the art of becoming humane
Working Copy September 11, 2026
About: Narrative artist and author Abby Kamen mines her own history as a Jewish American to illustrate how cycles of harm perpetuate and can be dismantled by addressing the papercuts of patriarchy.
Cast: around 10 people, young, various genders etc. Able to act and sing.
Costuming: feel, better t-shirts w/either black leggings or joggers. black tennis shoes. Maybe leopard glasses when reading.
Set: large screen, a few tall director’s chairs scattered on stage
note - otherwise actors in various positions, sitting at corner of stage, back to back with each other etc.
Lighting: colors, spot lighting, starry effects, flying doves
Music: full playlist
Instrumental and recorded pieces scattered through-out
Singing pieces are a mixture of a capella and live music - played with a few musicians (key board, guitar, drums)
Props: leopard glasses (?), soul shield, irises, red shoes or red lights, green light glasses
Overture and Introduction: crystal lights
House lights dim and stars are projected onto the audience.
“Water” by Arelius plays as intro and switches to behind ABBY’s pre-recorded voice when curtains open and house goes dark. crystal lights illuminated on screen.
Dark after scene
ABBY
I am who I have always been… becoming me remains the tricky part.
Pisces sun, Aries moon, Cancer rising. 5/1 emotional generator if you are into that sort of thing.
Storytelling is in my DNA.
Peter Pan is my alter-ego, mixed with a good amount of Wendy, Tink, and Tiger Lilly. The lost boys are my kin. From childhood on their plight remains personal. It’s an inner knowing that there is more to being human than conforming to the status quo.
As a kid I played well in the sandbox, but I never felt like I fit in. Any attempt to explain this was brushed off as me being overly sensitive. Conversely, I vividly remember a sense of belonging in their story. With a dash of fairy dust, heartfelt belief, gusto, and courage, justice could prevail.
Neverland felt like home.
As I matured, I have been taunted and praised in equal measure for seeing the positive in situations and people. On a good day, I can get things done, push for social justice, or simply make gathering lots more fun. On a bad day, I am labeled a Pollyanna and told to go play with my fucking faires. Eyes roll. My motives are questioned. I’m patted on the head and dismissed.
I feel the world within and around me deeply. My vulnerable nature has been mistaken as a sign of weakness and naivete. I have questioned it too.
Turns out everything I have ever been provides a unique vantage point for the messaging I came to deliver. My purpose, if you will.
Nothing tragic has happened to me. In fact, I am the American Dream.
My immigrant grandparents fled Eastern Europe at the turn of the 20th century due to anti-semitism. Their families brought them here as small children with nothing but a dream for better and the tenacity to achieve it.
My parents, albeit still othered, were able to garner education and some form of stability, paving the way for my generation to succeed even further.
Personally, for me it went well.
It is from this vantage point of privilege, I explore the papercuts of white supremacy, colonization, and hierarchical systems of oppression.
I have always used my pen and my art to express myself. Over the last ten years this talent has been pointedly directed into an anthropological inquiry of my humanness, and in turn yours.
A swell of information has poured out of me in a steady stream of both conscious observations and unconscious revelations.
The camera has been my guide and an existential crisis became my launching pad.
As you witness me, look for your reflection. Here goes…
Scene 1: feel, wonder
feel, wonder illuminated on screen.
spot light on actor. dark after scene
ACTOR:
Privilege, you see, led me to think I was above the fray. My white “liberal” self thought I was such a “good” person - so evolved, so broad minded, so nice, so free from judgments and expectations. Quite lofty of me, right?
It’s impossible to be a human living today and not be affected by the weight of the patriarchy. I was carrying more than I thought.
When I looked into the mirror, a stranger, stamped with a series of labels, looked back.
Woman, cis, white-ish, Jew-ish, American, hetero, small, adhd, middle age…
Some of these labels offered me privilege, acceptance, and safety. Others offered persecution, rejection, and danger.
Why?!
It was a question I could no longer ignore.
