PRAYER FOR THE FRENCH REPUBLIC Previews

[EDSOSLO858]

Posted: 12/18/23 at 12:00am

The new play Prayer for the French Republic arrives at the Samuel J. Friedman Theatre tomorrow (December 19) following a highly acclaimed Off-Broadway run early last year. Joshua Harmon’s ensemble piece stars Betsy Aidem, Francis Benhamou, Ari Brand, Anthony Edwards, Ethan Haberfield, Richard Masur, Nael Nacer, Daniel Oreskes, Molly Ranson, Nancy Robinette, and Aria Shahghasemi. Opening night is January 9, and the limited run will conclude on February 4; David Cromer directs.

“In 1944, a Jewish couple in Paris desperately awaits news of their missing family. More than 70 years later, the couple’s great-grandchildren find themselves facing the same question as their ancestors: ‘Are we safe?’ Following five generations of a French Jewish family, Joshua Harmon’s Prayer for the French Republic is a sweeping look at history, home, and the effects of an ancient hatred.”

Who’s going?

[Sammy232]

Posted: 12/18/23 at 8:34am

EDSOSLO858 said: "The new play Prayer for the French Republic arrives at the Samuel J. Friedman Theatre tomorrow (December 19) following a highly acclaimed Off-Broadway run early last year. Joshua Harmon’s ensemble piece stars Betsy Aidem, Francis Benhamou, Ari Brand, Anthony Edwards, Ethan Haberfield, Richard Masur, Nael Nacer, Daniel Oreskes, Molly Ranson, Nancy Robinette, and Aria Shahghasemi. Opening night is January 9, and the limited run will conclude on February 4; David Cromer directs.

“In 1944, a Jewish couple in Paris desperately awaits news of their missing family. More than 70 years later, the couple’s great-grandchildren find themselves facing the same question as their ancestors: ‘Are we safe?’ Following five generations of a French Jewish family, Joshua Harmon’s Prayer for the French Republic is a sweeping look at history, home, and the effects of an ancient hatred.”

Who’s going?"

Saw it off-Broadway and thought it was terrific. We've heard a lot of "it couldn't be more timely" for shows like Parade and Harmony - but this one, given that much of it takes place in the current day, really is the most timely IMHO.

[hearthemsing22]

Posted: 12/18/23 at 8:50am

Getting my ticket as soon as I can. Really enjoyed it off-Broadway 

[jkcohen626]

Posted: 12/18/23 at 11:05am

Going tomorrow night. Still one off my favorite things I saw last year and feels unbelievably well timed right now. It will definitley be jumping to the top of my recommendation list. I'm curious to see if any changes have been made from Off-Broadway and how the new cast members are. 

[jagman1062]

Posted: 12/18/23 at 11:36am

jkcohen626 said: "Going tomorrow night. Still one off my favorite things I saw last year and feels unbelievably well timed right now. It will definitley be jumping to the top of my recommendation list. I'm curious to see if any changes have been made from Off-Broadway and how the new cast members are."

I look forward to your feedback. I missed the show off-Broadway, much to my disappointment, and my ticket for this production is for late January. "Prayer" is the one show I'm looking most forward to in what is a packed spring, especially as I prefer plays to musicals, especially dramas.

 

[kwoc91]

Posted: 12/18/23 at 12:34pm

Seeing this next week. Missed it Off-Broadway so I'm very much looking forward to it.

[EDSOSLO858]

Posted: 12/18/23 at 3:08pm

The run has been extended two weeks, to February 18. 

[berniesb!tch]

Posted: 12/18/23 at 4:37pm

I saw Nael Nacer in several shows in Boston. Great actor! Excited to see him in this.

[Robbie2]

Posted: 12/18/23 at 7:37pm

Seeing it the 2nd week Jan right after opening and most def a best play Tony nom this season can't wait after recently seeing Appropriate so far best play this season! 

[dramamama611]

Posted: 12/18/23 at 7:59pm

I'll be there the first weekend of Feb (formally closig weekend).  Very excited. (Which seems like the wrong word.

[EDSOSLO858]

Posted: 12/19/23 at 11:04pm

Any first preview thoughts from tonight?

