Review: THE ZIONISTS: A FAMILY STORM at Barrington Stage Company

I follow Barrington Stage Company (BSC) Executive Director, Greg Reiner’s lead in reminding readers how fortunate Berkshire theatre goers are to have opportunities to experience new works.   Many of Broadway’s hits begin or play here along the way, and participating in the process can be rather exciting.  We currently have such an opportunity with a new piece that if asked to sum up in one word, I would use terms like BRILLIANT and / or TREMENDOUS!

In THE ZIONISTS, a prominent upper west side NYC Jewish family, fractured by the politics and aftermath of October 7, gathers for a fragile reunion at a luxury Caribbean resort. As a sudden hurricane bears down outside their bungalow, an even fiercer storm erupts within; forcing them to confront old wounds, clashing values, and the ties that may no longer bind them. In this urgent and deeply human world premiere, THE ZIONISTS lays bare how identity, politics, and history can tear families apart, and the struggle to hold them together in an increasingly divided world.

Transferring to the Boyd-Quinson Theater at Barrington Stage Company following its World Premiere at Miami New Drama THE ZIONISTS features Shira Alon as Dana, William DeMeritt as Zephyr, Coby Getzug as Aaron, Joanna Glushak as Ruth, Yvette Gonzalez-Nacer as Maria, Adam Grupper as Mitchell, Dani Stoller as Bex, and Gregg Weiner as David.  Each member of the talented ensemble shows themselves to be consummate professionals displaying a deep understanding of their individual characters as well as their place in the multi-dimensional workings of the Rosenberg family.

The production features impressive scenic design by Adam Koch, lighting design by Solomon Weisbard, costume design by Anya Klepikov, wig design by Carol Raskin, projection design by Bryce Cutler, prop design Jameelah Bailey sound design / composition by Salomon Lerner, sound design by Andy Evan Cohen. Amy Rauchwerger is Stage Manager, and Evan Bernadin Productions is General Manager.  The creative team has provided a beautiful, elaborate, and handsome set that functions as multiple remote locations including Manhattan, Jerusalem and primarily, an upscale Caribbean resort villa that caters to the likes of Hollywood royalty, the type that are referred to by only one name.

Under the direction of Chloe Treat the various elements of this production are each well developed and executed.  So much so, the two hours (presented in two acts with one intermission) go by quickly and effortlessly.  While the synergy is both powerful and notable, what is particularly noteworthy is S. Asher Gelman’s brilliant script.  In it, he demonstrates a deep and thorough understanding of the multiple points-of-view, sentiment, life-experiences, politics, and emotions that permeate both geo-political affairs, as well as those of the family and its individual members.  Also, the tendency for one’s opinions / beliefs to fluctuate with the addition of both time and information.   I found myself nodding along to point after point, both for and against, varying points-of-view that I have been exposed to, held, rejected, on “both sides”.  I also realized that similar to the way members of the African American community must engage in “the talk” regarding how to present and conduct oneself with respect to so called racially sensitive differences when confronting conflict, members of the Jewish community have been engaged in similar conversations throughout time.

"All of us have caused pain. Serious, deep, lasting pain. And we can fight about who started it forever, like that’s somehow going to make a difference. Like that’s somehow going to end our conflict. Everyone has been hurt. Everyone. We have to agree on that if we ever want to find peace. And then we have to find a way to move on."

THE ZIONISTS: A Family Storm represents a tremendous new piece of theater.  One that, like a gemstone, sparkles on many facets.  You don’t have to possess any particular element, characteristic, or trait, this play will make you think.

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