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  • Dave4321

    According to the Washington Post, he also was starting his own theater while still working at Theater J and was recruiting people to leave Theater J and come to his new theater as well. Every employer would fire someone for that.

    FYI. The Israeli archives confirm no such massacres and your casual unsourced blood libel against Israel is ironic given the topic.


    It is interesing how “Israeli is always singled out” for special treatment in this country!

  • CycleGuy

    It isn’t just N. Korea that is sensitive. Israeli propaganda wins again.

  • DChack

    Oscar Eustis said in the NYTimes, “The nonprofit movement can’t exist and can’t fulfill its function, unless there is some degree of protection not only for freedom of expression, but for the freedom to encourage dissent and debate — that’s why we’re not the commercial theater.” But JCCs are changing and the age when they supported and sponsored theatre and the arts that are provocative are waning. The real question is whether funders and other collaborators can support a questioning and stimulating Jewish arts and culture. The flip side is whether Jewish theatre can be relevant in an age that is shedding the nostalgia and sentimentality of past Jewish-American narratives. From the recent responses to the play BAD JEWS by Josh Harmon, THE WHIPPING MAN by Matthew Lopez, as well as Tony Kushner, Yasmina Reza, Ariel Dorfman, Motti Lerner, Amy Herzog, Rinne Grof, Itamar Mozes, and others I think the relevancy is there. So what say you, fellow supporters and collaborators?

  • John Stoltenberg

    I had a very open and inspiring conversation with Ari Roth about his vision and values (which I greatly admire). In it he explained that his commitment to bridge building through theater is based in an ethical principle: “There’s an imperative to reconcile, not an imperative to exact revenge.”

    The full conversation can be found here:

  • HankEssay

    Two things are true. One, there were a lot of complex issues behind the firing, and insubordination was clearly one of them. Two, issues related to being pro-Israel (or rather how the country can be portrayed by a theater under a broadly-funded JCC) clearly played a role in the firing, and Zawaktzky would be a lot better off acknowledging this in some honest way. The bigger issue is that leftist theater types with a proclivity to being anti-Israel (despite that country’s thriving arts scene) and “pro”–Israel rightists types have very little room in their mutual yet binary world views for complex thinking, least of all when it comes to Israel. There is nothing unique about this, and this happening across the country…

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