Updated On: 12/19/23 at 11:04 PM

[forfivemoreminutes]

Posted: 12/20/23 at 12:26am

I just got back from the first preview and have a LOT of thoughts, with varying degrees of coherency. First, for anyone interested, the show ran a bit long tonight (to be expected because it was the first preview). It started late at about 7:15 and I got out of the theatre at 10:28, so the run time was about 3:15. But it did NOT feel long at all; the show absolutely flew by. There were two ten-minute intermissions (although I think the intermissions may have also run a bit longer than ten minutes, but I wasn't watching the time).

My thoughts: First to situate myself, I am Jewish, and I'm a younger Millennial, and both of those identities definitely shape how I reacted to this play. I thought generally the play was absolutely brilliant, riveting, raw, topical, and true to life; many of the debates and anxieties depicted in the show were almost word for word conversations that I've had with my own family members. The theme of whether we're safe, and if not, what to do about it (and how to even know "for sure" whether we're safe or not) is very relevant for obvious reasons, and is something that I've spent most of my life ever since I was a little kid worrying about and planning for. When I was a kid, my mom (whose grandmother had lost all her family in the Holocaust) literally had multiple plans for how she would protect me and my brother in case someone like Hitler came to power here, and she made sure I was aware of Plan A, Plan B, and Plan C from when I was very young. So everything about knowing when to run and how to do it felt very relevant to me.

It also hit home for me how the show explored the practicality of the hard choices that need to be made in that circumstance; I felt that Leopoldstadt explored a similar theme. For the families in both shows, being too focused on anything but base survival led to annihilation; in both shows, the family members who stayed to run the business or because they wanted to stay with their elderly parents who couldn't travel were mostly killed. And that seems true to life also; my great-grandmother left Poland before the war and regretted for the rest of her life leaving her parents to die there.

I felt like most of the characters were very complex and three-dimensional.

 

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I especially liked Charles and the way he moved from initially wanting to move to Israel for safety to realizing that the most important thing was being with Marcelle and that if she was going to stay in France, he would risk whatever he was scared of happening in order to stay with her. I also was very excited to meet Pierre as an adult; I thought he was wonderfully complex as a character, and his viewpoint of staying with family but also getting out at the first opportunity and not worrying about him or about the business made a lot of sense from his perspective.

I also liked the way Patrick's views contrasted with Marcelle's, despite being raised in the same household, and the tension between assimilation and shrugging off Jewish identity vs. embracing it fully. Marcelle seems to struggle with finding the balance, between wanting her son to be safe and not put a target on his back while also wanting to maintain her Jewish identity and traditions.

I have some minor quibbles/food for thought. First of all, I thought Elodie and Molly were both unlikeable characters who seemed to be making straw man versions of the arguments they were put into the play to articulate. I found myself rolling my eyes a lot at Molly, even though her viewpoint is much closer to my own viewpoint than any of the other characters'. I don't like the way she's written as a naive privileged American telling French Jews (who are presumably in much more danger than her) how to live their lives. I think it's reasonable that Elodie (and perhaps the other characters) would THINK she's naive and out of line, but I don't think she has to be written to make the audience feel that way too - and the fact that I felt that way even though I am very sympathetic to her viewpoint is not a good sign. The way she articulated her viewpoint seemed very condescending while also naive and somewhat ignorant of the real issues at play. 

Relatedly, I think just throwing out the words "apartheid" and "settlements" and telling the family to educate themselves by reading and learning like she has is a straw man version of the argument that Molly is or should be articulating. I do understand that this is a play about France, not necessarily about Israel, and that this play is about Jewish fear, not necessarily about the impacts of Jewish fear on non-Jews living in the region. And I think it's completely fair for Jewish fear to be centred here, and perhaps delving deeper into a discussion about Israel would not be reasonable given that the show is already three hours long and already so content-heavy.

BUT...I still think Molly's best argument is not to clumsily insert the words "apartheid" and "settlements" in such a way that suggests she doesn't quite understand (or isn't quite articulating) the issues. Someone can think Israel has the right to exist as a Jewish state and that they have the right as Jews to immigrate to Israel without supporting settlement expansion in the West Bank or the specific actions taken by the Israeli government to subjugate Palestinians in the West Bank; it's a straw man argument.

I think her best argument is to point out the privilege and perhaps the hypocrisy in being able to move to a country they've literally only visited once, simply because they're Jewish, when people who were born on that land and expelled are not allowed to return. Her best argument is then to talk about how however unsafe Jews feel, the actions Jews take to feel safer are in fact making another group of people (the Palestinians) LESS safe. Maybe her best argument is even to tell Elodie that if she has children in Israel, those children will be conscripted into the IDF and will be sent out to kill Palestinians, and is that something Elodie can support? The issue of how Jewish fear impacts other people was completely elided here.

