Playing Orthodox knish salesman and aspiring writer Seth Konig in “The Sabbath Girl” is one of the many Jewish roles actor Max Wolkowitz has portrayed over the years, including in “The Chosen” and “My Name is Asher Lev.”
However, “The Sabbath Girl” differs from many other productions with Jewish representation. The well-received off-Broadway musical is one of the few shows that explores interfaith relationships, particularly with an Orthodox love interest.
Playing at 59E59 Theaters until September 1, “The Sabbath Girl” is a romantic comedy about Italian-American gallery owner Angie (Marilyn Caserta), who is asked by her new neighbor, Seth, to be his “Shabbos Goy.”
Over the months, as Angie helps Seth by turning on his air conditioning, switching on his lights, and answering his phone, the pair bond in a love story that could only unfold in New York City.
Unpacked spoke to Wolkowitz about his experience working on “The Sabbath Girl,” his Jewish identity, and why he believes there needs to be more diverse Jewish representation in theater.
Read more: 10 Jewish characters from Broadway musicals you should know
Max Wolkowitz wanted to portray a nuanced Jewish character
About a year and a half ago, director Joe Brancato approached Wolkowitz to do a table read of the production. At the time, “The Sabbath Girl” was still a play, premiering in upstate New York before the pandemic in early 2020. Since then, it has evolved into a musical with the addition of lyricist Neil Berg to the creative team.
Wolkowitz was immediately drawn to the role of Seth and to the story of “The Sabbath Girl” as a whole. He particularly appreciated the romantic lead’s journey of self-discovery throughout the show.
“There was a lot of depth and nuance to Seth. It was an opportunity to play someone who’s a little stuck but had a lot of yearnings that were a little undirected,” he told Unpacked.
Seth, who left Riverdale for the Upper West Side after his divorce years earlier, struggles with the pressure from his community to conform and return to his old life. He also grapples with his dream of becoming a short story writer, which conflicts with the expectations set for him to continue the family knish business.
Read more: Steven Skybell is bringing Jewish pride to Broadway’s latest ‘Cabaret’ revival
Wolkowitz, who identifies as a Reform Jew, has enjoyed exploring his cultural heritage through Jewish theater. His work has allowed him to delve into Ashkenazi culture, Orthodox practices, and even Israeli and Mizrahi traditions.
“I’ve had the pleasure of learning about those worlds, which are outside of my experience,” he said. “The gift of this career is learning more about people. Since I’ve gotten to work on all these Jewish plays, I’ve had the opportunity to learn more about my heritage and broaden my understanding of who is included in that community.”
“The Sabbath Girl” puts Jews at the forefront of a love story
Fans have fallen in love with the meet-cute between Seth and Angie. The contemporary star-crossed lovers plot was one of the character’s key draws for Wolkowitz.
“There’s something exciting about having a Jewish character at the center of a love story because that’s not always the story that gets told. Sure, they’re out there, but to have it so explicit was exciting to me.”
The interfaith romance is inspired by playwright Cary Gitter’s family. Gitter, who grew up in a Reform Jewish household, has an Italian-American mother and a Jewish father.
While interfaith love stories have been highlighted in productions like “Harmony,” which debuted on Broadway in 2023, and the latest rendition of “Cabaret,” these narratives are still relatively uncommon — even as the number of multi-faith Jewish families increases yearly.
In “The Sabbath Girl,” the cultural differences between Angie and Seth initially prevent them from pursuing a relationship. Both must overcome their biases before they can be together. Once their relationship begins, Seth’s older sister Rachel (Lauren Singerman) disapproves of the couple, continuously urging him to return to Riverdale and marry an Orthodox woman.
Wolkowitz appreciated how “The Sabbath Girl” highlights the shared humanity between Seth’s religious community and Angie’s secular one, demonstrating that they are more alike than they might first appear. He believes that because the musical is set outside the Orthodox community, it allows the audience to view religious Jews through a relatable lens.
“The production demystifies an Orthodox Jew by seeing him through the eyes of Angie, this gallery owner who’s fully integrated into the modern world. The audience gets to see Seth through her eyes, which I think is just a really humanizing lens,” Wolkowitz said.
Some audience members have criticized the romance between Seth and Angie as improbable and pointed out that certain aspects of the show aren’t factually accurate regarding Orthodox Jewish practices. However, Wolkowitz argues that even though “The Sabbath Girl” might not be entirely realistic, that doesn’t detract from its broader message of acceptance and love. He also noted that the musical follows in the tradition of many romantic comedies that are not entirely grounded in reality.
“There is a mythic, almost magical realism element to the storytelling of “The Sabbath Girl.” Yes, it’s improbable, but as with all great romantic comedies, it’s the unlikely pairing that we are so attracted to, and that sparks in us a sense that maybe it could happen anywhere,” he said.
Creating Jewish theater that’s not centered on trauma
When people think of “Jewish theater,” they often recall shows like “Fiddler on the Roof,” “Cabaret,” or “Parade.” These productions, while showcasing the love and resilience of the Jewish community, are centered around antisemitism and Jewish suffering.
Wolkowitz believes that many audience members resonate with “The Sabbath Girl” because it offers a positive story of Jewish joy. By focusing on Seth’s Jewish identity, the show allows the audience to witness the full spectrum of humanity in a marginalized group.
“As with all underrepresented communities, there is tokenizing and mythologizing which comes with a focus on trauma in Jewish stories,” he said. “We may dress differently, we may look different, but we all have the same needs and wants and desires. To exclude any part of that is to undersell the humanity of a community.”
He added that Jewish theater has been resurging as a new generation of Jewish playwrights seeks to tell their stories. In light of rising antisemitism over the past decade, Wolkowitz believes these authentic Jewish works must be seen.
Read more: Broadway star Julia Lester explores her Jewish roots in ‘I Can Get it For You Wholesale’
Wolkowitz reiterated his belief that theater can be a powerful tool for fostering change and acceptance.
“Theater is a medium that is unique in the fact that to experience theater, you need to share air with the people making the art as an audience member. There is something magical to me about that communion of people in space.
“It’s really important that we continue to expand the kinds of stories we tell because it’s a privilege to tell stories live, and that privilege should not be taken lightly. To tell the same stories in the same ways is a wasted opportunity because there are so many stories that remain untold of people who have not been in the spotlight.”
Originally Published Aug 26, 2024 09:23PM EDT