Scene 2: feel, creative
feel, creative illuminated on screen.
spot light on actor. dark after scene
ACTOR:
In response to my inquiry, I simply couldn’t stop thinking, writing, and talking about my family. I still can’t.
With each iteration of my telling, the lens of my perspective expands and I become braver in my candor.
Who were we? What had happened to us? Where and when did these events take place? How did these events make us feel?
Scene 3: feel, intuitive
feel, intuitive illuminated on screen.
spot light on actor. dark after scene
ACTOR:
The universe began speaking to me in surround sound.
The art and words came pouring out of me with the soundtrack of my soul providing musical interludes.
As my intuition leveled up, I found I was able to tap into a bit of clairvoyance.
I have some energetic gifts that, at times, allow me access to other frequencies. Don’t worry, the woo is not the important part.
Just know it was uncanny and unnerving.
Scene 4: feel, driven
feel, driven illuminated on screen.
spot light on actor. dark after scene
ACTOR:
I found myself firmly planted on road less travelled. I had already taken all the detours that were mine. With no off ramp in sight, apparently I was ready to see what I couldn’t see before.
Onward I went, each mile marker shedding another layer of the patriarchy trapped within me.
Bumps of transparency, authenticity, and accountability peppered my trek.
Along the way I started to address my relationship with misogyny, homophobia, classism, racism, ableism, etc. With each rest stop, a freer me emerged.
The process is ongoing, as my story will reveal.
Scene 5: color me real
color me real illuminated on screen.
“This Is Me” from Greatest Showman sung by three cast members
spot light on singers (3). Audience washed in black light. dark after scene
SINGER 1
I am not a stranger to the dark
"Hide away, " they say
"'Cause we don't want your broken parts"
SINGER 2
I've learned to be ashamed of all my scars
"Run away, " they say
"No one'll love you as you are"
SINGER 3
But I won't let them break me down to dust
I know that there's a place for us
For we are glorious
All three SINGERS
When the sharpest words wanna cut me down
I'm gonna send a flood, gonna drown 'em out
I am brave, I am bruised
I am who I'm meant to be, this is me
Scene 6: soul shields
soul shields illuminated on screen each individual shield w/words so audience can read.
“Breathing Space” plays thru scene
spot light on actor wearing a soul shield. dark after scene
ACTOR
And then time stopped.
The pandemic whiplashed me, like many, into a suspended Neverland state. Watching it all unfold was both terrifying and unifying.
While I will never be able to wrap my head around the devastation, personally I was relieved to get off the human hamster wheel of modernity.
I learned to protect my body from disease. Then I learned to protect my soul from the dis-ease of supremacy.
“Home” took on new meaning and the comprehensive care of becoming humane began to enter my awareness.
Scene 7: color me now
color me now illuminated on screen
“Somewhere Over The Rainbow” from Wizard of Oz
a few cast members on stage wearing illuminated red shoes or red lights at ankle so all you see is art and their feet doing simple dance moves spot light on actor wearing a soul shield. dark after scene
SINGERS in unison
Somewhere over the rainbow way up high
There's a land that I heard of once in a lullaby
Somewhere over the rainbow skies are blue
And the dreams that you dare to dream really do come true
Someday I'll wish upon a star
And wake up where the clouds are far
Behind me
Where troubles melt like lemon drops
Away above the chimney tops
That's where you'll find me
Somewhere over the rainbow bluebirds fly
Birds fly over the rainbow
Why then, oh, why can't I?
Scene 8: feel, protected
feel, protected illuminated on screen
spot light on actor. dark after scene
ACTOR:
It's important to note that “Somewhere Over The Rainbow” was created by two gay, Jewish men. Written during the depression and against the backdrop of rising anti-semitism in Europe, they channeled a deep sense of yearning, displacement, and hope for safe haven.
Safety. Please tell me what that means, and where I might find it?!
It never occurred to me how much the crossover of my Jewish identity affected everything else.
