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That’s why I’m really nervous about writing this – it’s a difficult time for Jews, especially when you’re having to dissect a story about Israel that’s so central to the Judaism you’ve been raised on, at a time when anti-Semitism is on the rise and when that rise is being weaponised. Earlier this year, there were calls to ban anti-war rallies over fears of anti-Semitism, with the government’s anti-extremism commissioner warning that London would become “a no-go zone for Jews every weekend”. A host of commentators have joined him in loudly declaring the city a dangerous place for Jews, stoking fear, pushing us inwards. They’re fuelling a very real anxiety –there was a reported 589% increase in anti-Semitic incidents in the UK after 7 October – but in doing so, they’ve deepened the wounds and inflamed divisions. What is needed now is not arbitrary bans on protest or the dehumanization of others, but education, calm dialogue, and courage. By recalling the 1983 lunch, Rosenblatt does this beautifully and boldly.
Lithgow plays Dahl as a gentle monster, rising from his chair and standing, towering over his guests. For all his cruelty, he is also generous and kind – the play is tense with a touch of awkwardness. “Contradictory characters are the most fun to play and my main source of income. After all, I am in the business of surprising people,” he says, and “no one is more contradictory or surprising than Roald Dahl”. As the first act ended, I found myself looking around the darkened theatre, counting the Jews. I do that sometimes – more often these days. There are fewer than 300,000 of us in the UK, and while we have much in common at the moment (the itchy feeling of grief, the feeling that we are being scrutinised, the soup thesis), I am also aware that we are increasingly divided by our views on Israel and are held responsible for a morally repugnant war regardless of our connection to the country.
As well as a debate about Israel, the play nimbly considers Judaism itself and the “problematic” genius at the table. “For artists, I would extend the Hippocratic Oath: ‘Do no harm and do no crime,’” John Lithgow told me. “But beyond that, I’ve always been on the side of uncensored art. Artists should be free to be who they are. There’s a lot of great art created by scoundrels and a lot of bad art created by saints. It’s up to us to like or dislike any art without being told what’s good or bad for us. And by the way,” he added, about the fact that Dahl’s publishers recently edited his books to remove language deemed offensive, “they should never have touched Roald Dahl’s prose, which he was obsessively protective of.”
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