Cometh the hate speech, cometh the comedy musical…
In light of the current tension in the Middle East and an increase in antisemitic activity around the world, it would seem there's little to laugh about right now. Cue the musical with idiosyncratic punctuation in its title, a UK debut from Israeli playwright and composer Uri Agnon that's not only funny, but life affirming.
Agnon moved from Jerusalem to the UK four years ago to study a PhD in composition and activism in music at the Parkes Institute, University of Southampton. "Being Jewish here felt so different," he writes in the programme, "and the ongoing, wide-reaching conversation about antisemitism felt important, but also misguided and simplistic. My thoughts and feelings were constantly changing. It is from this place of reflection and change that Antisemitism: a (((musical))) was written."
It’s true to say that the company faced a series of setbacks, but not due to current events. Cast illness meant that stripped back, concert-style performances took place for the first eight nights, with just five fully-staged performances, one of which I was lucky enough to see.
From the moment the lights went up and actors Hannah Bristow and Amy Parker (aka Narrators 1 and 2) bounded on stage, addressing us as "Ladies and Gentilemen", there was rather more merriment than worriment, even as they directed the focus on Maya Kristal Tenenbaum’s hunched and understandably uncomfortable protagonist Eliahu. This young Israeli slunk on uncertainly, having endured "one hell of a ride from Tel Aviv airport through London, confronted by prejudices from all sides," as the pre-show info put it.
I loved that all three actors were women, supported on keyboards by David Merriman and Oli George Rew. Composed by Agnon, the music was heartfelt, evocative and light-hearted by turns. The parody number ‘IHRA’ (aka the International Holocaust Remembrance Alliance), sung to the tune of 'YMCA’, was a novel way of sharing their definition of antisemitism. It evoked gales of laughter and a hearty singalong.
Director Emma Jude Harris, who worked on Jason Sherman’s telling and witty comedy The Retreat earlier this year, brought her stylish direction – which ranges from subtle to wry to hard-hitting – to Antisemitism, aided by the stellar cast, musicians and creative team. Designer Cory Shipp’s set was marvelous too, with numerous levels, nooks and crannies selectively lit by Amy Daniels.
But is antisemitism a suitable subject for a musical comedy? Especially at this time of conflict, with heartbreaking testimony coming from both Israelis and Palestinians. I can only report the delighted response of the audience at the performance I saw, which included laughter and sincere concentration in equal measure, not to mention a standing ovation. The spirited atmosphere in the bar and foyer was also an unexpected joy – and relief – when I had anticipated angry pickets.
That's not to say the Israel-Hamas War was sidelined or ignored, but it was handled with a light touch. Antisemitic tweets were projected on a backdrop (video designer Adam Lenson) and voiced more like ad slogans than hateful utterances, to amusing effect. As Agnon writes so fittingly in the programme: "We see ourselves as part of a long and magnificent tradition of Jewish humour in the face of horror."
By Judi Herman
Photos by Cam Harle
Antisemitism: a (((musical))) appeared at Camden People’s Theatre, Tuesday 17 – Saturday 28 October. It also runs for one night only on Wednesday 1 November. 7.30pm. £12, £8 concs. God's House Tower, Southampton, SO14 2NY. southampton.ac.uk