Theater Won’t Save The World
Don't expect theater to fix problems today
The Genesis: Conversations About Jewish Arts and Culture
Jun 18, 2026 · 40 min · 16 segments
Jewish artists have always found themselves in relationship with the world around them. Sometimes that relationship is generative. Sometimes it is uneasy. Often it requires artists to negotiate Jewish…
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David WinitskyGuestJosh RoseHostI just wanna jump in just by asking you about w- I guess why the Jewish Plays Project.
What was happening in the... or wasn't happening in the world of Jewish theater, and why was there a need for this project that you took on?

I grew up in suburban Philadelphia, where they coined the term JAP, and the c- Jewish conversation when I was a kid was about who had the best drugs and the nicest car, and I was like, "I don't care about this.

I'm out." And I got to my bar mitzvah and just sort of checked out, and then, and then years later, I meet my now wife, and she checks, like, every Ashkenazi Jewish box you can...

All of a sudden, I'm into this cycle of Jewish life, and I sort of come back to the Jewish world in a way, and the conversation that I come back to is social justice and economic justice and racial justice and new perspectives on the Middle East and all this stuff.

And I'm like, "This is the same conversation that I'm having with my colleagues in the theater." And the other thing was I was working in the new play sector, and what I saw was that there were particularly younger writers writing new kinds of work.

But that was n- what was getting produced was Fiddler and Anne Frank and a little Neil Simon and Wendy Wasserstein.

Love all of those things, and they are brilliant, but it was v- a very much a mid-20th century moment, right?

It was all about things that were happening in the middle of the 20th century, and I was like, "That's not where we are in the 21st century." And so we said, "Hey, what we gotta do is create a pipeline to get that work that's being created and get it onto stages," so that's what we've been working on.
I just wanna jump in just by asking you about w- I guess why the Jewish Plays Project.
What was happening in the... or wasn't happening in the world of Jewish theater, and why was there a need for this project that you took on?

I grew up in suburban Philadelphia, where they coined the term JAP, and the c- Jewish conversation when I was a kid was about who had the best drugs and the nicest car, and I was like, "I don't care about this.

I'm out." And I got to my bar mitzvah and just sort of checked out, and then, and then years later, I meet my now wife, and she checks, like, every Ashkenazi Jewish box you can...

All of a sudden, I'm into this cycle of Jewish life, and I sort of come back to the Jewish world in a way, and the conversation that I come back to is social justice and economic justice and racial justice and new perspectives on the Middle East and all this stuff.

And I'm like, "This is the same conversation that I'm having with my colleagues in the theater." And the other thing was I was working in the new play sector, and what I saw was that there were particularly younger writers writing new kinds of work.

But that was n- what was getting produced was Fiddler and Anne Frank and a little Neil Simon and Wendy Wasserstein.

Love all of those things, and they are brilliant, but it was v- a very much a mid-20th century moment, right?

It was all about things that were happening in the middle of the 20th century, and I was like, "That's not where we are in the 21st century." And so we said, "Hey, what we gotta do is create a pipeline to get that work that's being created and get it onto stages," so that's what we've been working on.
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Theater Won’t Save The World
Don't expect theater to fix problems today
Identity’s Tie To Trauma
He questions identity and its traumatic roots
The Classic Jewish Double Bind
Artists feel insider outsider bind again now
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