Is it part of the irony within Joshua Harmon’s Admissions that a play about white privilege and the hypocrisy of white liberals has only white characters?
Find out what the critics made of Daniel Aukin’s production of Admissions at the Trafalgar Studios.
Joshua Harmon doesn’t beat about the bush when tackling difficult questions about diversity and equality in Admissions, a biting new comedy that couldn’t be more relevant, especially to parents.
I’m genuinely not sure Admissions could be done much better than it’s done here. If you come expecting an entertaining comedy that will make you occasionally go ‘oh actually that’s a good point’ you won’t leave disappointed.
Alex Kingston (ER, Doctor Who) will star in the award-winning new comedy Admissions from Joshua Harmon, the writer of acclaimed hit Bad Jews, direct from New York‘s Lincoln Centre Theater.
If, as she says, Corrie and EastEnders veteran Michelle Collins wants to shed her ‘soap actress’ image, she needs to find bolder challenges than Stewart Permutt’s comic but empty two-hander A Dark Night in Dalston.
Due to popular demand, Theatre Royal Bath Productions, Kenny Wax and Theatre Royal Haymarket Productions are delighted to announce the return of Joshua Harmon’s BAD JEWS to the West End, at London’s Theatre Royal Haymarket. The critically-acclaimed production will run from 8th February until 19th March 2016, following sell-out runs at Ustinov Studio, Bath, St James Theatre and the Arts Theatre, London.
I’ve been to P-town, New York, DC and WIlliamstown in the last fortnight – and I finally catch up in my latest diary today!
Due to popular demand, Theatre Royal Bath Productions has announced an additional six-week run of Joshua Harmon’s Bad Jews at London’s Arts Theatre. The critically-acclaimed production, which was due to finish its limited season at the Arts on 30 May, will now continue until 11 July 2015, following sell-out runs at Ustinov Studio, Bath and St James Theatre, London.
Arts Theatre, London
Written by Joshua HarmonDirected by Michael Longhurst
Ilan Goodman and Jenna Augen
Acclaimed at Bath last year and sold out at London’s St James Theatre in January, Bad Jews now makes the short hop across town to the Arts Theatre to meet an almost insatiable demand to see the show. Indeed the clamour for tickets has been so strong that it led comedienne Ruby Wax to tweet recently of Bad Jews’ “mostly Jewish audience. If you insult them, they will come”.
The play is provocatively titled because as Harmon admits in the programme, eleven years ago and before a plot had even evolved, he thought it would be “a good title for a play”. Hmm. A dodgy premise for any creative work. Substance needs to come before the packaging and ultimately Bad Jews makes for mediocre drama.
Three Jewish cousins (plus Melody the Christian girlfriend of one cousin) are gathered in New York for the funeral of grandfather Poppy, a Holocaust survivor. Amidst familiar and familial spats of jealousy, rivalry and momentary affection, the plot’s action focusses upon a Jewish necklace (a Chai) that Poppy had kept concealed during his time in the camps.
Religiously committed granddaughter Daphna believes the Chai should rightfully be hers whilst assimilated cousin Liam (who via some family chicanery, already possesses the necklace) is on the cusp of proposing to Melody and plans to give her the Chai in place of a traditional engagement ring. Daphna’s nauseated fury at Liam’s plan is understandable. However where Harmon abuses our disbelief, whose suspension is already hanging by a thread, is in asking us to accept the conceit that WASP Melody would even prefer the battered Chai over a diamond solitaire. It makes for an in-credible pivotal plot-line.
To be fair, Harmon does thread some strands of relevance into his work. His exposition of the vain and arrogant self-belief of Daphna’s piety is spot-on and he offers a further morsel of intellectual meat to chew on as he references the impact of assimilation and “marrying out” upon Judaism’s cultural heritage. Noble arguments and credit too for his attempt to address the impact of the Holocaust upon third generation survivors. But ultimately it’s all packaged up in a bundle of writing that far too often makes for a tedious naivety. Where Arthur Miller once brought a scalpel-like precision to such complex studies of humanity, Harmon wields mallet and chisel and it shows.
Speaking to The Guardian recently Harmon tells of how just before the play opened in Bath, that he had cut a line from the text that referred to the safety in being Jewish today, recognising that the sentiment didn’t accurately reflect the current experience of European Jews. Whilst the edit was necessary, actually the chopped words should never have been written in the first place. For most of the last millennium continental Europe has been a deadly place for Jews – and that’s both before and after Hitler – and Harmon’s failure to acknowledge that continuum, even as he wrote Bad Jews, evidences a worrying ignorance.
And that side-splitting comedy? The programme notes reference Mel Brooks’ The Producers in which Brooks brilliantly lampooned Hitler in his 1968 farce and subsequent musical. However, that The Producers worked at all was because Brooks craftily mocked an evil regime. Here, by contrast, Bad Jews’ audience rather than laughing at the Nazis, are invited to guffaw at a surviving family’s struggles to cope with the Holocaust’s devastating legacy. There’s a whiff of freak-show here and it leaves a nasty taste.
Further credit to some of the performers. Ilan Goodman’s Liam is a focussed channelled force, who notwithstanding the ridiculously Fawlty-esque extremes imposed upon his character, makes us believe in his comfortably assimilated Jewish identity, as well as his love for Melody. Playing his love interest, Gina Bramhill is a strawberry blonde genteel gentile. It’s a novel twist that sees the non-Jew sketched out as a caricatured stereotype, but again and to her credit, Bramhill makes fabulous work of some occasionally ghastly dialogue. That Jenna Augen’s Daphna, almost a year into the play’s run, speaks too often in a squeaky gabble is mind boggling.
Completing the quartet, Joe Coen’s Jonah is the Beavis-type silent one, who too little too late offers an endgame revelation that deserves more analysis from Harmon than the (yet another) sensational moment it is given.
In his song Shikse Goddess, taken from The Last Five Years, Broadway composer Jason Robert Brown, nails the complex and awkward nuances of assimilation with witty yet profound analysis in four minutes. Harmon takes more than an hour and a half to clumsily cover much of the same ground. Somewhere in Bad Jews there could be a good play struggling to emerge. This ain’t it.
Runs to 30th May 2015
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