{"id":11377,"date":"2020-02-21T17:55:16","date_gmt":"2020-02-21T17:55:16","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=11377"},"modified":"2021-11-09T21:58:16","modified_gmt":"2021-11-09T21:58:16","slug":"the-wedding-singer-london-theatres-jewish-problem","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2020\/02\/21\/the-wedding-singer-london-theatres-jewish-problem\/","title":{"rendered":"The Wedding Singer & London Theatre\u2019s Jewish Problem"},"content":{"rendered":"

London theatre has a Jewish problem. Whether the fault of creative teams, prejudice in the community and thus audiences, or a mix of both (it\u2019s both), there\u2019s an obvious \u2018othering\u2019 happening that feels offensive and demoralizing. Suffice it to say, I\u2019m tired. Ain\u2019t you tired Miss Hilly? I recently saw The Wedding Singer<\/em> \u2013 a show I loved when I saw it on Broadway \u2013 and had to leave at the interval. I NEVER do that. (Okay, once.) (I mean one other time; this isn\u2019t a Simpsons thing.) I felt ridiculed and ridiculous, with everyone around me in on a joke that is not funny. And I realized that this problem that I\u2019ve been noticing in tiny bits and pieces is larger than I wanted to believe.<\/p>\n

As we saw with last season\u2019s Falsettos<\/em> debacle, many productions fail to make a concerted effort to ensure that Jewish voices are involved with Jewish content. Not to start playing an unwinnable battle of the minorities, but you would never see a production of e.g. The <\/em>Normal<\/em> Heart <\/em>without gay men involved, or The Inheritance<\/em><\/a><\/span>. Or Falsettos<\/em>! And this isn\u2019t only about the acting talent, because yes, it\u2019s the job of actors to play other identities, like Scarlett Johansson and her tree. It\u2019s about having representation in the creative process, whether onstage or off, someone in the room to speak up, to ensure that representation onstage isn\u2019t problematic or insulting. I didn\u2019t support last season\u2019s Falsettos<\/em> by seeing it, but according to some people who did go, it was indeed insulting.<\/p>\n

If it was anything like the Bar Mitzvah scene of The Wedding Singer<\/em>, I\u2019m glad I didn\u2019t go. In this show, based on the great Adam Sandler movie, the lead needs a break from singing at weddings, and the scene changes to a Bar Mitzvah. It\u2019s semi-funny in the movie because of Sandler and the content of the scene. But here, presenting the scene of a Bar Mitzvah was the joke in itself. As soon as men dressed in traditional Hasidic black suits and vests and hats come out, the audience roars. It doesn\u2019t matter whether it\u2019s funny that Robbie now has to change his act or do things he\u2019s not used to doing \u2013 the joke was clearly Judaism. You could barely hear the lines or music because the audience was laughing at the pure visuals of Jewish men in their suits and payot (yes, they wore fake payot). That was the punch line. I felt my entire body burning with anger, as well as shame. And it got worse: the feature of this new act was Robbie\u2019s queer keyboardist (I could write a whole nother piece on how offensively homophobic the direction around this character and everything else slightly queer was and how it was used for weird cheap laughs (and this was hundo p a right-wing crowd laughing at <\/em>not with)) singing Hebrew prayers to the tune of an \u201980s song.<\/p>\n

I don\u2019t remember whether this is done in the movie or the original production, but even if it was, it does not go over well here. Comedy has different effects on different crowds and communities, and you can tell when it\u2019s good natured. Here, it is pure mockery of the sound of the Hebrew language and prayers, amid the sheer look of Jewish people as a punch line. In the movie, Sandler is a known Jewish performer whose comedy has the ability to poke good-natured fun at his culture. Here, it wasn\u2019t good-natured, it was ridicule, and the laughter around me was based in contempt, which is why I left. (The production isn\u2019t very good so I wasn\u2019t heartbroken to leave \u2013 the pacing is about twice as slow as it should be, like the directorial metronome is broken, which makes all the actually good parts of the show fail.) Also, just because something plays appropriately in New York does not mean it will here. You have to be cognizant of the differences in the communities. In a Broadway theatre, you\u2019re surrounded by Jews, and Jewishness is part of New York culture, especially in the theatre. In the UK, Jews are still considered rare, outsiders, and blamed for all sorts of things (like Labour losing). And there aren\u2019t that many. In London, I was for sure the only Jewish person in the audience at my performance of Wedding Singer<\/em>, and I wasn\u2019t even surprised. Productions have to be aware of how something will play in different places and think about whether it works or not.<\/p>\n

Falsettos<\/em> wasn\u2019t the start to the problem, and clearly not the end. I\u2019ve noticed this in many shows over the past few years, and I\u2019m new. The last production of Caroline, or Change<\/em><\/span><\/a> was my first shocking moment. There\u2019s a line in the show where Caroline says to her young Jewish charge that his people burn in hell. On Broadway, this line was met with a kind of hushed \u201coh shit\u201d reaction, like wow that was dark, and cruel. In London, it was met with a hearty chuckle. Not a nervous laugh, a real laugh. If that doesn\u2019t show how differently the same thing can play in the two cities and how important it is to make sure you have someone in the room (Caroline <\/em>had no Jews) to account for potential offensive representation, then I don\u2019t know what to tell you.<\/p>\n

Recent (and great) productions like Rags<\/em><\/span><\/a> at the Park Theatre and Leopoldstadt<\/em> (review next week) at Wyndham\u2019s are promising in their inclusivity and representation, although the latter still had a few very strange moments of laughter when I saw it. I am still continually surprised at what London audiences will laugh at. And yesI have a different sense of humor as an American, but sometimes it’s not that. Sometimes the laughter is quite troubling (like in Caroline <\/em>and parts of Appropriate<\/span><\/a><\/em>). We know that anti-Semitism is just as strong as ever in this country (and around the world), and that\u2019s something to be aware of when you are creating art that involved Jews or Jewishness. My horror at The Wedding Singer<\/em> may seem misplaced or overblown to you, but that show’s missteps are symptoms of a much larger problem in British theatre and the country itself.<\/p>\n","protected":false},"excerpt":{"rendered":"

London theatre has a Jewish problem. 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