Prayer for the French Republic, The Huntington, main stage, Boston, through October 8. 617-266-0800. (Broadway production at Samuel J. Friedman Theatre-in previews December 19 and opening January 9,2024)
Why is anti-Semitism spiking in France? How do French Jews react to it? Should they go on offense or defense? Jewish playwright Joshua Harmon (familiar to many local theatergoers for "Bad Jews'' and ""Significant Others," both affecting works strikingly staged by SpeakEasy Stage Company) provocatively explores all of these troubling questions—and by extension all religious and ethnic prejudice—in his 2022 family-centered drama "Prayer for the French Republic." Now in a powerfully disturbing premiere at The Huntington under company artistic director Loretta Greco's careful guidance, this acclaimed Broadway-bound drama (the inaugural winner of the Theater J Trish Vrandenburg Jewish Play Prize) has as much to say about all forms of hatred as it does about responses to anti-Semitism itself.
In warning about the enduring peril of anti-Semitism, Harmon smartly moves his France-set play between the 2016-2017 of the Parisian Benhamous and their post-Holocaust 1940's maternal ancestor Salomons. Both the Benhamous—whose family name derives from Sephardic husband-father Charles—and the Salomons are as much patriotic French citizens as proudly Jewish. In that light, the play's title alludes to a traditional prayer recited on Sabbaths and holidays at French synagogues on behalf of the government (with American and other counterparts in free countries around the world). Here Charles Benhamou—not a regular synagogue attendee—accompanies son Daniel to services.
The dramatic catalyst for Charles' new interest in the prayer and services is kippah (yarmulke)-wearing Daniel's immediate backstory assault and its impact on his and other family members' diverse views about anti-Semitism, hate, terrorism and being both French and Jewish. While Charles becomes energized to the point of Zionistically desiring to make Aliyah (settling) to Israel, Daniel's uncle Patrick insists that keeping a low profile—not wearing a kippah publicly-is the optimal approach, argues that Charles is brainwashing his wife Marcelle(Patrick's sister) . The siblings' father Pierre—the fifth and last Salomon to run the longstanding piano company—reminds accurately that three-quarters of France's Jews survived the Holocaust.
Harmon's choice of France and French Jews—the actual third largest Jewish community in the world (after Israel and America respectively)—for his approach and insights is particularly fitting because the idea of being both solidly French and openly Jewish has been an ongoing subject over the years. Eventually it is clear that the playwright respects all of the characters' views and options—perhaps most notably when American distant cousin Molly offers that people should go where they feel safe.
Particularly helpful to the airing of different views about anti-Semitism, France, citizenship, Jewish identity and Israel are the strong performances of the cast. Amy Resnick sharply balances Marcelle's feelings for France, her love for Charles and her mixed emotions about her husband's determination to head to Israel. Nael Nacer--substituting for Barzin Akhavan—has the right zeal about Zionism and appealing energy making the family's Chanukah donuts (sufganiyot). Joshua Chessin-Yudin is a standout as complex Daniel—especially in his concern for Sabbath candle-lighting, his developing relationship with Molly and his fondness for the guitar and Dylan's music.
Tony Estrella catches Patrick's conflicted views and affection for his sister. Carly Zien has fine attitude as Daniel's independent-minded sister. Will Lyman brings proper gravitas to Pierre, and Jared Troilo has stinging intensity in a Holocaust-scarred outburst as his father Lucien. Also riveting are Phyllis Kay and Peter Van Wagner as Pierre's grandparents, Talia Sulla as Molly and Jesse Kodama as Young Pierre. The revolving table in Andrew Boyce's evocative scenic design effectively enhances the contrasting 1940's and twenty first century scenes.
As Harmon's wide-ranging play speaks of the 2015 Charley Hebdo and French kosher supermarket attacks, some audience members may be calling to mind the Proud Boys and Oath Keepers. No matter which characters' views theatergoers espouse, "Prayer for the French Republic" should provide them with a lot of spiritual sustenance as well as uncommonly rich theater.