Parallel Divides

userpic=divided-nationReading through my Facebook feed today, an article from Haaretz caught my eye: ‘Religion-hating Gangsters’: Israeli Orthodox Vitriol Toward Reform Jews Escalates Amid Kotel Crisis.  As the article is a premium article (meaning if you don’t come in right, it is behind a paywall), I’ll quote from it a bit more than I normally would:

“Inappropriate and insolent.” That’s how Rabbi Abraham Gordimer, a member of the Rabbinical Council of America and the New York Bar, dubbed Reform Jewish protests against the government’s decision to freeze plans for a pluralistic prayer space at the Western Wall.

Rabbi Gordimer’s comments, published on the right-leaning Arutz Sheva website in English, were mild compared to the wave of bile heaped upon the followers of Reform Judaism in Israel’s right-wing Hebrew press. Readers would have been forgiven for forgetting that the government itself had approved the plan last year after four years of negotiations brokered by Jewish Agency Chairman Natan Sharansky.

Far-right lawmaker Betzalel Smotrich (Habayit Hayehudi) accused the Reform movement of “dragging Diaspora Jews into a fight.” He said responsibility for the crisis lay with “a small fringe group of a few dozen activists in the Israeli Reform movement. They don’t care about the right of an individual to pray according to his beliefs.”

A profile of Reform leader Rick Jacobs in Israel’s Maariv daily newspaper and the NRG website portrayed him as an “extreme left,” pro-BDS “gangster” as one of the many Israelis who circulated the story on social media described him. A commentary on Channel 20 accused him of being a “selective Zionist” and creating a platform for anti-Semitic propaganda.


Non-Orthodox Jews were depicted as outsiders with no legitimate say in what should or shouldn’t happen at the Western Wall or in Israel at large.


Anti-Reform sentiment runs deep among Israel’s Orthodox leadership. At the Haaretz conference earlier this month, lawmaker Moshe Gafni of United Torah Judaism explained why he could not align with left-wing parties even though he found them “more intelligent” than their counterparts on the right. “Why don’t I go with the left? Because you sit with the Reform,” he said.

Last month, Rabbi Meir Mazuz, head of Yeshivat Kashei Rachamim, compared Reform Jews to pigs in his weekly sermon. “They are not Jews,” he said.

Rabbi Michael Marmur, provost of Hebrew Union College-Jewish Institute of Religion in Jerusalem, said there has long been among some streams of the Orthodox movement “a long history of looking at the Reform movement as a boogey man and a tendency to blame Reform for all the heinous things in the world.”

“As we make more inroads into the conversation about what Israel should look like, there is an inflationary spiral in the rhetoric,” he said. “The vitriol you see expressed is in direct proportion to us trying to make a stand. We are wheeled out as the enemy, as traitors. The article about Rick Jacobs is a classic example. If Reform Jews and the Reform movement he represents are understood as a dagger in the back, as a fifth column, then the problem is neutralized.”

As I read through this, I was struck by the parallels in the rhetoric that I have seen — and continue to see — from what I would characterize as many in the far right — the ardent Trump supporters. Further, given the very un-Presidential tweet of an animation showing our President* beating up and bloodying the mainstream media, personified by CNN, I dare to say that this is rhetoric I’ve seen from our President himself.

From my very Conservative friends on my Facebook feed, I have seen posts making the same claims about Liberals that the Orthodox make about Reform. Read the quote above and replace the sentiment with Liberals, and it will sound familiar. “They are not Americans”.  There is “a long history of looking at the Liberal movement as a boogey man and a tendency to blame Liberals for all the heinous things in the world.” “Liberals are wheeled out as the enemy, as traitors. The article about [insert your Democratic candidate] is a classic example. If the Democratic Party and the Liberal/Progressive movement he represents are understood as a dagger in the back, as a fifth column, then the problem is neutralized.” As to why moderate Republicans might not work with the Democrats? Lawmaker [insert name here] of the Republican Party explained why he could not align with left-wing parties even though he found them “more intelligent” than their counterparts on the right. “Why don’t I go with the left? Because you sit with the Liberals/Progressives,”

It sounds far too familiar. Yet from Reform Jews towards Orthodoxy, just as from Liberals towards Conservatives, I don’t see the same level of hatred or divide. There is the willingness to accept the diversity of opinion, to recognize that we can agree to disagree. Reform Jews don’t characterize Orthodox as the source of all problems in Judaism, just as Liberals do not  characterize all Conservatives as the source of all problems in America. (Well, most don’t).

If this country is to move forward and not split apart, we must learn to see people as people and not the abstract enemy that we hate. Separation and hatred plays to activist bases, but doesn’t solve problems. Unfortunately, we may never get past this if the leadership of the parties do not set the example. If our leaders cannot work together, how can the people ever have a hope of doing the same. My voice is insignificant — I’m represented by congresscritters and senators that already feel as I feel. I’d urge those supporting the President to urge him to act Presidential, to remember that he is the President of the entire country, not just the minority of the voters that voted for him. But, alas, even as congressional leadership urges that, he is ignoring it.

