Jew-ish theater
Shows rated by how bad they made me feel about not being a better Jew.
I’ve been trying to write a newsletter post for weeks, and have been repeatedly thwarted. I wanted to review Once Upon a One More Time, but I had to move my tickets, first for dental work and second for covid. I thought I could reflect on Here Lies Love, but covid ruined those plans, too, and then the sickness of someone in the cast postponed my makeup date. I did see one new play, and found it to be pretty awful in a not terribly interesting way, so I nixed writing about that one.
While I’m sure this glimpse into my newsletter process is fascinating, I mostly offer it as context before reflecting on some shows that I should have written about a long time ago. I decided that I could do a couple capsule reviews of plays that I think people might enjoy—particularly those that are closing soon. In putting this together, however, I discovered a common theme, and figured I should score them accordingly. So here are some belated recommendations, rated by how bad they made me feel about not being a better Jew.
Just for Us
Lately I’ve lamented the laziness of certain Broadway sets: doorframes instead of doors, chairs that double as every other piece of furniture, and so, so many projections. But the stripped-down nature of Just for Us works both because it heightens the intimacy of Alex Edelman’s storytelling, and because it’s a one-man show, what else did you expect. It really doesn’t ever feel sparse—even after transferring from a much smaller off-Broadway house—because Edelman is a commanding stage presence, adept at connecting with his audience.
Just for Us has Edelman sharing the story of the time he infiltrated a Nazi gathering (“infiltrated” in the loosest sense of the word), but it’s not nearly as harrowing as that sounds. And of course it’s not just that, as Edelman finds endless tangents to explore, delving deeper into his Orthodox upbringing, his shifting understanding of his privilege, and his attempt to empathize with those around him—at least to a point. It’s very funny, and also a little bleak, but only if you spend too much time thinking about the larger cultural context.
How bad it made me feel about not being a better Jew (out of 10): 7. I got all of the culturally specific jokes, but Just for Us had me thinking about the Jewish values I’ve almost entirely abandoned. Edelman talks about his father worrying that his son is not living a proper Jewish life—I can only imagine how horrified he’d be by my whole deal.
Just for Us runs through August 19 at the Hudson Theatre. Buy tickets here.
Funny Girl
Is Funny Girl a good show? I wouldn’t go that far. Does it at least have a good score? No, but there are some obvious bangers. Is Funny Girl starring Lea Michele a cultural event that cannot be missed? Absolutely. Unless, of course, you’re boycotting Lea Michele, in which case, go with God.
It’s tough to deny that Fanny Brice is the role Lea Michele—never “Michele,” and “Lea” alone feels too informal, so you have to say her whole name every time, like a summoning spell—was born to play. She had, of course, been auditioning for it since the Glee days, and watching her finally do it on Broadway is something of a religious experience. It’s not just that she can sing it, though of course she can, but also the way she mines comedy from a largely lackluster book, and how she taps into Fanny’s dogged determination—the same indefatigable drive that propelled Lea Michele into the part, at long last.
I do think it’s something that should be witnessed, the kind of performance that would catapult a person to stardom if she weren’t already (in)famous. And if it delayed a Lea Michele-led Glee reboot, dayenu.
How bad it made me feel about not being a better Jew (out of 10): 8. The show itself didn’t really trigger any uncomfortable feelings about my Jewishness, but then I called seeing Lea Michele a “religious experience,” without ever reckoning with the fact that she’s not even Jewish. A true shanda.
Funny Girl runs through September 3 at the August Wilson Theatre. Buy tickets here.
And a couple more quick hits, rated by how bad they made me feel about not being a better Jew—
Good Night, Oscar: 2. I’m culturally Jewish and can thus appreciate the humor of Oscar Levant, and that’s really all that matters. At the same time, I didn’t know much of anything about notable Jewish pianist and TV personality Oscar Levant before seeing this, and therefore should feel at least a little guilty.
A Beautiful Noise: 5. This one is complicated, because while the show itself didn’t make me feel bad about not being a better Jew, it took me back to the time at Jewish day school when we were learning the song “America,” and I laughed inappropriately. I got in trouble for “disrespecting Neil Diamond,” and was forced to write down the lyrics over and over again. If I had been a better Jew, this never would have happened.
Lea Michele is definitely Jewish though