Ezra Brodesser-Akner

What Broadway show, which we don’t necessarily think of as Jewish, is rooted in Judaism?

Benj Pasek

Broadway is a really interesting ecosystem, as there are shows that are inherently Jewish that have immense resonance in other cultures. For example, Fiddler on the Roof–what we think of as a Jewish show–is actually incredibly popular in Japan; the core of the show is about the idea of breaking from tradition, which is exactly what happened in Japan as Western influence led the younger generation to split from their older counterparts. 

Many Jewish writers have written about experiences that are inherently Jewish, but not necessarily about Jewish identity. For instance, in South Pacific, a show about how the holocaust happened, there’s a song about racism called “You Have to be Carefully Taught.” 

There’s also something very Jewish in the process of writing Broadway shows; the opening song in any musical establishes the setting. Within the first twenty minutes, everything is shaken, as the protagonist feels alienated from the world in which they live. This dynamic resembles the Jewish experience living as the “other,” even once assimilated.  

Ezra Brodesser-Akner

Have you been involved in any advocacy for Israel since the start of the war?

Benj Pasek

The American Jewish community is in a very difficult moment; people are very polarized, and I sympathize with different elements of both sides. I’m still trying to figure out where my voice can best effectuate change. While I understand why people are so divided on the issue of Israel, we need to work together to figure out how to advocate for our safety and self-determination. At the same time, we must not forget the nuances of the current situation. Our grief and intergenerational trauma must never evolve into something that harms others.

Ezra Brodesser-Akner

What kind of art do you think could be made out of this awful time in Israel?

Benj Pasek

The best kind of art is when you ask questions rather than try to provide answers; I’m in the middle of exploring what those questions are. A colleague and friend of mine, Josh Harmon, has a new play coming out on Broadway called Prayer for the French Republic. It’s about a French family who, after one of the children is the victim of an antisemitic attack, deliberates whether they’re safe in France. The play raises important questions–including what it means to be safe and when people should flee–and explores the question of global Jewish safety. This kind of art–one grounded in exploration–is what I’m really interested in and will continue to create.