If Hollywood Is All Jewish
Then My Mother Is The Virgin Mary

Arthur Danin Adler | Scene4 Magazine | www.scene4.com

Arthur Danin Adler

Now what about this Hollywood Jewish thing. For one, there were no Jews in the ancient biblical times. If there was a Jesus of Nazareth, he was not a Jew… he was a Semite, a Middle-Easterner, and a man of color, not a Christian evangelist with blue eyes and blond hair and perfect teeth. There were no Christians then. If he existed, his mother, his apostles, his supporters, his detractors were the same… call them Semites, Hebrews, Israelites, but don't call them Jews. The Jewish culture emerged in the 15th century in Europe. At that time in the Middle East and in Africa and China, they were still Semites. In Northern Europe, they picked up a version of middle-high German and merged it with a bit of dead ancient Hebrew and a lot of the Slavic language that they happened to find wherever they were settling. It became "Judisch" or as the Anglos say: "Yiddish" and it was about to be recognized in the 1930's as one of the literate languages of the planet Earth when the Holocaust destroyed it.

In Southern Europe, they did the same except they used Spanish as the base which they brought with them when they were shoved out of Spain just as Columbus was voyaging to find a new place for them to emerge.

The new place was "The New World", America.

In the early 20th century, some American Jewish merchants, who had learned merchandising in the merchandising mecca of New York City, recognized that the new entertainment of moving pictures had a promising future. They merchandised the hell out of it. They became distribution kings. As with all good business plans, they looked to control their product. So they began producing it. And as with all good production plans, they looked for better and cheaper. At that time, there didn't seem to be anywhere better and cheaper than the Los Angeles basin. That's where they went along with a number of other entrepreneurs who were not Jewish. Together they created Hollywood and the rest is hyperbolated history.

It's important to note that most of the Hollywood power (the money), even during the Golden studio era was and is controlled by banks and financial institutions that were and are not controlled by Jews, that were and are controlled, in large part, by White Anglo-Saxon Christians. It's also important to note that most powerhouse media organizations, print, radio, television are controlled by the same indigenous WASC cultural group.

And it's important to note that during the notorious Blacklist period of the 1940's and 50's, a vast majority of those who were condemned were Jewish and a vast majority of those who did the condemning were not. This during the reign of Dwight Eisenhower, a gray Christian war-hero president who liked to play golf... which is a fair tradeoff.

Now what about my mother. She was indeed an incarnation of the Virgin Mary. My conception was not just immaculate, it was beyond immaculate. And she was Jewish, so she skipped around the Jesus-connection because she had a direct line to her god. She would go into a closet and talk to him, her, it. She would get advice, guidance, comfort. It was a special relationship.

One day, my Madonna was particularly distressed. It was revealed to her that her favorite nephew had a liaison with a man. In those unenlightened days, that was almost as bad as marrying a Black or Puerto Rican girl. So she went into her closet to talk to her god. She cried and wailed and flooded the little dark room with her misery. Then (as it was revealed to me) a voice came, a disembodied, non-directed voice which said: "Take comfort, fegela (little bird), at least he's doing it with a Jewish boy."


It was a production of Jean Genet's Deathwatch. In some views, Genet is considered, along with Brecht, to be one of the great revolutionary influences in 20th Century drama. He was a brilliantly theatrical playwright.

Deathwatch takes place at that horror of horror-prisons, the French "Devil's Island". In this dark, hopeless world, three inmates engage in a macabre "dance" of mind-bending, emotion-twisting relationships. It is a difficult play to perform and an equally difficult but moving experience for most audiences.

The three actors prepared their performances in an unusual way. They immediately learned their lines and got "off book". They spent the next four weeks of rehearsal giving breath to their characters, allowing them to come to life. As the days went by, they began to spend more and more time in the theatre, on the set, outside of rehearsal. During the last week, they seldom left the building. It was as if they became habitues of the world they were creating. Through the entire rehearsal period, they were unable to deliver a complete run-through. Some times they began in the middle and went to the end. Other times they began at the beginning and went to the middle. And in some rehearsals, they delivered pieces of the play, often out of sequence. It wasn't until opening night that they gave a beginning-to-end, complete run-through performance as Genet had intended. It was nearly perfect and a successful opening.

Another unusual aspect of this production was... music. A young pianist/composer was commissioned to write a piece to accompany the performance, a touchy confrontation with Genet and his intent. The play was staged in three-quarter round with a raised platform in the center. The director placed the pianist (who played live for each performance) at an upstage corner of the blind-side of the thrust. He placed him behind a full baby grand piano in stark contrast to the somber, grey, dilapidated look of the set. It was a risky, unnerving, rather Brechtian touch, and it worked!

The first week of performances, with full houses, went smoothly as this small ensemble continued to dig out, blend, and display nuances from Genet's acting challenges. Then, at the first performance of the second week, an astonishing event occurred. The plot called for one character to murder another near the end of the play. A third of the way into the performance, the actor playing the designated victim, "Maurice", dropped a page of dialogue. After the briefest of pauses, the other two actors adjusted, attempting to reclaim the lost dialogue. But when the cueing rotated, Maurice nightmarishly dropped another page and then another.

It was disastrous because the entire exposition of one character, the designated "murderer" was lost... the underlay from which much of his motivation sprang. Remarkably, instead of attempting to repair, to return and recapture, the actors began to re-form the play. They exchanged lines and pieces of business, they realigned dialogue, altered the flow. And without any changes in the remaining dialogue, the play turned into a new and unpredictable direction... Maurice became the murderer and the "murderer" became the victim. It was not what Genet had intended, but somehow it captured his meaning and impact. The audience approved and gave them a rousing ovation without knowing what had transpired. A French theatre scholar, an admirer of Genet, thought it was a marvelous interpretation. A director who was there that night praised the vision and courage of the changes. The three actors in the cast could not explain what had happened. The next day, in a notes session, they couldn't remember what was taking place at the time the shifts occurred. Some weeks later, in studio, they tried to repeat the occurrence and couldn't do it. It never happened again during the run of the production.

At the end of this strangely wonderful performance, the actors simply walked off stage, unable to take a curtain call. Maurice ended up in a corner of the dressing room sobbing. The actor who played "Greeneyes" found it difficult to speak to anyone and wandered off. The "murderer-victim" sat in a warm shower. They had encountered a unique performing experience and had learned to believe an indelible fact.

It was this – there are no mistakes on stage – none! There are failed intentions, but no mistakes. What happens in a performance "is" the performance, which is the power and the beauty of the "live" in live theatre.

I know they came to believe this... because I was there. I was one of the three actors in that small ensemble. I played the murderer, Le Franc, who became the victim.

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Arrthur Danin Adler | Scene4 Magazine | www.scene4.com

Arthur Danin Adler is a playwright, writer and the
founding Editor of Scene4. He is the author of Medea
directs the Talos Ensemble and produces for
Aemagefilms. More at Darcy-Kane. His latest book is
The Lyriana Nocturnes. For more of his commentary
and articles, check the Archives.

[as Arthur Meiselman...  Archives]

©2021 Arthur Danín Adler
©2021 Publication Scene4 Magazine


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