Displaying items by tag: Jewish history

An extraordinary eight-person ensemble fuels the sweeping storytelling of A People - a production presented collaboratively by Arts Judaica and YI Love Jewish - shifting through nearly 80 characters across generations and geographies. Though only one cast member is Jewish, playwright LM Feldman intentionally assembled a diverse ensemble to reflect the many ways Jewish identity manifests - across culture, theology, race, queerness, and lived experience - underscoring that there is no single way to be part of a people.

The performance thrives on the versatility of this cast, featuring standout contributions from Douglas Levin, who provides an authentic and anchoring sincerity, and Charity Schultz, who illuminates her roles with magnetic charm. Daniel Boughton moves with ease between sharp humor and striking emotional depth, and Jin Ai anchors the production’s stillest moments with a quiet power, enriched by her beautifully integrated guitar work. Zach Kunde cuts through the space with sharp intellect and a commanding vocal presence, while Haley Schenk turns a single, piercing glance into some of the production’s most potent dramatic beats, and she even threads in flute playing that adds a surprising, delicate texture. The momentum never falters thanks to Xavier Mattison’s vibrant energy and tenderness, while Freya Churchwell rounds out the ensemble with impressive, wide‑ranging versatility and delivers some of the play’s genuine laugh‑out‑loud exchanges. Together, they weave a unified and deeply affecting tapestry of human survival.

This remarkable stage chemistry is guided by director Avi Hoffman, an acclaimed figure in global Jewish theater who recently directed and starred in a historic Yiddish production of Death of a Salesman in Bucharest, Romania. Having previously earned a Drama Desk nomination for playing Willy Loman in New York, Hoffman injects this local production with masterful artistic insight. Under his careful guidance, the non-linear, fragmented script by L. M. Feldman avoids confusion, gaining immense clarity and striking a perfect balance between epic historical weight and intimate human connection.

L-R: Jin Ai, Charity Schultz, Freya Churchwell, Zach Kunde, Douglas Levin. Photos by Logan and Candice Conner, Oonphotography.

Starting with the diaspora of the Jewish people that have become scattered throughout the world, the production explores several expressions of Judaism while ultimately reinforcing the idea that, despite their differences, they remain one people - and a remarkable people at that. It touches on beautiful threads of Jewish history, including the teaching that Moses received not only the written Torah referred to as “The Hand” at Mount Sinai but also the Oral Torah referred to as “The Tongue,” which was an interesting fact that I did not ever learn about the Torah in Hebrew school. I was also unaware of another phenomenon that members of the Jewish community called “tonals” actually memorized whole portions of the Torah to recite and sing so that the Torah portion could be performed for groups of students/scholars etc., to discuss and watch. The important thing that came out of this discussion of the Torah and the essential thing that makes Judaism different from other religions is that Jews learned and passed on the teachings of the Torah and the Talmud for the purpose of discussing them and learning from them and interpreting them and re-interpreting them -so as not to force them down anyone’s throat to be followed with blind faith. 

As a Jew, I appreciated how the piece pokes gentle fun at our tradition of spirited debate - a trait that can be both energizing and, at times, hilariously counterproductive.  

They are so intelligent at debating with each other that sometimes they nitpick each other to the end of a discussion that could otherwise forward the family or community or couple in a more positive way.

One of the production’s most profound scenes comes when a character asks a 90‑year‑old what history lives in the wrinkles of their face - how an entire lifetime, nearly a century of memory, can be held within one fragile human body. Another moment that stayed with me was the gentle but urgent insistence that nurturing future generations is vital to the continuity of the Jewish people.

Back row L-R: Freya Churchwell, Jin Ai, Charity Schultz, Xavier Mattison, Zach Kunde, Douglas Levin. Front L-R: Haley Schenk, Daniel Boughton.

The differences among them are many, yet a shared thread still binds them together. One character argues passionately for a two‑state solution, while another hopes her girlfriend will one day be fully embraced by her community. A rabbi even confronts a group of Jewish Christmas carolers, shouting, ‘Why are you doing this?’ as the story considers how and why some Jews celebrate Christmas - a reflection of how the holiday’s overwhelming cultural presence in America can blur the line between religious observance and simple seasonal participation. And still, beneath all these disagreements and divergences, the play returns to the same essential truth: that despite their varied beliefs, identities, and practices, they remain part of one people.

This production was perfect for me as a Reform Jew who has been struggling in recent years with the current rise in antisemitism and my own childhood feelings of being a “self-hating Jew”. I remember being told as a teenager by my talent agent applying for theater roles that I needed to change my last name from Katz to Cates, implying that I would not be cast with a Jewish last name.

The work also reminded me that many young women today - queer and straight alike - continue to push back against the patriarchal elements of Judaism. It echoes the long history of restrictions found in early texts, where girls as young as 12 years old were defined by their childbearing potential and barred from studying sacred writings. 