Our papercuts are magnified by the accumulation of our marginalization.
"Dig Down Deep," the hit song by my high school friend Marc Cohn played on loop as the excavation of my soul continued to unfold.
Scene 9: color me deep
color me deep illuminated on screen
“Dig Down Deep” by Marc Cohn
spot light on singers in aisles. Audience washed in purple. hand iris per verse. dark after scene
SINGER 1:
Baby let's go below the surface
See what we can find
There's no reason to be nervous
'Cause it happens all the time
SINGER 2:
I don't want to go up to the mountain
I don't need to go down to the sea
Gonna sit right here 'till we unravel
The mystery
SINGER 3:
While the lights of the city
Are shining below
Gonna hold onto you girl
And never let go
SINGER 4:
While everyone else is just walking around
In their sleep
Baby let's dig down
Dig down deep
I want to dig down deep
SINGER 5:
And I don't wanna wait until tomorrow
'Cause the fortune said that "The time is now"
It's time to find out what we're doing
What we're doing anyhow
Scene 10: identity
identity illuminated on screen
“blackbird” instrumental plays thru scene
spot light on actors - full cast. dark after scene
ACTOR 1:
Until 2020, I honestly didn’t identify as white.
Yes, it was the box I checked for race, but this is only because post World War II it has been inappropriate to formally acknowledge Jewish as a race. I didn’t feel white and was treated by the world accordingly.
I was a Jewish American, not a regular American. I was part of the tiny minority presumably responsible for the death of Christ; my skin color was irrelevant. I wasn’t Christian. I was an outsider.
ACTOR 2:
The disparity between skin color and class was (and still is) a chasm of phenomenal magnitude, and being Jewish just added another layer of complication to the mix. We were white-ish, so we did not face the same subjugation as BIPOC folks, but we were still segregated.
White folks didn’t want to live alongside “our kind.” I grew up in a neighborhood that was ninety-three percent Jewish and probably ninety-seven percent “white.”
ACTOR 3:
My family was part of the uprising of Jewish affluence in Cleveland Ohio and we lived in one of the smaller homes in the older section of town. Yes, separate but equal applied to Jews too.
Until the Fair Housing Act of 1968 we couldn’t live on the street behind us, it was restricted. No Jewish people. No Black people. I’m sure others were barred too. Basically, you could only live there if you were white and Christian.
ACTOR 4:
For our part, we created our own communities, social clubs, and schools. There was inverse segregation in this impulse, too.
My dad had fought in World War II, an experience which became tied to our task to “never forget.”
We were to marry Jewish, support Jewish causes, keep Jewish customs alive. The idea was to protect our own ... because no one else would.
ACTOR 5:
From a young age, I also found myself trying to come to terms with my parents’ prejudices. The very people who instilled in me their support for the progresses of the Civil Rights Movement would just as quickly deem another inferior for actions, behaviors, and situations they knew nothing about.
I believe it was self-protection that kept my folks from realizing that the prejudices they maintained mirrored the prejudices projected against us.
As our white skin and ability to assimilate took hold, somehow we became one tier above Black folks. This is where our shared history of oppression in America divided.
As a child, we were not rich, but we did have maids. Yes, black women. It was the norm. A hideous truth, but the truth none-the-less. The rear view is excruciating, but so it was.
At the time it seemed to me that our families truly cared for one another. We likely did. I witnessed my parents do many kind things for many people, especially those with less than us.
It was complicated, and we still faced persecution too.
What I can say is that both my parents’ bigotry and their desire for justice were woven into the fabric of our Jewish identities.
ACTOR 6:
To this day, every time the headlines read antisemitism is on the rise, fear pulses through my body. My community stands on high alert. And by community, I mean Jews locally and globally. We look for the signs; are we here again?
A shooting in a synagogue in France affects us the same as if it happened down the street. Holocaust-related imagery seeps into our collective memory. We hold each other, literally and figuratively. We utter, and this is why we can never forget.
