The Holy Rosenbergs
In a parallel universe in which a harmonious two-state solution was achieved in Israel/Palestine, you might question why a theatre would revive Ryan Craig’s solid (but not classic) Jewish family drama barely a decade after it debuted at the National Theatre,
We do not live in that parallel universe. And so it’s obvious why director Lindsay Posner might choose to revive The Holy Rosenbergs. A brand new play in which a north London Jewish family is rent asunder by IDF-serving son Danny’s death in Gaza and daughter Ruth’s work as a human rights lawyer looking into IDF war crimes would seem at best on the nose in the post-October 7 landscape. But as a period drama set in 2009 – which is stressed by the blaring ‘00s bangers during the transitions – it gains something, a timelessness, that reminds us of the bleakly circular nature of the situation. The fact you could make this play today and it would be equally relevant is why it feels more relevant than if it was actually made today. If that makes sense.
It is the night before Danny’s London memorial - he’s already had a funeral in Israel - and things are not going well for the Rosenbergs. Hot mess third sibling Jonny (Nitai Levi) is angry and sloppy. Rabbi Simon (Alex Zur) has popped over to advise Ruth that there are protests planned over her presence at her beloved brother’s funeral and could she maybe skip it? And then there’s dad David (Nicholas Woodeson) and mum Lesley (Tracy-Ann Oberman), both locked in rictus-like...