Edinburgh Fringe 2024
REVENGE: After the Levoyah
Plotnek Productions and Nick Cassenbaum
Genre: Absurd Theatre, Comedic, New Writing, Political, Theatre
Venue: Summerhall
Festival: Edinburgh Fringe
Low Down
A brilliant fast paced romp through the absurdities of politics where the satire cuts deep, tackling the complex discourse around antisemitism.
A whirlwind of relentless pace and physical comedy, with Dylan Corbett-Bader and Gemma Barnett delivering tour de force performances. Their seamless, lightning-fast switches between an array of characters are often gymnastic in nature, adding to the show’s chaotic charm.
Review
Nick Cassenbaum’s REVENGE: After the Levoyah is a whirlwind of almost clownlike comedy and biting satire that throws us headlong into the tumultuous world of British Jewish politics circa 2018. This two-hander, directed by Emma Jude Harris, uses the backdrop of Labour Party antisemitism accusations to craft a heist comedy that’s as thought-provoking as it is funny.
Written at the time the long standing simmering row over antisemitism in the Labour Party reached a boiling point with three Jewish newspapers publishing a joint editorial accusing Jeremy Corbyn of posing an “existential threat” to Jewish life in Britain (Guardian 26/7/18). And former MP Margaret Hodge claiming “the ‘cult of Corbynism’ has fuelled antisemitism” (Independent 16/8/18). So, all in all, a scenario in which it would be entirely possible to imagine that a plot to kidnap Corbyn might be born.
The show opens with Des O’Connor crooning “You Always Hurt the One You Love,” setting the tone for a narrative that’s both darkly humorous and deeply critical. The title, “Levoyah,” Yiddish for funeral, frames the story at the funeral of twins Dan and Lauren’s grandfather. Here, they meet ex-gangster Malcolm Spivak, who wants them to join him in a ludicrous plot to kidnap then-Labour leader Jeremy Corbyn, his response to the media frenzy painting Corbyn as an existential threat to all that he is. Whilst initially reluctant they are eventually drawn in following an unfortunate incident involving an apparently antisemitic boiler man.
From that point the action goes into overdrive. What then unfolds is a whirlwind of relentless pace and physical comedy, with Dylan Corbett-Bader and Gemma Barnett delivering tour de force performances. Their seamless, lightning-fast switches between an array of characters are often gymnastic in nature, adding to the show’s chaotic charm. The minimalist set, mostly a table, chairs, and a tablecloth—allows the actors’ dynamic energy to shine, with sound and lighting expertly complementing the action.
Cassenbaum’s script is almost rap-like in its rhythm, requiring full concentration from the audience. The rapid-fire dialogue, coupled with the echoey acoustics of the venue, demands your full attention from the moment the play begins. Yet, it’s this very intensity that makes the play so captivating.
The heist becomes ever more complex and surreal as rival kidnap gangs appear and attempt to capture Corbyn from Spivak for their own agendas. Ultimately no one is entirely sure that Corbyn is antisemitic, with even the liberal Rabbi admitting she quite likes him and only joined in to please her congregation.
A brilliant fast paced romp through the absurdities of politics where the satire cuts deep, tackling the complex discourse around antisemitism.