I also think Elodie as a character was purposefully unlikeable, which I guess I understand as a choice, but it did make her arguments a lot less compelling even when I somewhat agreed with them. I was also very annoyed by her whataboutism; I felt like she had better arguments that she wasn't actually articulating, but I guess that's what made it true to life, because I have had MANY conversations with friends and family that devolve into whataboutism (to which the obvious answer is, I'm Jewish, Israel is acting in the name of Jewish people, so of course I care more about Israel's actions than I care about India or Indonesia; I definitely am worried about India's slide into authoritarianism and religious repression, but I don't feel personally implicated by or involved in those debates the way my best friend, who was born in India, feels, for example). 

One final thought: This show, as well as Leopoldstadt and even to some degree Harmony and other shows that touch on the Holocaust, have made me think a lot about the dominant narratives told by and about Jews. And I've been wondering recently if and how these narratives of multi-generational dispossession and violence and pain and fear serve us as Jews. These stories are true; we have indeed been expelled and massacred for centuries in almost every place we've ever lived. And yet, in my experience as a young Jew raised in a big city in North America (which is certainly not the experience of every Jewish person, but it is MY experience), I have not personally experienced antisemitism in my life. I have many Jewish friends and many non-Jewish friends, and for all that the right wing (and my grandparents) love to talk about antisemitism on college campuses, I've spent ten years on college campuses completing three different degrees and I never once felt unsafe on campus, including during the 2014 war or this current war.

As a kid, I read a lot of Holocaust literature, because I felt like I needed to be prepared in case something like the Holocaust happened again (and I was pretty convinced that it would, within my lifetime, because my mom seemed to think that, because HER mom thought that, etc). I had frequent nightmares about the Holocaust and spent a lot of time thinking about what I would do to protect my younger brother if something like that happened again, and tortured myself for years thinking about whether I would go with him to a gas chamber so he wouldn't be alone or if I would leave him alone to save myself, and whether my parents would hate me if I did something like that. The idea that I might someday be forced to make that choice felt very real to me. But now as an adult, based on my life experiences, I think that something like the Holocaust happening in North America in my lifetime is very, very unlikely. I could be wrong; my grandparents and many Jews older than me think I'm being naive by thinking I'm safe. But my life experience thus far has been that of safety.

AND YET most of the media I consume about Judaism (most of the media that exists about Judaism) is about trauma and fear. And that has made it very difficult for me as an adult to accurately assess how safe I actually am, and how scared I should actually be. I think it's important to keep memories of our past alive, while at the same time I've been thinking this past year especially about what the cost is of these stories of trauma being so dominant in my culture, and whether they make me feel less safe than I objectively am, and what the cost of that is. I genuinely don't know. I do know that my childhood was a lot scarier than it should have been, and reading less Holocaust literature might have made it less scary...but also this is my inheritance as a Jewish person, and that's something I'm grappling with. Obviously the show is partly about this question too, and it doesn't provide a neat answer to it - but while examining the question, it also simply by its existence puts its thumb on the scale for one side over the other.

And to take a page out of Elodie’s whataboutism book, the Holocaust is not the only genocide to ever occur, but it’s the one that is most likely to be depicted in media. Are there many theatre pieces about the Rwandan genocide? The Cambodian genocide? The Yugoslavian genocide? The Armenian genocide (and continued displacement of Armenians today, e.g. in Azerbaijan)? Are there many theatre pieces about the continued displacement of and discrimination against the Roma, who were also targeted during the Holocaust and even today are being forced out of their homes in many European countries (and have been for centuries)? We Jews are not the only people to have been victims, and we aren’t even the only people to have been continuous victims throughout most of our diasporic existence. But our stories get told, and these others do not, and I wonder how much the fear that comes from these stories in my community is proportionate to the actual risk we face. Jews often feel like we are uniquely targeted, but certainly the history of Black people in North America and Europe and the history of Roma people everywhere they’ve ever lived show that’s not the case. And I’ve been wondering more and more, who benefits from Jewish fear, and who is harmed by it, and why do our societal institutions seem so set on perpetuating it, even as the historic events depicted get further into the rear view mirror? 

Anyway, long ramble aside, I think this was an incredible night of theatre and gave me a LOT to think about. I would highly recommend it, and I would be interested in hearing other people's thoughts.