And it happens in small ways too. For example, my kids’ educational environment was predominantly white Christian. While the school attempted diversity, the playground could sometimes be rough. Boys will be boys and some ridiculous game of 8th grade tag revolved around kill the Jew. It was squashed, but it happened.
ACTOR 7:
I share all this information to explain why recognizing that I was white confounded me. I never felt white, because I wasn’t the right kind of white.
And then the events of 2020 made the benefits of my whiteish privilege resoundingly clear. I was crushed by the implications of harm I may have caused, albeit from naivete.
ACTOR 8:
It was my son who really schooled me on my privilege. From high school on he would try to explain that I had to broaden my lens past antisemitism and realize how many barriers my skin color walked me through.
Still, I didn’t totally get Black Lives Matter until the death of Breonna Taylor.
This was my city! My heart simply shattered, and in my grief I sat my ass down and listened to what my Black peers were saying. Until this moment I truly was unaware that Black folks were treated differently by the police than white folks.
ACTOR 9:
I didn’t know that one of my daughter’s friends wore his identification badge at all times on campus to ensure the police knew he was a med school student at the University of Louisville and not a threat. The breadth of what I didn’t know was massive.
ACTOR 10:
Yes, I knew what it felt like to be the other in America, but at the same time, my white skin had protected me from the worst of our history in this country. I felt blind. I felt uneducated. I felt embarrassed. I felt devastated. How had I missed what was going on?
Things were not fine; things were awful.
I had to evolve, but would quickly learn I couldn’t shift one part without shifting all of me. My evolution had to be intersectional, and it continued to come in small waves, as each piece of me was splayed on the table for my investigation.
Scene 11: color me bold
color me bold illuminated on screen
“Defying Gravity” from Wicked
spotlight on singer. butterfly image cast on audience. dark after scene
SINGER:
Something has changed within me
Something is not the same
I'm through with playing by the rules
Of someone else's game
Too late for second-guessing
Too late to go back to sleep
It's time to trust my instincts
Close my eyes and leap
It's time to try defying gravity
I think I'll try defying gravity
Kiss me goodbye, I'm defying gravity
And you won't bring me down
Scene 12: evolving
montage of this series as actor speaks. words clear so audience can read.
“Open Heart” plays thru scene
stage remains dark/actor not seen. dark after scene
ACTOR
Evolution - sponsored by my highest self, Mother Nature, and you. Apparently the instructions are revealed along the way…
Scene 13: feel, powerful
feel, powerful illuminated on screen
spotlight on singer and actors. dark after scene
SINGER: a cappella
“Oyfn pripetshik brent a fayerl,
Un in shtub iz heys.
Un der rebe lernt kleyne kinderlekh
Dem alef-beyz.”
ACTOR 1:
At fifteen I sang this Yiddish song, “Oyfn Pripitechek” at my Confirmation.
The cantor was surprised by my song selection. As we assimilated, Yiddish bore the connotation of the old country. A few words made it into common vernacular, like mensch, or schmuck, but used otherwise was frowned upon.
He was also surprised by my voice. Where had I been hiding? The humor was that I was hiding in plain sight. He had kicked me and another kid out of the youth choir when we were ten because our voices were underdeveloped and we sang off key…
Nonetheless, my Confirmation was a powerful moment. It was on the horizon of the ERA. Women were starting to enter the rabbinate and some girls were even getting bat mitzvahed. I was not one of them.
ACTOR 2:
Despite being Reform, the more liberal sect of my religion, my family still carried some traditional gender roles, my synagogue too.
The rabbi was actually a relative of my paternal grandmother. I still have the enamel necklace his wife made for me as a child. It’s in the shape of a heart bearing my Hebrew name and some pretty flowers.
Avigayal, like King David’s wife.
Biblical lore is that her hospitality and kind words restrained David from killing many innocent people in his anger …
ACTOR 3:
The song opens with a cozy image: a little fire burning on the hearth is making the room warm. A teacher is surrounded by children, instructing them to repeat the foundational sounds of Jewish literacy over and over, famously chanting "Komets-alef: o!"
