Review: Alex Edelman’s JUST FOR US Takes on Antisemitism with Sensitivity and Humor

Comedian and television writer Alex Edelman netted Tony and Emmy Awards for his stand-up comedy monologue Just for Us. The lauded comic was the first American in 47-years to be named the Best Newcomer at the 2014 Edinburg Festival Fringe. His success and his observational comedy blended with his narrative driven storytelling landed him on the Time 100: List of Most Influential People of 2024.

In 2023 Edelman opened his one-man Broadway show, Just for Us, to critical acclaim. The following year Just for Us was filmed for HBO Max. After touring with the hit show, Edelman published his script and made the rights available for others to perform his work.

New Jewish Theatre’s current production of Alex Edelman’s Just for Us opened this weekend in the Wool Studio Theatre. Just for Us stars St. Louis Theater Circle nominee Jacob Flekier as Alex Edelman, and is directed by another St. Louis Theater Circle nominee, Alan Knoll.

Just for Us examines antisemitism through the lens of Edelman’s covert attempt to infiltrate a secret meeting of white supremacists. Imagine a man having the courage to sit in close quarters with people who loathe him solely because of his faith. He listened to their hate mongering and tried to engage in perspective-changing conversation. The moment they confirmed that he was Jewish, they intimidated him and forced him to leave. So, what did Edelman do, he found the funny in a threatening experience.

Edelman’s witty, sarcastic, cutting, and very funny monologue, Just for Us, is bookended with his story about the angry antisemites. But his comedy routine goes well beyond that singular experience. He has included funny stories about growing up in Boston, celebrating Christmas (just once) in a Jewish household, his relationship with his devout parents, and the obligations his faith places upon him.

Flekier, as Alex Edelman, is likable. His entrance felt a bit awkward, telling what Edelman calls “dumb jokes” about a gorilla and a horse. But once Flekier developed his rhythm and timing he comfortably settled into the monologue and became Edelman.

Jayson Lawshee-Gress’ set design resembles the performance space of an intimate comedy club, with downstage seating at cabaret tables. Flekier comfortably moves about the stage weaving in and out of the cabaret tables and engaging the audience at close range. Lawshee-Gress’ lighting design shifts with the actors’ movement.

Flekier’s seamless and engaging storytelling melts 90-minutes into what feels like scant seconds. He charms, amuses, and entertains with Edelman’s dryly funny routine.

There are moments when theatrical sound effects are used to mimic the sound of a screenshot or the chirp of a tweet coming across a cell phone. The sound effects didn’t necessarily enhance Flekier’s authenticity. Instead, it made the intimate and candid tale feel more performative. Flekier’s solid riffing was strong enough to stand on its own as he told Edelman’s personal story.

Methodist preacher Mary T. Lathrop is credited with coining the old adage that says, “don’t find fault with a man until you’ve walked a mile in his shoes.”  Her poem “Judge Softly” asks others to try to understand another person’s burdens and embrace empathy rather than passing judgement.

That’s exactly what Alex Edelman does. He cleverly places the audience in his own shoes. He disarms with humor then sensitively discusses antisemitism, Judaism, assimilation, and hatred.

Reader Reviews

To post a comment, you must register and login.