Abstract
This article argues that the work of Jack Rosenthal, the television dramatist, has been unaccountably excluded from the canon of British-Jewish writing. A comparison of two different versions of his 1976 television play Bar Mitzvab Boy—which was turned into musicals in both Britain and the US—shows how innovative Rosenthal's aesthetic practice is in representing Jewish characters. The success of the television play is due to its reliance on a hybrid of British and Jewish discourses, rather than setting these against each other (as in the case of the British musical) or merging them (in the American musical).
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
