By J. Novick
Clifford Odets. Arthur Miller. Paddy Chayefsky. Neil Simon. Jules Feiffer. Wendy Wasserstein. Tony Kushner. those prime American playwrights don't simply occur to be Jewish: they're Jewish playwrights. They and different Jewish playwrights have written out in their personal adventure, for normal American audiences, approximately what it appears like to be twentieth-century American Jews. past the Golden Door is the 1st booklet dedicated to exhibiting how Jewish playwrights have dramatized the nice fight to stability previous international historical past with New global opportunity—a fight with implications for all American ethnicities.
Read or Download Beyond the Golden Door: Jewish American Drama and Jewish American Experience (Palgrave Studies in Theatre and Performance History) PDF
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Additional resources for Beyond the Golden Door: Jewish American Drama and Jewish American Experience (Palgrave Studies in Theatre and Performance History)
Joe razzed me about my girl. But he don’t know why. I’ll tell him. Hell, he might tell me something I don’t know. Get teams together all over. Spit on your hands and get to work. And with enough teams together maybe we’ll get steam in the warehouse so our fingers don’t freeze off. Maybe we’ll fix it so life won’t be printed on dollar bills. As in Odets’s Waiting for Lefty, the revolution begins when workers join together and take action. “Coletti to Driscoll to Berger”—notice the names: an Italian, an Irishman, a Jew.
Tedesco, agrees: “He’s after our scalps, isn’t he? And why? ” The Jewish American, the Irish American, and the Italian American are in this together. Baird’s malice extends to all three of them, motivated by his fear of the immigrants’ sons who presume to rival him, who demand a share of his long-established power and privilege. Anti-Semitism is often motivated by such fears—think of the Ivy League colleges that instituted admissions quotas for fear of being overrun by brilliant, pushy, uncouth Jews.
Although Simon has divested himself of Jewish markers, he is not one of those “allrightniks” who are ashamed of their humble origins. On the contrary, he is proud of those origins: they indicate how far he has come by his own efforts. Rice avoids exploring how his protagonist feels about the specifically Jewish aspect of those origins. Simon goes out of his way to help his old friends and neighbors and their children, feeling his own power by using it in princely fashion to do good to needy people, many of whom were once his equals.
Beyond the Golden Door: Jewish American Drama and Jewish American Experience (Palgrave Studies in Theatre and Performance History) by J. Novick