Almost 27 years ago I started the Liberal Judaism Mailing List to provide a place where people from different Jewish movements could discussion issues in an environment where we respected each others as Jews and didn’t let movemental affiliation impact that respect.  Fundamental to that discussion was the notion that saying lies or propagating myths about the other side is essentially Lashon Horah, propagation of gossip and lies. Through hard moderation, we were able to keep a positive dialog going for a long time. Why can’t, as Americans, we do the same?

As we approach this July 4th, we must remember that the original motto of this country was not “In God We Trust”, and there wasn’t an emphasis on pushing Christianity on the people (the only reference to religion in the Constitution was the fact that there shouldn’t be a religious test for office holders). Rather, the original motto was, E Pluribus Unum, “From Many, One”. It is the many voices that came together to make this nation strong, not one voice stomping out all the others.

*: Yes, our President. Whether you voted for him or not, he is President of this  country. The fact that he doesn’t act very Presidential, as someone people can respect and model behavior after, is a different issue.


A Questionable Financial Situation | “Voysey Inheritance” @ Actors Co-Op

Th Voysey Inheritance (Actors Co-Op)What would you do if you discovered that your local bank was cheating people? Oh, it was paying interest and making loans and such, but if all the depositors came and wanted their money, they would discover it was all a house of cards, and no one could be made whole. If it was 2008, you’ld likely be OK — after all, that’s why we have deposit insurance. Close the bank, pay the depositors, and sell any remaining assets to another bank.

But suppose this was in the time before deposit insurance? The turn of the 20th Century, in fact — 1904. Suppose it was the family bank — the one keeping your lifestyle afloat? Would you just take the hit and liquidate then — paying people pennies on the dollar, and making some destitute? Or would you keep the sham going on the hope that you could recover and pay everyone back?

That’s the question at the heart of The Voysey Inheritance, a play by Harley Granville-Barker adapted by David Mamet, which is finishing up its run at Actors Co-op (FB) today, part of the Actors Co-Op’s Actors Co-Op Too! summer series — a series of short runs to explore new plays, grow new directors and new actors, and season the acting muscles of existing company members.

The Voysey Inheritence explores a financial dilemma encountered by the Voysey Family in Edwardian England.  Mr. Voysey is the head of a financial institution in London, inherited from his father. His son and partner, Edward, discovers that his father has been pilfering money from client accounts, paying them any interest and payments, but otherwise speculating with their capital, skimming any profits. He has been continuing the scheme with the hopes of making thing right, but this offends the son’s sensibilities. Further, the father has been using the funds to support other family member’s financial needs: son Hugh’s art, son Booth’s position, daughter Ethel’s dowrey, and so forth. When the father dies and the son inherits the institution, what is to be done? Especially, what is to be done after he discovers that most of the family knew of the sham, and kept it going to preserve his position? Does he liquidate, does he try and make the smaller accounts whole, does he try to make everyone whole? And what will he do when it all comes crashing down — as it eventually must.

As this show started, I didn’t know what to make of this? An odd Edwardian parlor drama? But as the story unfolded, I got caught up in it. It is surprisingly timely, especially given the aforereferenced situation we faced in 2008, as well as many of the financial charades undertaken or encouraged by many of today’s leaders.

Of course, it helped that there were top flight performances under the direction of veteran stage director David Atkinson (FB). That’s pretty amazing if you harken back to what the Actors Co-Op Too! series is and what that likely means: minimal rehearsal, newer actors, no budget — acting for the love of the craft. Atkinson and his team worked together to craft an excellent performance. Yes, there was the occasional minor line pause that became noise, but on whole it was excellent in character personification and intensity

In what I would characterize as the lead position was Thomas Chavira (FB) as Edward Voysey, who had perhaps the shortest bio in the program. Based on that and his resume, a new-ish actor who gave a very strong performance in this role. He brought the right level of hesitancy, honesty and passion to this role. Also strong was McKensie Garber (FB) as Alice Maitland, his cousin / fiancee (yes, I found that a bit odd as well). McKensie is another new actor, recently moved to LA after a stint as Miss Missouri. My eye was first drawn to her face, but her performance won me over quickly with a great sense of fun underneath the surface — a sense that made the ending of the play additionally sweet. It turns out we also had fun talking with her mom before the show, but I didn’t make the connection between the actor on stage and actual person until I looked at the program at intermission.

The patriarch of the family, Mr. Voisey, was played by Townsend Coleman (FB). He only appears is the first half of the production, but gave a strong performance in his interactions with Chavira’s Edward.

