kaddish (how to be a sanctuary) *****

The Kaddish is an Aramaic hymn to God, whose name is derived from ‘sanctuary’, usually associated with mourning. kaddish (how to be a sanctuary) is a solo performance which draws on this heritage, while simultaneously examining some aspects of geopolitics.

The stage has a large white frame as its backdrop and two separate areas are rapidly established downstage, from which two different narratives are intertwined by Sam Sherman. Stage right, Sherman speaks as his own grandfather Saul, who fought fascism during the Second World War. Stage left is Sam himself, who has also travelled far to oppose injustice and genocide.

The show is bookended by the appearance of the Golom, reinforcing the production’s roots to Jewish folklore. Its rhythm is created through the oscillation between past and present, suggesting the timeless nature of battles against oppression. Parallels between grandfather and grandson emerge.

With the aid of a typewriter, Saul reflects upon his life. He recounts not only fighting the Nazis across Europe but also confronting organised crime and racism in his homeland. He was clearly a man of principles, for which he was willing to take a stand.

Sam is moved and inspired by Saul’s memoirs. His own moment of political awakening happened in 2020, as he was swept up in seismic political moments in the USA. His feels a strong desire to travel to Palestine to support the oppressed, but his parents are, frankly not unreasonably, fearful for his safety. He doesn’t want to disrespect them, but the pull of his moral inheritance proves to be too strong.

This production is partially an examination of what it means to be Jewish. Antisemitism had been rife in Europe for centuries culminating in pogroms and the holocaust. Sam feels the weight of that history, yet deplores the actions of the Israeli Government. A strong theme of this production is the sense of echoes across generations, but with parallels and contradictions.

Sherman is a skilled performer. His storytelling is very strong and charismatic, holding the audience but, partly by virtue of breaking the fourth wall, steers away from lecturing us. His physicality is interesting as he shifts ages seamlessly. The direction (Lila Weitzner) is strong, and one reservation about the writing aside, it is a quite excellent production.

Sam has returned from three months of solidarity work in the West Bank, living and working alongside Palestinian communities, experiencing escalating settler violence. And here the play's central parallels and contrasts are brought into even sharper focus. Washington, D.C. once served as a sanctuary for Black Americans fleeing racial violence in the South; sanctuary in the West Bank, by contrast, remains perilously fragile.

After some hesitation, the World did not stand idly by as violence erupted in Europe in the 1930’s. That same imperative exists today. Dylan Thomas implored us to “not go gentle into that good night”. Saul clearly did not; Sam is admirably following in his footsteps.