Updated On: 12/20/23 at 12:26 AM

[jkcohen626]

Posted: 12/20/23 at 2:33am

As previously mentioned, I saw this for the second time tonight and I loved it even more than I did the first time. Three hours absolutely flew by. I really think it's just brilliant. I think there is a conversation to be had about how many plays about Antisemitism there have been on Broadway in recent years. But, this one's present-ish setting sets it apart. Learning about Leo Frank or an Austrian family in the Holocaust is certainly important. Seeing issues of Jewish identity, Zionism, and Antisemitism on stage told in the 21st Century is, to me, far more important but done far less often. 

The whole cast is great and the new additions are settling in wonderfully. But, once again, this is Besty Aidem and Francis Benhamou's show. Each of them get the absolute most out of every single moment and every single line. They're hilarious, infuriating, fascinating, and so exciting to watch. I forsee Tony nominations for both and I think Francis especially has a good chance to win (I would enthusiastically support a Betsy win, but she'll be going up against an absolutely PACKED field)

Regarding the physical production, the set is almost exactly the same, but more open because of the taller space. However, a lot of the costumes and hair have been redone, especially for Betsy. I thought her overall look was better. It seems maybe her athleisure for her second scene didn't come in in time though. She was talking about how just went for a run while wearing a suit. 

I think I appreciated the nuance and the last act a lot more this time around. I'm not sure why, but I do think it could be more a reflection of me and the ways I've changed since I last saw the show than anything in the show itself. I still plainly think that Elodie is the smartest character in the show and the one with the best views. But, for some reason I don't think it sunk in the first time just how annoying she is. Again not so sure why, but it just stuck out more this time. I still think Molly's opinions are mostly wrong, but she's also right about Elodie. I think she's also a bit too cartoonish. I know a lot of of American pretty secular Jews who are just like Molly and really do hold their views from places of privilege. However, I don't know any of them that would interrupt their cousins' argument about Jewish safety to be like "actually, have you considered the occupation?" It's just a bit too much. In a similar vein, the scene where they go around talking about why Antisemitism exists is still pretty clunky. They might as well all stand up and walk to the front of the stage to deliver it to the audience. 

Despite these very minor gripes, this show immediately jumps to the top of my recommendation lists. It is so funny, so thought-provoking, so poignant, and so entertaining. Please go see it! 

 

 

[hearthemsing22]

Posted: 12/20/23 at 11:23am

Thank you for your in depth reviews! I am going to try for rush but because of what you're saying may have to spring for a full priced ticket.

Actually, does anyone know if the 30 under 35 code is still valid and if so, what it is? Thanks! 

[DCDrama2]

Posted: 12/20/23 at 11:32am

Promo code FAFFRNCH still works on telechargeoffers.com

[forfivemoreminutes]

Posted: 12/20/23 at 12:23pm

hearthemsing22 said: "Actually, does anyone know if the 30 under 35 code is still valid and if so, what it is? Thanks!"

The 30 under 35 code is valid - it's 3U3FRENCH. The seats are all in the side mezzanine. I'd recommend getting the front row mezzanine the furthest seat off to either the left or right; there's a very tall bar on the aisle that could partially obstruct your view from the aisle seats or even the further seats if you're further back than the first row. If you have Audience Rewards, I'd probably recommend using that rather than the 30 under 35 code; the seats for Audience Rewards are in row L midway through the row. That was my seat last night and it was perfect. I would also NOT recommend sitting in the front couple of rows unless you're very tall, since the stage is high.

Updated On: 12/20/23 at 12:23 PM

[BETTY22]

Posted: 12/20/23 at 12:58pm

I'm going early January and CANNOT wait. 

Loved it off Broadway...hoping they didn't change it too much as directors/producers often do. 

[hearthemsing22]

Posted: 12/20/23 at 1:01pm

forfivemoreminutes said: "hearthemsing22 said: "Actually, does anyone know if the 30 under 35 code is still valid and if so, what it is? Thanks!"

The 30 under 35 code is valid - it's 3U3FRENCH. The seats are all in the side mezzanine. I'd recommend getting the front row mezzanine the furthest seat off to either the left or right; there's a very tall bar on the aisle that could partially obstruct your view from the aisle seats or even the further seats if you're further back than the first row. If you have Audience Rewards, I'd probably recommend using that rather than the 30 under 35 code; the seats for Audience Rewards are in row L midway through the row. That was my seat last night and it was perfect. I would also NOT recommend sitting in the front couple of rows unless you're very tall, since the stage is high."

