My Own Take: Off-Broadway's Brilliant 'Birthright"

The show: “Birthright” at off-Broadway’s Manhattan Class Company.

What makes it special?: It’s a new play by Tony Award-winner Jonathan Spector (“Eureka Day”) and directed by Teddy Bergman (“Mother Russia”). It’s a deep dive into a provocative subject, all the while being thoroughly entertaining, surprising and thoughtful.

And the subject is?: Jewish identity in modern times and how it’s viewed from a variety of perspectives.

What’s it about?: Six Jewish-American friends in their early 20s reunite three months after their Birthright trip to Israel in 2006, gathering in the home of one of their parents in Arlington, Va.

What’s a birthright trip?: Ah, yes. That meaningful and ambiguous title. Simply put, Israel offers free “Birthright” tours of its country to young Jewish adults in an effort to connect them to their religious heritage. For some it’s a free holiday; for others it marks a profound change in their lives, identity and relationships.

Over the course of the schematic play’s three acts and three-plus hours (that fly by), the friends participate in the ritual of reunion for a single night three times — 2006; then again in 2016, prior to the presidential election; and in 2024, after the Hamas-led terrorist attack that previous fall. There’s a lot to deal with — and a lot to say.

Such as?: The exploration of evolving identities, and specifically their Jewish identity. But the play also deals with their own friendships, romances, careers, relationships and changing roles, positions and perspectives — as the world dramatically changes, too. That includes the ways we communicate. (There are echoes of “Eureka Day'“s use of highlighting texting (projected for the audience to see) for terrific comic effect. Here the theatrical device also reflects contemporary non-communication in one frenetic scene.)

But through it all the play asks: Can friendships survive religious, political and personal differences? The answer might surprise you. It did me.

Sounds pretty talky and maybe even er…didactic: You’re right in the first part — and proudly it is so, because the talk is witty, provocative, layered, funny, passionate, knotty, and thoroughly absorbing as these friends — some closer than others — question, challenge, embrace and dismiss their relationship to their religion — and Israel.

But didactic, no; not at least in the sense of speechifying — and the one time it is like that, it is for a pointed effect. Throughout the play you’re fully engaged with these characters, how they talk, act, romance and change over the course of time as they travel down different paths. Yes, friends change as they get older and it’s not always as we expect — or hope. Life — and the world at large — makes things messy, as demonstrated here in multiple ways.

And who are these people?: In the first act we meet them all as they gather for the first reunion. There’s Alona (Molly Ranson) who has been so affected by the trip that she wants to move to Israel. The forceful Chaya (Zoë Winters) feels Alona is being overly romantic and engages her other friends to talk her out of what Chaya considers an emotional move. But politically astute friend Molly understands the attraction even as she sees it in cooler and critical terms. Then there’s Noah (Eli Gelb), a pragmatic tech geek (and future podcaster) who also has an unrequited love for Chaya.

Sexy Emerson (Nate Mann) is a former rocker nostalgic for his brief glory days but is more interested in romancing Chaya than any serious examination of the spiritual impact of the trip. That’s not the case for earnest Lev (Hale Appleman) who broke off from the group trip to seek his own path of understanding — and perhaps in his ever-changing evolution over the years — is the most spiritual of the group. Also popping in at significant moments in the play is Chaya’s talkative mother (Liz Larsen, wonderful as always) who offers a different kind of perspective on life, marriage and the importance of rituals and memory.

Reservations?: A few. The radical transition of one of the characters (no spoilers here) is not presented as deftly as it could be. The reveal is almost a simple set up for a big laugh — which it certainly gets — but there should be more believability of the character’s change in life direction.

Also: Plays are not obligated to represent all points of view equally. However, there’s the absence of an authentic Palestinian voice — and one not just reflected by the Jewish characters. Can that omission be righted in the play? Probably not. But as I left the theater I felt that the Palestinian perspective was yet again only being described through the eyes of others.

The cast: Hale Appleman (“The Magicians”), Molly Bernard (“Younger”), Tony Award-nominee Eli Gelb (“Stereophonic)”, Tony Award nominee Liz Larsen (“Beautiful: The Carole King Musical”), Nate Mann (“Masters of the Air”), Molly Ranson (MCC’s “Carrie”), and Zoë Winters (“Succession”) are all splendid.

Who will like it?: Those eager for smart, intelligent and timely writing — and compelling performances to match that ambition. Many Jews, not all. Many non Jews, not all.

Who won’t?: Those looking for easy answers, heroes and villains.

For the kids?: Teens, sure, especially bright ones. Kids? Nope. (There’s a bit of nudity, but much of it is adults talking in adult ways — even when they’re being childish.)

Looking into the future?: “Birthright” is produced by special arrangement with Jenny Gersten, FourthWall Theatrical, and Sonia Friedman Productions — so I wouldn’t be surprised if it doesn’t land on Broadway this season. Regardless, no doubt will — and should — be produced in regional theaters across the country.

Thoughts on leaving the parking lot?: In an odd way — and not just because if the length, but because of the pull of the characters, the quality of the dialogue and the brilliant ensemble cast — it reminded me of “Stereophonic.”

Info: The production has been extended to Aug. 24. MCC presents he show is its Robert W. Wilson theater space. The theater is located at 511 W 52nd St. (between 10th/11th Ave) . The theater’s website is : mcctheatre.org

The show is recommended for ages 16+ and contains nudity, haze, and the use of herbal cigarettes. MCC notes that because of the political natiure of the show, additional security measures are in place. “Security personnel will be on duty during all performances. There will be metal detectors at the entrance of the theatre, and all bags will be inspected upon arrival.”

In addition, to protect the performers’ privacy, the show will be phone-free. After tickets are scanned, phones will be secured in Yondr pouches, which will be unlocked at the end of the show as you exit. (You will maintain possession of your phone at all times.) Access to a "phone zone" will be available at intermissions as needed.

Is it me or can we wish that all cellphones be placed in sealed pockets, whether the show has nudity or not?