Writer and Director: Ethan Olswang
Ethan Olswang has written this semi-autobiographical play based on his ‘stomach churning’ experiences of being an American studying at an English college and the anti-Semitism he came across and how that effects the mental health of Jewish students and how perceptions of Jewish identity affects relations and sexual encounters within the British queer community.
The play begins with two flatmates Ethan, played by Jake Samson, and Phoebe, played by Anna-Fay Jackson, having jovial banter at home mostly about what it’s like being Jewish, the set design making it clear that this a queer home. This part of the show is genuinely funny with laughter and the actors soon looking relaxed in their roles, though at times the dialogue feels forced. There are pantomime jokes about evil Liz Truss but a joke about the Labour Party being full of Nazis is met with nervous laughter.
Ethan has a soft toy pig that he calls Hershel Fink, an interesting name to use as this was the name that caused so much controversy at the Royal Court Theatre where they gave that name to a fictional, manipulative, billionaire character which is obviously anti-Semitic as the character wasn’t even Jewish. From Hershel he conjures up Golem, a Jewish mythical creature, into human form, played superbly by Tommy Bain who adds to the joviality of the play, to become Ethan’s therapist.
This therapy leads to both Ethan and Phoebe to have monologue reflections on their experiences as Jews studying and having sex lives in the UK in which their hurt and anger are palpable. The audience feels their outrage at the anti-Semitism they experience and how poorly or dismissively it is handled when raised. Ethan shouts that no one gives a shit about the Jews. Powerful messages.
However after this, the play takes a more problematic turn. There had already been some juvenile audience interaction with dildos but now lights are turned up for the audience to play ‘Jew or non-Jew’.
In interview Olswang has stated that he wishes ‘to create an environment where everyone is supported, makers, participants and observers’. However, the audience does not seem at all ‘supported’ being picked at random, well lit and demanded that they answer if a named famous person is a Jew or non-Jew? Two people walked out and there is further obvious discomfort with audience members pulling away when ushered to join in on the stage for the Pork Mitzvah.
But worse is to come when the Golem Hershel dons a moustache and mannerisms of Hitler to describe Labour Party members, which leaves some of the audience genuinely shocked. There have been many debates about whether it is ever ok to call someone a Nazi, but to actually dress as Hitler to debase some 415, 000 diverse members and millions of supporters of the Labour Party seems too provocative in any context.
The play ends with a phone call to Ethan’s mother who turns out to be a trope of a stereotypical Jewish mother, but any irony, intended or not, is now lost.
Runs until 28 August 2022
The Camden Fringe Runs from 1-28 August 2022
