers, Tel Aviv neighbors\u2014but they\u2019re all offstage. By design, this is a play about a narrow slice of Ashkenazic Jews, college-educated members of Conservative shuls. (This isn\u2019t a political category; it\u2019s the middle of the continuum of Reform, Conservative, and Orthodox, or, as the joke goes, \u201clazy, hazy, and crazy.\u201d) It\u2019s a play about two-state Zionists resistant to the term \u201cgenocide\u201d and anti-Zionists pushing them to use it, a demographic just left of the women from the hilarious \u201cJAP<\/em> Battle\u201d rap track, from the TV show \u201cCrazy Ex-Girlfriend,\u201d who spar over their anti-racist bona fides, then add, politely, \u201cThough of course I support Israel.\u201d Yet \u201cBirthright,\u201d despite having been written, daringly, into the current crisis, feels one step behind.<\/p>\n

Or perhaps the problem is that it\u2019s too short! This may be the first time I\u2019ve thought a play might work better as a television series, with space for its characters to grow. As it happens, there is<\/em> a series like that: \u201cLong Story Short,\u201d an emotionally chewy animated Netflix series by Raphael Bob-Waksberg, the creator of \u201cBoJack Horseman.\u201d A portrait of the Schwoopers, a liberal Jewish family in the Bay Area, \u201cLong Story Short,\u201d like \u201cBirthright,\u201d jumps across decades, allowing for a prismatic portrayal of Jewish identity, in all its pride and ambivalence. Nobody mentions Israel, which is, I guess, a cop-out\u2014but also a magic trick that lets the show explore Judaism as distinct from Zionism. The standout episode\u2014the conversion history of Kendra, a Black striver married to the Schwoopers\u2019 daughter, Shira\u2014sticks its landing, enabling the viewer to see faith as a refuge, not a cage.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Then, there\u2019s \u201cGiant,\u201d the other big new play to address Jewish identity. It has a different sort of peculiar timing: the script was completed the week before<\/em> October 7th, a tragedy that imbues it with an unwieldy resonance. Swashbuckling and polemical, \u201cGiant\u201d is set in 1983, on the afternoon that Roald Dahl gave a radio interview making plain the links between his anti-Israel punditry and his private antisemitism. An old-fashioned ideas play, it has its contrivances. But its ability to tolerate discomfort is its strength, particularly through its most original figure\u2014Dahl\u2019s friend and publisher Tom Maschler, deftly portrayed by Elliot Levey. A secular Jew and a Holocaust survivor, Tom is a cool customer: a louche, assimilated Brit whose astringent view of his ethnicity, and irritation at being forced to opine on Israel at all, ultimately leaves him more vulnerable, not less\u2014hamstrung by his intimacy with a brilliant bigot. The contradictions of their closeness aren\u2019t papered over; the unease is allowed to linger, inflamed and ineradicable.<\/p>\n

\u201cBirthright\u201d works under different rules: it can\u2019t subtract Israel, like \u201cLong Story Short,\u201d or take refuge in the past, like \u201cGiant.\u201d But, as heartfelt and skillfully performed as \u201cBirthright\u201d is, in its eagerness to become a healing ritual for the audience it dodges what Dahl, in an acid exchange in \u201cGiant,\u201d deems \u201cthe vexing bit.\u201d In Act I, Lev is thrilled by a Talmudic concept: that letting contradictory interpretations coexist is a distinctly Jewish way of encountering Hashem, or God. That\u2019s a beautiful idea, but in drama it can feel like throwing up one\u2019s hands. And for some people, as a Yiddish milkman once put it, there is no other hand.\u00a0\u2666<\/p>\n

Read more How New York Watched the World Cup<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Emily Nussbaum reviews the plays, which explore interpersonal rifts over Israel. Only one of them lets the ugliness linger.<\/p>\n","protected":false},"author":1,"featured_media":861,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[29],"tags":[],"class_list":["post-862","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-theatre"],"yoast_head":"\n\u201cBirthright\u201d and \u201cGiant\u201d Tackle Jewish Identity - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=862\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cBirthright\u201d and \u201cGiant\u201d Tackle Jewish Identity - City Relocation News\" \/>\n<meta property=\"og:description\" content=\"Emily Nussbaum reviews the plays, which explore interpersonal rifts over Israel. 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