On the plus side, it brought me back to the beauty of the Yiddish language and how I hunger for the sounds of my great grandmother Fanny’s voice and my grandmother Lillian’s voice saying, ‘Have a little nosh!’ and, ‘We love you so much we’re kvelling!’” 

The set is intentionally simple: a large Star of David stretches across the floor of Theater Wit’s intimate in‑the‑round space, immediately grounding the production in its cultural and spiritual roots. A few risers punctuate the stage, giving actors elevated platforms for defining moments, while small prop boxes at either end glow when opened, revealing modest but striking items that carry surprising emotional weight. Puppets appear briefly as well, echoing the woodworking projects referenced in the story and adding a tactile, handmade quality to the world. It’s an effective setup for this play - the open space becomes essential as the ensemble moves fluidly around the stage, frequently breaking the fourth wall to bless a volunteering audience member, pass out challah, ask questions, or coax the crowd into clapping along.

By luck, I chose the seat that happened to be in the spotlight for participation, and I was delighted when one actor asked me to be his ‘bubbe’ - his grandmother. When I said, ‘Yes! I will be your grandma!’ He gently took my hand, giving me a grateful squeeze. At another point, one of the actors - dressed as a bride - asked if he could give one of the audience members a blessing. I immediately said, ‘Yes!’ and he came over and placed his hands gently on my head - he was wearing the traditional lace head covering the bride on her wedding day - and he wished me great life blessings of joy and to find a wonderful husband. It was a delightful, intimate moment, and I hope that everyone who sees the show volunteers to experience that.  

Throughout much of the play, the actors also wear small placards hanging from their necks, each bearing a single word such as “wrestle,” “struggle,” and “legacy.” These signs become a quiet but potent visual motif, suggesting the burdens, questions, and inheritances each character carries across time. They function almost like distilled themes of Jewish history itself - reminders that to be part of a people is to wrestle with identity, to struggle for continuity, and to consider what legacy one leaves behind. Other words appear as the ensemble shifts through eras, each one offering a compact window into the emotional or spiritual weight of the moment. 

Back row L-R: Douglas Levin, Jin Ai, Xavier Mattison. Front row L-R: Freya Churchwell, Daniel Boughton, Charity Schultz.

My only note - and this is for the author, not the cast or director - is that of all the various types of Jews included in this piece - Reform, Conservative, queer, self‑hating, Orthodox, even atheist - the one type of Jew that was not represented was the Messianic Jew, of which I am one.  

Messianic Jews (not to be confused with the organization Jews for Jesus) are Jews who believe that Jesus is the Messiah spoken of in the Old Testament - the ‘Christed One,’ meaning the one anointed with the oil of blessing. In those same scriptures, this figure is described as the blessed one who would be ‘pierced through his hands and feet,’ yet ‘whose bones would not be broken.’

Messianic Jews also believe that, regardless of his lineage - whether Yeshua was a descendant of King David or not - his purpose in allowing himself to be publicly killed, and then healing his own body three days later, was to show that this world is made of spirit, or ‘shimmering motes,’ as he called them. This was long before molecular structure or the effects of consciousness on physical matter were even theorized. All of his miracles were mitzvahs - acts of goodness - centered on healing and feeding the poor, the sick, and the disabled. 

At the very least, Jesus was a respected, super advanced, rabbi, rebel and healer who introduced the idea that women were worthy of learning the Torah and receiving healing from his touch whether they were Jewish or not. This Feminist thought alone was a very radical and world changing idea that women of all nations and all religions are eternally grateful for. 

Given all that Yeshua represents historically and spiritually to many Jews, I was surprised that his name never surfaced in a piece that explores so many branches of Jewish identity, its factions, and its many splintered paths. I compare his omission from Jewish studies when debating this with my friends to discussing basketball history without mentioning Michael Jordan or discussing physics without ever mentioning Albert Einstein - not a judgment, just an observation about the scope of the narrative. 

In any case, author LM Feldman has created a marvelously complex and deliciously enjoyable reminder of all the different expressions of Judaism, and of the lush intelligence and grace of Jewish people around the globe caught up in the current battle to stay alive and well. Le Chaim! 

A People was a very deeply inspiring and delightful experience for me, especially at this unprecedented time in history. This heartfelt production of A People helped this Jewish girl from Miami, Florida remember so many of the great things about my Jewish heritage; the sights, the sounds, the heated discussions, the music, the fabulous food, the funny family dinners, my own bat mitzvah… just so many things that make me proud to be a Jew today. 

With its blend of live music and rapid-fire storytelling, the production compresses five thousand years of Jewish history and cultural inheritance into a brisk, engaging evening. A People stands out as essential summertime theater, honoring its deep historical foundations while resonating powerfully with contemporary audiences.

Mazel Tov and Highly Recommended! 

Running through July 5 at Theater Wit.