The other members of the Voysey family were played by Nancy Atkinson as Mrs. Voysey, E. K. Dagenfield (FB) as Peacey / Trenchard Voysey, Christian Edsall (FB) as Major Booth Voysey, Matthew Grondin as Hugh Voysey, Jorie Janeway (FB) as Honor Voysey, and Michelle Parrish (FB) as Ethel Voysey. Ms. Atkinson played the matriarch well; a small role where the primary characteristic was being hard of hearing. I SAID, BEING HARD OF HEARING. Dagenfield, who is a regular dialect coach at Co-Op, handled the one small scene as Trenchard in the 2nd scene well, but shone as Peacey in the 3rd scene in his interaction with Edward over a request for money. Edsall was strong as Maj. Booth in the bulk of the play after a weak introduction in the first scene (how the character is written, not the actor). Grondin’s Hugh was also stronger in the second act, especially in his interactions with Edward and the rest of the family. His character, Hugh, gets some of the most insightful lines about the corrupting power of money. Also, for whatever reason, Grondin’s photo was seemingly left out of the actor montage photo that Co-Op tweeted and I incorporated into the image for this post. Parrish’s Ethel is written very shallowly, but what characterization is there is captured well by Parrish. That leaves Janeway’s Honor (a name you never see these days). She has a very interesting characterization — initially capturing a stiffish-enigma, but bringing out some interesting depth as the play progresses — the one character to whom, perhaps, money never meant anything in particular with family being more important. A small role, but one that is very telling about the position of women in Edwardian society.

Rounding out ensemble was Bruce Ladd (FB) as George Booth and Tim Hodgin (FB) as Reverend Evan Colpus. Ladd gave a particularly strong performance during the second act, bringing out a lot of fire and emotion.

Being an Actors Co-Op Too! production, the production team was small: Director David Atkinson (FB) doing double and triple duty as the sound and lighting designer, actor Thomas Chavira (FB) doing double-duty as the producer, and Thien/Tintin Nguyen/FB as the stage manager. Kudos to whomever did the props on the budget for the excellent choice and taste in fountain pens: I could see a Montblanc, a Cross, and a Retro. I just happen to be a fountain pen aficionado, and it’s a nice choice (and one that no one else in the audience would likely notice, even if I do prefer Shaeffers).

The last performance of The Voisey Inheritence is today at 2:30pm. The performance is free, although a $10 or more donation is requested from non-subscribers. Information on the location may be found at the Actors Co-op (FB) website.


Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Cabrillo Music Theatre (FB), the Hollywood Pantages (FB), Actors Co-op (FB), the Chromolume Theatre (FB) in the West Adams district, and a mini-subscription at the Valley Performing Arts Center (VPAC) (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals).  I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.

Upcoming Shows:

July brings us back to normal theatre (° = pending confirmation). Next weekend is currently open, but we’re thinking about Animal Farm at Theatricum Botanicum (FB) if the tickets go up on Goldstar; otherwise, we may do Measure for Measure as part of free Shakespeare from the Independent Shakespeare Company (FB) in Griffith Park.. The third weekend brings  Ruthie and Me at  Actors Co-op (FB) followed by Peter Pan at Cabrillo Music Theatre (FB). The fourth weekend of July brings Motown/Miracle | Harlem/Renaissance from Muse/ique (FB). The last weekend of July brings The Last 5 Years at Actors Co-op (FB).  August will (hopefully) start with Brian Setzer° at the Hollywood Bowl (FB) on August 2, followed by The Curious Incident of the Dog in the Night at the Ahmanson Theatre (FB) on the weekend. We are also squeezing in On The Twentieth Century at the Pan-Andreas Theatre in Hollywood from Proof Doubt Closer (FB), as a friend is in the cast (you can contribute to the production here). The second weekend of August? What made sitting through The Bodyguard worth it: Hamilton at the Hollywood Pantages (FB).

I’m still scheduling September, but so far we have The 39 Steps° at Actors Co-op (FB) and Pacific Overtures at Chromolume Theatre (FB). There’s also the Men of TAS Golf Tournament, if any theatre company reading this wants to donate tickets to our silent auction (hint, hint). October is also filling up quickly, with Joseph and the Amazing Technicolor Dreamcoat at Cabrillo Music Theatre (FB), the Upright Citizens Brigade (UCB) at the Valley Performing Arts Center (FB), a tribute to Ray Charles — To Ray With Love — also at the Valley Performing Arts Center (FB), and a hold for Bright Star at the Ahmanson Theatre (FB). Lastly, looking into November, we have The Man Who Came to Dinner at Actors Co-op (FB), the Nottingham (FB) and Tumbleweed (FB) Festivals, a Day Out with Thomas at Orange Empire Railway Museum (FB), and HOLDs for Spamilton at the Kirk Douglas Theatre (FB) and Something Rotten at the Ahmanson Theatre (FB). More as the schedule fleshes out, of course, but we’re booking all the way out in mid to late 2018 already!

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.