{"id":1631,"date":"2018-10-15T15:09:10","date_gmt":"2018-10-15T15:09:10","guid":{"rendered":"https:\/\/britishjewishtheatre.org\/?page_id=1631"},"modified":"2019-07-18T09:16:20","modified_gmt":"2019-07-18T09:16:20","slug":"jays-david","status":"publish","type":"page","link":"https:\/\/britishjewishtheatre.org\/?page_id=1631","title":{"rendered":"Jays, David"},"content":{"rendered":"<p>David Jays is a theatre and dance critic for <em>The Guardian <\/em>and <em>The New Statesman. <\/em>He has written eloquently on the lack of Jewish contexts in contemporary British drama: &#8220;Despite the work of <a href=\"https:\/\/britishjewishtheatre.org\/?page_id=31\">Pinter<\/a>, <a href=\"https:\/\/britishjewishtheatre.org\/?page_id=410\">Arnold Wesker<\/a> and <a href=\"https:\/\/britishjewishtheatre.org\/?page_id=1093\">Deborah Levy<\/a>, Jewish writing is a neglected presence in British theatre. If you want to see an overtly Jewish character on the British stage, you usually have to wait for the ambivalent hero-villains in Shakespeare&#8217;s <em>The Merchant of Venice<\/em> or Marlowe&#8217;s <em>The Jew of Malta<\/em>, both written at a time when Jews were officially banished from the country. Subsequent waves of immigration did not produce a correspondingly heightened profile among the dramatis personae of British drama&#8221; (&#8220;Missing&#8221;,\u00a0<em>New Statesman<\/em>, 30 October 2000).<\/p>\n<p>Jays wrote an article on <em><a href=\"https:\/\/www.theguardian.com\/stage\/2019\/mar\/13\/uk-jewish-theatre-voice-secret-history\">\u201cThe Secret History of UK Jewish Theatre\u201d<\/a><\/em>\u00a0for <em>The Guardian<\/em>\u00a0(13 March 2019). For this purpose, he interviewed artists and playwrights like Hofesh Shechter, <a href=\"https:\/\/britishjewishtheatre.org\/?page_id=700\">Tracy-Ann Oberman<\/a>, and <a href=\"https:\/\/britishjewishtheatre.org\/?page_id=43\">Julia Pascal<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>David Jays is a theatre and dance critic for The Guardian and The New Statesman. He has written eloquently on the lack of Jewish contexts in contemporary British drama: &#8220;Despite the work of Pinter, Arnold Wesker and Deborah Levy, Jewish writing is a neglected presence in British theatre. If you want to see an overtly [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":576,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1631","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/britishjewishtheatre.org\/index.php?rest_route=\/wp\/v2\/pages\/1631","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/britishjewishtheatre.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/britishjewishtheatre.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/britishjewishtheatre.org\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/britishjewishtheatre.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1631"}],"version-history":[{"count":7,"href":"https:\/\/britishjewishtheatre.org\/index.php?rest_route=\/wp\/v2\/pages\/1631\/revisions"}],"predecessor-version":[{"id":2707,"href":"https:\/\/britishjewishtheatre.org\/index.php?rest_route=\/wp\/v2\/pages\/1631\/revisions\/2707"}],"up":[{"embeddable":true,"href":"https:\/\/britishjewishtheatre.org\/index.php?rest_route=\/wp\/v2\/pages\/576"}],"wp:attachment":[{"href":"https:\/\/britishjewishtheatre.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1631"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}