As the song progresses, the children are told that when they grow older they will understand how many tears and hardships are embedded within those Hebrew letters and Jewish history.
The song has served as a nostalgic anthem of Eastern European Jewish life, culture, and resilience, despite historical persecution.
Scene 14: feel, creative
feel, creative illuminated on screen
spotlight on actors. dark after scene
ACTOR 1:
From the moment I entered this world, the tragedy of the Holocaust was drilled into my brain. I was told we must share our story so it would never happen again. The way the information was presented was as horrifying as actually living it. That was the point. So we, and the world, would never forget.
This would be the last of “man’s inhumanity to man.”
“Never forget,” but we did. Not because of the people, but because of the systems.
The systems failed us. Maybe that was the plan. Fear is a powerful tool. Teaching horror doesn’t heal it, or prevent it. It just increases levels of survivalism.
The oppressed and the oppressor remain bound together in a web of cruelty designed by power and sponsored by greed.
The vitriol and hypocrisy is unbearable and real people continue to be trapped in unthinkable situations and on it goes…
ACTOR 2:
With the future in mind, it appears the story I must share now is the one I actually lived.
I am not going to qualify my experience, I’m simply going to share it.
Because what you need to know from me is how it feels, not a political or historical dissertation.
I’m not equipped to offer either.
Scene 15: color me brave
color me brave illuminated on screen
“brave” by Sara Bareilles
stage dim, house lights dim, raw effect. dark after scene
SINGER a cappella
You can be amazing
You can turn a phrase into a weapon or a drug
You can be the outcast
Or be the backlash of somebody's lack of love
Or you can start speaking up
Nothing's gonna hurt you the way that words do
When they settle 'neath your skin
Kept on the inside and no sunlight
Sometimes a shadow wins
But I wonder what would happen if you
Say what you wanna say
And let the words fall out
Honestly I wanna see you be brave
Scene 16: feel, reflective
feel, reflective illuminated on screen
spotlight on actors. dark after scene
ACTOR 1:
I was raised both American and Zionist, with my Jewishness attached to both identities. I was so proud of my citizenship here and my potential there. Two places claimed me, or at least I could “kind of” claim them.
On the bimah of every synagogue I have ever attended resides both the American and Israeli flags. Every service concludes with a separate blessing for each country.
For my family, our Judaism was heavily vested in our relationship with culture and country, both of them, intertwined. My religious practice, my cultural identity, my spirit, my patriotism, my safety, and my idealism intersected at this horizon.
Our food was a mix of Eastern European and Mediterranean. As was our praying, dancing, singing, celebrations, philanthropy, and community gatherings. With a healthy dose of Americana on the side.
ACTOR 2:
On the other side of the terror that was my Holocaust education, was my ability to assimilate. Without a yellow star to identify me, the trick was to move through the world as seamlessly as possible. Carrying my identity and camouflaging it at the same time.
It was a compliment for someone to tell me “you don’t look Jewish.” To be invited into the inner circle of the Christian world.
ACTOR 3:
When I first moved to Kentucky that was not the case. Upon meeting me folks asked “are you from New York?” The way I dressed, spoke, carried myself, etc, was reflected as “Jewish.”
After living here for a few years, I morphed just enough to shift from a New York statement, to one of a subtler genre. I toned my speech, my hair, my fashion, and amped up my artistry. Voila, acceptance.
ACTOR 4:
My events and volunteerism cast me in a wonderful light, both in the Jewish community and at the predominantly Christian private school we had the means for our kids to attend.
Still my family’s Jewish identity posed a conundrum for ourselves and others.
ACTOR 5:
On one hand, we were readily accepted - our talents, outgoing personalities, sense of style, and big bar/bat mitzvah experiences brought folks into our world with pinash. For my part, I was thrilled, I was my ancestors dream, the American one.
