I particularly enjoyed this part, both as an artist, and as ME, an artist with a big, challenging play that I would REALLY like people to see one day before I'm too old to enjoy it:
I can already tell that there are some meddling dramaturgs out there who want to know 'why Yiddish?' And this is a play that offers a solid answer to the question: It is a play about a specific immigrant experience, and this was the language spoken by this group of immigrants, and they were in a neighborhood where the language still had everyday currency, where even American-born Jews could understand and respond, to some extent. It’s a play that Yiddish makes sense in, and wouldn’t make sense if absent.
But, as I said, I am not interested in why questions. You probably have noticed that I am interested in how questions. How do we make a play? How do we stage a scene? How do we communicate something unfamiliar to an audience?
This play has a lot of fascinating hows in it. And the ones that interests me the most right now are the following: How is this play going to get a production? How is it going to have a life beyond that production, which is rare for new plays? And how am I going to get a chance to see it? [emphasis mine]
Anyway, go over to Dress British Think Yiddish and check it out, plus Max's adventures in learning Yiddish in Omaha (OMAHA!), some truly original cocktails and the odd ode to Cel-Rey.