Nathan Englander’s ‘What We Talk About When We Talk About Anne Frank’ makes its premiere at London’s Marylebone Theatre. It is a brilliantly observed, provocative and darkly comedic exploration of Jewish identity, politics, and relationships. The title is based on a dinner party game where participants have to decide whether they’d risk their own lives to save a Jewish friend if the Nazis were coming for them in modern day America.
Set in present-day Florida, the play brings together two Jewish couples – one secular and one ultra-Orthodox – for what begins as a casual reunion of friends but quickly evolves into a charged debate on faith, culture, and the weight of history. Joshua Malina, known for his roles in ‘The West Wing’ and ‘Scandal’, makes an impressive London stage debut as Phil, the secular American Jew. His command of Aaron Sorkin’s fast-paced scripts serves him well; Englander’s narrative is similar, with dialogue-heavy script which crackles with energy. The script deftly balances humour and gravitas, tackling weighty subjects such as the Holocaust, intermarriage, Zionism, Israeli-Palestinian relations, the events of October 7th and religious extremism with a deft touch.
His natural charisma and sharp comedic timing serve the role well, particularly in his interactions with Caroline Catz’s Debbie, his wife and childhood friend of the ultra-Orthodox Shoshana. Dorothea Myer-Bennett delivers a standout performance as Shoshana, capturing the complexity of a woman torn between her religious beliefs and the pull of her secular past. Simon Yadoo – probably my favourite performer in the show – brings a quiet intensity to the role of Yerucham, Shoshana’s husband, whose unwavering faith becomes a focal point of tension. From mumbling a prayer as he washes his hands, to his shuffling gait, his portrayal of a Chasidic Jew is magnificent. He is also fiercely intelligent and the master of the cutting remark, saying to the secular couple: ‘My wife and I don’t touch in public for religious reasons; what’s your excuse?’
Rounding out the cast is Gabriel Howell as Trevor, whose youthful perspective adds modern dynamic to the generational divide explored in the play. As a Pastafarian (who claims to believe in a spaghetti and meatball deity), he tackles issues such as climate change and the impact of science versus prayer. He also serves as narrator, introducing the scenes and breaking the fourth wall in the second half of the show (telling the sound director to ‘Stop the klezmer music; it’s too Jewish.’)
It’s extremely funny. One-liners are delivered at a furious pace, from ‘What kind of ultra-Orthodox Jews are even on Instagram?’, through a nod to classic sitcom ‘Don’t mention the war!’ Themes such as Debbie’s obsession with the Holocaust are treated with depth and nuance, whilst still providing comedic moments (her husband says: ‘This is the first time I’ve brought up the Nazis before she does – she normally does it before breakfast.’). It culminates as the characters imagine a Holocaust themed area at a Disney park, with an ice cream shop called ‘The Dairy of Anne Frank’ serving 6 million flavours such as ‘pogrum and raisin’ or ‘cookies and crematorium’. Despite the tastelessness of the subject matter, it really works as a performance piece because of the quality of the writing and the actors.
The production refuses to provide easy answers to difficult questions. Instead, it invites viewers to grapple with the complexities of faith, family, and cultural identity in an increasingly polarised world.
This is a fantastic show – worthy of a longer run in a bigger theatre. Catch it while you can.