ACTOR 6:
On the other hand, it was still a challenge to fit in. This is particularly true for kids. Being different in any way hurts them all. I know my kids felt it deeply. My son felt his queerness, his lack of athleticism, his consciousness about his nose, and his Jewishness simultaneously. Like wise, my daughter felt her size (tiny), her hair (brown and curly), her boobs (bigger than she liked) and her Jewishness too.
Despite the mixed messaging, both were class presidents, stars of the plays, captains of sports teams, etc. The complication of fitting in whether one wants to or not, threaded into the Jewish community too. Again, for the folks in the back - we are not all the same, in any grouping of people, in any labeling of identities.
ACTOR 7:
Also, on the other side of that trauma induced education, was the beauty of a place I thought was a safe haven. I was told should things ever get bad here, at least I could go there.
From the land of prosperity to the land of milk and honey, was I lucky or irrelevant? On any given day it could go any given way. Nothing is exactly…
Scene 17: color me alive
color me alive illuminated on screen
“This Girl Is On Fire” by Alicia Keyes
spotlight on singer w/rest of cast surrounding them holding faux lighters. dark after scene
SINGER
She's just a girl and she's on fire
Hotter than a fantasy
Lonely like a highway
She's livin' in a world and it's on fire
Filled with catastrophe
But she knows she can fly away
Oh-oh, she got both feet on the ground
And she's burnin' it down
Oh-oh, she got her head in the clouds
And she's not backin' down
This girl is on fire
This girl is on fire
She's walkin' on fire
This girl is on fire
Scene 18: feel, expansive
feel, expansive illuminated on screen
spotlight on actors. dark after scene
ACTOR 1:
Here is a brief sampling of my life so you might get the gist of what it feels like to be Jewish me. Like you, I am rooted in the expanse of my ancestry. It is what it is, highly personal and collective at the same time.
From childhood on, Friday nights were reserved for Shabbat. We could miss if something was going on, but mostly we wanted to be there. It was a special meal and a fun family time. My father brought my mother flowers, just like they did in Israel.
The blue box was ever present to collect tzedukah (charity) for Jewish National Fund. My folks were very active in this organization. They traveled to Israel often with a specific group of friends, all leaders in the Cleveland Jewish Community.
Over my lifetime I have also invested heavily here. I thought I was planting trees and bringing water to make a desert habitable.
“ A land without a people for a people with a land…”
ACTOR 2:
As a kid I was taken to a grand premier of the popular film, Fiddle on the Roof.
As a tween our family actively participated in walk-a-thons to free Soviet Jews.
At sixteen I was sent to study in Israel for a summer. It was a rite of passage for many of my peers and all of my cousins.
In my late twenties I joined AIPAC and was so taken by what I thought was the possibility of a peaceful world that I jumped on a stage and led a room of 3,000 young adults in Hatikva (Israel’s national anthem).
ACTOR 3:
My sisters and I would sing Hebrew songs on long car trips with our family. Tears would clutch our throats and form in our family’s eyes when we got to “Jerusalem of Gold.”
ACTOR 4:
In my thirties I went to Israel with my husband and other young couples from Louisville. It was a leadership mission and we were proud to be included.
In my forties, joy of all joys, I went on an inter-generation trip with my husband, my parents, and children. Since there is always trouble in the “Middle East” I was afraid to go with the kids, who at the time were seven and ten.
But my folks and husband convinced me it was a once in a lifetime opportunity and that we’d be together, what could be safer?
Scene 19: theory of relative-ity
theory of relative-ity illuminated on screen
spotlight on actors. dark after scene
ACTOR 1:
It was indeed a very special and tender time, but let me share the trauma of the first 48 hours to put our commitment to this place in perspective.
It takes about 20 hours to get there. You must fly out of a major city, like New York. Upon arrival we were swept off to a luxurious breakfast spread at a botanical garden. From there we went to Independence Hall to hear about the “heroic” birth of the country.
Mid-way through the presentation one of the most horrible moments in my life occurred. The other would happen a few hours later.
