In Broken Glass Arthur Miller addresses the fate of Jews in Nazi Germany through the reactions of one New York Jewish family to the news of Kristallnacht in November 1938. Haunted by graphic news images coming out of Germany, Sylvia Gellburg takes to her bed, apparently paralysed, while her husband Phillip struggles to assimilate and ignore undercurrents of antisemitism he encounters as the only Jew working at a real estate company. Dr Harry Hyman is called to diagnose Sylvia’s affliction and the Gellburgs’ uneasy relationship fractures.
It’s 25 years since Diane Samuels’ powerful drama first moved audiences, with something that was new to many. Since then the story of the Kindertransport children has entered public consciousness, thanks to high-profile real-life stories as well as a succession of productions of Samuels’ play. This anniversary production is especially timely, coinciding with the 80th anniversary of Kristallnacht (Night of Broken Glass), when the Nazis incited violence against Jews across Germany – a chilling curtain-raiser to the Holocaust. It also has new urgency, chiming with the stories of families fleeing persecution across the world, desperately seeking refuge, facing separation.
In his timely play, Jeff Page asks when pro-Palestinian criticism of Israel crosses the line to become antisemitism. Celebrated poet Bev seems to have crossed that line, judging from the Twitter storm aroused by Checkpoint Chana, a poem in her latest collection. Chana is the name Bev gives the young woman border-guard at a Hebron checkpoint, whom she observes searching a Palestinian woman’s bag, comparing her to a Nazi searching her grandmother: “The woman presents / she searches her bag / like a Nazi did to her bubbe”.
Had he not been killed by a car bomb in 1972, aged just 36, Palestinian intellectual and activist Ghassan Kanafani would have been an octogenarian. What would the highly-respected writer of the novella, Returning to Haifa, have made of the current situation and ongoing battles for the patch of the Middle East from which he, like the characters in his story, was exiled in 1948?
Celebrated Lithuanian director Rimas Tuminas grew up alongside Jewish compatriots and his familiarity with Jewish life and custom informs this glorious evocation. Smile Upon Us, Lord, which Tuminas adapted for the stage from two novels by fellow Lithuanian and celebrated writer Grigory Kanovich, tells of a world lost forever in the Holocaust. Indeed a fatalism by turns melancholy and filled with the laughter of self-mocking recognition imbues this picaresque tale of three men on a mission to the big city, leaving behind the familiarity of the shtetl to meet new travelling companions and adventures along the way.