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American Jewish Theater and the Politics of Representation

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American Jewish Theater and the Politics of Representation ABSTRACT Title of Dissertation / Thesis: A STAGE FOR A BIMA: AMERICAN JEWISH THEATER AND THE POLITICS OF REPRESENTATION . David Lyle Solomon, Ph.D. , 2004 Dissertation / Thesis Directed By: Professor Jackson R. Bryer, Department of English This dissertation examines how contemporary American Jewish playwrights and performers have presented Jewish identities in light of multicultural ism . Although American Jews have by large been supporters of the multicultural movement, in practice multicu lturalism has been problematic for Jews because of its privileging of race and gender: are Jews different enough to be included in a multicultural portrait ? Jews see themselves as outsiders to an American establishment, but are viewed as insiders. I inve stigate how contemporary Jewish voices in American theater have portrayed “Jewishness” as a permanent attribute of Jewish identity. In doing so, they articulate Jewish difference through the rhetoric of multiculturalism so that Jews are clearly positioned as distinct from an American mainstream . Contemporary Jewish playwrights have responded to popular culture’s schizophrenic representation of Jews, questioning its portrayal of Jews as everymen figures while revisiting its stereotypical representations of Jews that were intended to mark Jews as different from mainstream America. Though Jewish American culture has sought to escape stereotypes, Jewish playwrights continue to evoke them, even as they debate the value of such tropes. If stereotypes disappear , does an articulated Jew ish difference disappear with them ? In chapter one, I discuss my theoretical approach and the difficulties in defining stereotypical “Jewishness .” In chapter two, I discuss how Jewish playwrights and performers have responded to the shifting definitions of race in their presentations of Jewish identity by portraying contemporary Jewish identity through the model of the African -American experience . In chapter three, I look at how Wendy Wasserstein has presented complicated female Jewish characters by rooting them, ironically enough, in the gender -based stereotypes that have surrounded Jewish women , stereotypes initially designed to differentiate Jewish women from idealized genteel American women . In chapter four, I discuss how pla ywrights Larry Kramer and Tony Kushner have linked Jewish and gay stereotypes and experiences in order to complicate contemporary political paradigms that tend to lump all traditionally disenfranchised groups under the same umbrella . Finally, in chapter five, I discuss how stage portrayals of Judaism have been associated with the body , a connection that denotes the problematic nature of defining Jews solely as a religious group. A STAGE FOR A BIMA: AMERICAN JEWISH THEATER AND THE POLITICS OF RE PRESENTATION By David Lyle Solomon Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2004 Advisory Committee: Professor Jackson R. Bryer, Chair/Advisor Professor John Auchard Professor Miriam Isaacs Professor Sheila Jelen Professor Heather Nathans © Copyright by David Lyle Solomon 2004 Table of C ontents Table of Contents .......................................................................................................... v Introduction: Performing Too Jewish ........................................................................... 1 Racing and Erasing the Jewish Body .......................................................................... 53 Jewish Mothers, JAPs and Nice Jewish Boys: Gendered Performances .................. 108 Sick Jews: Jewish Masculinity and AIDS Drama ..................................................... 150 Bodies of Faith .......................................................................................................... 204 Conclusion: Not Jewish Enough ............................................................................... 258 Bi bliography ............................................................................................................. 