 

I do have some audience rewards points that are just sitting there- I'll use them for this show. Thank you!! 

[TaffyDavenport]

Posted: 12/20/23 at 1:20pm

Regarding seating, I remember house right being much more preferable Off-Broadway, with the majority of scenes taking place on that side. I'm assuming the Broadway staging is the same or similar, so maybe someone who saw it last night can provide some insight.

[forfivemoreminutes]

Posted: 12/20/23 at 1:25pm

TaffyDavenport said: "Regarding seating, I remember house right being much more preferable Off-Broadway, with the majority of scenes taking place on that side. I'm assuming the Broadway staging is the same or similar, so maybe someone who saw it last night can provide some insight."

At the Friedman, I don’t think it really matters unless possibly you’re in the first few rows of the very furthest left or right side. Certain scenes do take place on stage left/house right (for example, Molly and Daniel’s conversation and Elodie and Molly’s conversation), but I don’t think you’d have trouble seeing unless maybe you were in the furthest seat on the other side of the theatre - and even then I’m not sure you would. The Friedman is a very well laid out theatre and doesn’t have many partial view seats.

[Jarethan]

Posted: 12/20/23 at 4:50pm

I am very frustrated that this and Appropriate are produced by companies that have them slotted for limited engagement, since I will not have any opportunity to see either production unless business is strong enough to justify a move.  In the last dozen years, I can think of only one production from Roundabout, MTS or the Second Stage, that transferred after their runs completed.  That was Time Stands Still, which was not a hit after it moved.

I am hoping that the reviews for this and Appropriate will be good enough to justify such a move, but I am not holding my breath.

[hearthemsing22]

Posted: 12/20/23 at 5:38pm

Jarethan said: "I am very frustrated that this and Appropriate are produced by companies that have them slotted for limited engagement, since I will not have any opportunity to see either production unless business is strong enough to justify a move. In the last dozen years, I can think of only one production from Roundabout, MTS or the Second Stage, that transferred after their runs completed. That was Time Stands Still, which was not a hit after it moved.

I am hoping that the reviews for this and Appropriate will be good enough to justify such a move, but I am not holding my breath."

Of course I understand frustration but people always have to accept there are going to  be shows they won't be able to see. Whether it's the length of the run, not having money for tickets- but there are still amazing shows you'll be able to see. 

[TaffyDavenport]

Posted: 12/20/23 at 6:06pm

hearthemsing22 said: "Jarethan said: "I am very frustrated that this and Appropriate are produced by companies that have them slotted for limited engagement, since I will not have any opportunity to see either production unless business is strong enough to justify a move. In the last dozen years, I can think of only one production from Roundabout, MTS or the Second Stage, that transferred after their runs completed. That was Time Stands Still, which was not a hit after it moved.

I am hoping that the reviews for this and Appropriate will be good enough to justify such a move, but I am not holding my breath."

Of course I understand frustration but people always have to accept there are going to be shows they won't be able to see. Whether it's the length of the run, not having money for tickets- but there are still amazing shows you'll be able to see."

Why do you feel the need to respond to posts don't require your input? For someone that's always telling people to relax, you never do. Your preaching is tiresome, and I can pretty much guarantee that no one is paying attention to your "knowledge."

Updated On: 12/20/23 at 06:06 PM

[dramamama611]

Posted: 12/20/23 at 10:24pm

Jarethan said, "I am very frustrated that this and Appropriate are produced by companies that have them slotted for limited engagement, since I will not have any opportunity to see either production unless business is strong enough to justify a move.  In the last dozen years, I can think of only one production from Roundabout, MTS or the Second Stage, that transferred after their runs completed.  That was Time Stands Still, which was not a hit after it moved.

I am hoping that the reviews for this and Appropriate will be good enough to justify such a move, but I am not holding my breath."

 

I feel you although I'm in a better place after having to make the Sophie's Choice of decisions with one last spot I had open:  Appropriate or Days of Wine and Roses- also slated as a limited run .  (I do have tix for Prayer)  I made a choice before the reviews came out for Appropriate.    I don't know if I'll be able to get back in the citry before Appropriate ends.

[Skip23]

Posted: 12/22/23 at 12:51pm

Here’s another one that I’m surprised was transferred to Broadway. I found it long, slow, too ponderous and totally forgettable. Oh well.