Five years after Sheldon Harnick and the late Jerry Bock struck gold with Fiddler on the Roof, they turned to Mayer Rothschild. Specifically the story of how he and his five sons transmuted the poverty of the ghetto into a golden future. The streamlined version of that show, premiered off-Broadway in 2015, arrives in London with American leads Robert Cuccioli and Glory Crampton as paterfamilias Mayer Rothschild and his wife and helpmeet Gutele, respectively, plus original director Jeffrey B Moss.
Some years back, I interviewed Rabbi Jonathan Black for radio, making a cameo appearance in EastEnders conducting a Jewish wedding. Not already a viewer, I duly researched by watching an omnibus edition and learned how you ‘gotta talk’. Jewish (non-Orthodox) playwright Stewart Permutt did his research by consulting a Charedi friend. So there’s a real authenticity about his protagonist Gideon – what brands of bread and crisps he can eat (Kingsmill and Walkers) and what he cannot drink from (glass).
When Harry is talked down from throwing himself off a Bridge by old school friend Milt, who luckily happens to be passing, his life takes a different direction as he finds love in this 1963 comedy from Murray Schisgal. He’s the prominent New York Jewish writer responsible for Tootsie, Dustin Hoffman’s cross-dressing film comedy hit. Here Charles Dorfman talks to Judi Herman about finding LUV and playing Harry; his co-stars Nick Barber and Elsie Bennett; his collaboration with director Gary Condes; and Dorfman’s Buckland Theatre Company, resident company at Park Theatre’s studio space, Park 90.
LUV runs until Saturday 7 January. 7.45pm (Tue-Sat), 7pm (13 Dec only), 3.15pm (Thu & Sat). £14.50-£18. Park Theatre, Clifton Terrace, N4 3JP. 020 7870 6876. www.parktheatre.co.uk
Reviving Murray Schisgal’s 1964 show, unashamedly a mix of absurdist humour and traditional Broadway comedy, is a gamble, especially given our current perspectives on matters of love, sex and the human condition. In lesser hands the gamble might not have paid off, but director Gary Condes has a fine understanding of the material and nudges his cast to find just that right blend between reality and cartoon that made the play a hit over 50 years ago.
Years ago I made a radio feature in Jerusalem – it doesn’t matter what it was about. I wanted to weave a soundscape that evoked the troubled city. As I walked its streets recording, a muezzin chanted the Muslim call to prayer and church bells sounded. Through the windows of a yeshiva (Jewish religious school), which were open for the heat, I could see the boys with their side locks and hear them chanting dutifully after their bearded teacher; and all the while overhead a helicopter hovered, its roar providing an ominous background to these sounds of the divided City.
Just as, sadly, my soundscape has not dated, so Julia Pascal’s 2003 play, set during the Second Intifada, still provides a careful exploration of what life is like for men and women who live on different sides of Israel’s idealistic divide; Arab and Jewish Israelis, Muslims, Christians and Jews.