THEY SHALL NOT PASS
Given the present swell of antisemitism there was a heartstopping second from Jez Unwin as Yitzhak Scheinberg, patriarch of a hardworking East End Jewish household whose son Sammy is leaning in the direction of direct motion in opposition to the British Union of Fascists. Keep away from bother, the older man says, dreading the “Jewish lightning” arson assaults and the beatings-up. A pogrom surivor, he asserts an historical grim humility: Jews can’t afford to provide their enemies causes, and “Everything we have is borrowed, they can take it back”. Meanwhile, when the ensemble turn into an occasional capering refrain of newspaperst the Jewish Chronicle is echoing it in a mockingly rhyming lyric “The Board of Deputeez/ says don’t get involved – it’ll bring us to our knees!”
But doing nothing won’t do. Outside, the group chant is “No-one sees eye to eye, but everyone agrees – this is my street!” Irish communist Maraid (Sha Dessi) who works in a Jewish bakery makes frequent trigger with the dockworkers and multicultural immigrants (ensuring the viewers on three sides is plentifully leafleted) in opposition to the thuggish BUF . These march underneath Mosley with black shirts, purple lighting-strike armbands, slogans about overseas masters and ‘honest work for British workers..get rid of the Yids” . Maraid forges a friendship with Joshua Ginsberg’s Sammy. But these are arduous ravenous occasions for everybody, in 1936, rents are rising ; elsewhere within the tenement constructing younger Len from Lancashire is regularly drawn to the BUF by their guarantees of labor. When the barricades are up, he could also be on the flawed aspect..
This one was all the time going to be a rouser. With the Merchant of Venice 1936 now up West after Stratford and Wiltons, displaying THEY SHALL NOT PASS on the curtain name , it’s grand timing for a contemporary fringe musical to remind us of when outdated perils met outdated decencies: the Cable Street riot of October 1936 when immigrants, Irish dockers, Jews and indigenous working-class locals refused to let the DUF march by means of their streets, defying police and thuggery alike.
Tim Gilvin and Alex Kanefsky do it proud, musical numbers starting from Sammy’s pressing Hamiltonesque rap to mournfully stunning ballads like Maraid’s “Bread and roses” as she toils by means of the evening inthe bakery. There are barking BUF chants, the craving cry of the fascist recruit “Let me in!” And in fact an amazing “No Pasaran!”because the communists make frequent trigger with the Spanish Civil battle and undertake the defiance for themselves. Adam Lenson directs a vigorous ensemble of 11 (appears like extra, with neat doubling and trebling) and Kanefsky’s ebook – framing it in a contemporary historical past information competing resignedly with a jack-the-ripper tour – carries on past the barricade to the aftermath, the complexities inside and between households, and a remaining group effort within the citywide hire strike.
He makes the divisions clear: Sammy, making an attempt to get work which appears sewn up by the Irish dockers, claims to be known as “Seamus O”Dublin”. Maraid’s outdated Irish mom (Debbie Chazen on fierce kind) thinks Jews personal the banks and doesn’t approve of her daughter “consorting with them” , not to mention distributing Commie leaflets. A Black character observes in passing that it’s all very nicely for individuals who can change their accent but it surely’s tougher for him.
The vigour and sound of it are overwheming, the messiness and doubling all a part of the enjoyment. Ginsberg’s Sammy is a mass of tousled vitality, Dessi a strong musical presence; Unwin’s switching between the position of Jewish patriarch and fascist chief is powerfully uncanny. All energy to Southwark and 10 to 4 productions. I hope this one grows and meets wider audiences. Its complete run is offered out, which does the creators and London audiences credit score.
Southwarkplayhouse.co.uk to 16 march
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