267 v Introduction: Performing Too Jewish In his hilarious and insightful comic routine, Lenny Bruce splits the world into two categories: Jewish and goyish . Cuisine is easily categorized: “Kool-aid is goyish . All Drake’s Cakes are goyish . Pumpernickel is Jewish, and, as you know, white bread is very goyish . Instant potatoes —goyish. Black cherry soda’s very Jewish. Macaroons are very Jewish —very Jewish cake. Fruit salad is Jewish. Lime jello is goyi sh . Lime soda is very goyish .”1 Locale defines one as Jewish or goyish : “To me, if you live in New York or any other big city, you are Jewish. It doesn’t matter even if you’re Catholic, if you live in New York, you’re Jewish. If you live in Butte, Montana, you’re going to be goyish even if you’re Jewish.” Likewise, non-Jews can be Jewish as well: “Negroes are all Jews. Italians are all Jews. Irishmen who have rejected their religion are Jews.”2 Though tongue-in -cheek to be sure, Lenny Bruce has ast utely defined Jewishness as a quality independent of birth. Although a strict interpretation of Jewish law defines a Jew as a child born to a Jewish mother (or a Jewish father, for Reform Jews), to possess Jewishness is something quite different and certa inly much more difficult to articulate. Jewishness says more about how Jews are perceived than it does about law, ritual or religion. I hesitate to say that 1 Bruce, The Essential Lenny Bruce 41-42. 2 Bruce, How to Talk Dirty and Influence People 5. 1 Jewishness says very little about Jewish history, as well, for in fact many aspects of Jewishness are created out of a history of interaction with non-Jewish cultures. (Would “Jewishness” exist if it weren’t always considered in its relation to a dominant culture? Would Israeli Jews, who are the dominant culture in Israel, agree with Bruce’s monologue? Would a Rumanian Jew?) That macaroons and pumpernickel and black cherry soda, but not Drake’s cakes nor instant potatoes nor Kool-aid, can be Jewish is indicative of how Jews are perceived amongst themselves and by others in American culture. Quite obviously, no Jewish law classifies such foods as Jewish. The laws of kosher cuisine do not prescribe brand name groceries. Yet Lenny Bruce notes that some foods are “read” as Jewish by Jews and non-Jews alike. Partly from a sense “Otherness,” partly out of pride in Jewish difference, Jewishness – at least as conceived in American popular culture – is the cultural ambience, not the laws, surrounding what makes Jews different from a gentile norm. Lenny Bruce’s comedy revolves around the language of perc eption rather than reality: obviously, pumpernickel and black cherry soda are not Jewish, but a sense of Jewishness encircles them. Even though pumpernickel rye and black cherry soda can be found in most run-of -the-mill grocery stores, because these are commonplace products at kosher delis (and traditional store bought white bread is not), they are associated with Jewishness. Would non-Jews “read” black cherry soda as Jewish if they had never entered a kosher deli? Only so much as anyone would “read” a bagel as Jewish bread; one recognizes its Jewishness, but it is a Jewishness that has been become a staple of American culture. (Even some bagels are more Jewish than others. A blueberry bagel?) 2 The term “Jewishness” has entered American vocabulary, but its definition is nebulous. In their introduction to Jewish Identity , David Theo Goldberg and Michael Krausz attempt to define what Jewishness is: “To be Jewish simply by way of descent will differ from assuming a Jewish identity, from affirming one’s Jew ishness as a matter of choice.”3 Though Goldberg and Krausz imply that Jewishness is a conscious choice (too much so for my tastes), they articulate an essential distinction between being Jewish and seeming Jewish. A Jew must seem Jewish to be Jewish bec ause they must satisfy a “consensual identification with the collectivity.”4 Because one’s Jewishness is the product of how one is perceived ; one must perform Jewishness, not necessarily by religious ritual, but by following a series of anticipated behaviors that signify Jewishness. In effect, Jewishness is less based in being Jewish, and more so in seeming Jewish. Essentially, Jewishness is located in the cross -section where performance and audience reaction meet. Whether or not an individual is Jewish does not always factor into the equation. Instead, someone seems “Jewish” depending upon how certain performative behaviors are read, explaining why Nathan Lane, Valerie Harper, Jason Biggs, Alan Alda, and Robin Williams, all of whom have played Jewish roles, but none of whom are Jewish, are often read as Jewish, while Wynona Rider, Calvin Klein model Simon Rex, Cosby Show daughter Lisa Bonet, former San Francisco 49’ers lineman Harris Barton, and pop star Paula Abdul, all of whom are 3 Go ldberg and Krawsz 6. 4 Goldberg and Krawsz 6. 3 Jewish, do not fit categorical Jewishness. 5 But precisely what is it that designates Jewishness? Is Jewishness like pornography – you know it when you see it? And, most importantly, who defines what Jewishness is, particularly in America, where one’s Jewishness is very much mediated by how an American -Jew negotiates both sides of the hyphen? Since my discussion focuses upon how Jewishness is perceived, I find it too easy, though sometimes necessary, to delve into anecdote to explain how one seems Jewish. However, by doing so,
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