Deep cleansing breath…
ACTOR 2:
My daughter tugged on my shirt and told me she had a headache. To which I uttered the cruelest thing that has ever come out of my mouth. “I’m sorry, Anne Frank couldn’t afford to have a headache. They are telling us something important. You’ll have to pull it together.”
Let that sink in…
I had dragged this child across the globe. God knows when she last slept or ate. She has food intolerances to make matters worse. Exhausted and likely famished, tears rolled quietly down her face.
Realizing my insane reaction I immediately grabbed her in a bear hug and promised some chocolate when the speech was done.
We exited soon enough, and chocolate was delivered, all was well…
A pretty terrifying response coming from otherwise gentle me, right?!
ACTOR 3:
It gets worse.
The next stop was some bunker in a flour factory. Apparently the place where the early settlers fought off both the British and the “Arabs.” A fact I couldn’t understand. But as I tried to figure it out, terror took over.
Where was my son?! We were 30 minutes into the tour. Where was he?! He was seven! In a strange country! I was so wrapped up in what they were telling me that I lost him. Me, I lost him!
Terrified, my folks, husband, daughter and I started frantically searching the building. Did the tour continue? Did it stop, I don’t remember… Finally one of our guides told me that my son had been located on the bus. He had fallen asleep. And I, me, failed to notice he never made it off with us!
ACTOR 4:
The poor kid was scared he’d done something wrong by falling asleep… after being dragged across the globe and being up for basically two days…!
Please do not gasp or pity me. See me. Hear me. For I am a reflection of you - a tattered limb hanging from our shared global body.
My pain is yours, and vice versa. The manipulation of power and greed over our souls is sadly our common denominator.
Scene 20: feel, woke
feel, woke illuminated on screen
spotlight on actors. dark after scene
ACTOR 1:
In my lived experience our familial trip to Israel proved to be the inter-generational bonding experience we had hoped for. Our commitment to both countries remained steadfast.
As such, when the Iraq war was at its peak, an alliance called “Bridge to Fort Campbell” caught my attention. It was an initiative at my kids' school. The project provided multiphases of support for the special army forces stationed at Fort Campbell and their families.
It proved to be an opportunity for my daughter’s Bat Mitzvah project. We took on the role of planning the holiday party by providing both entertainment and gifts for the children whose parents were deployed.
For her Bat Mitzvah service in 2008, my daughter’s yamukees were designed with a circle of alternating American and Israeli flags. She has an excellent singing voice and accompanied the rabbis in song throughout her service. She closed by leading the congregation in Irving Berlin’s “God Bless America.” Our voices united in robust patriotic pride and hope.
ACTOR 2:
Fast forward to 2017.
Trump was now the president. The “yes WE can” Obama vibe was gone, replaced by “make America great, again.”
It was around July 4th and I was in Cleveland visiting friends and family. I went to walk around my favorite quaint suburb. The flag draped nearly every home and shop. Instead of feeling safe, I felt betrayed.
The town remains a nostalgic nod to a Norman Rockwell painting (you may need to google him). I found this slice of Americana to be a stark contrast to my previous night spent attending an outstanding performance of Hamilton.
I knew the history I was taught in school wasn’t comprehensive, but things were revealing to be not only lacking, but completely inaccurate.
Erin Gruwell’s book Freedom Writer’s Diary served to inform my discomfort.
In the wake of the 1992 brutal death of Rodney King, Gruwell crafted a transformative practice. She reached her students living in situations plagued with despair and racial intolerance by connecting the violence of the street to that of the Holocaust.
ACTOR 3:
It is now 2026 and the relevance is excruciating.
The vastness of what I didn’t know, what many still can’t bear to know is massive.
What do you do when the very thing that holds your identity, love, nostalgia, community and spirit is exposed as the vehicle for the genocide of another people?!
I did not learn about the occupation of Palestine until recent events. It was always the rhetoric that our Arab neighbors unjustly wanted to destroy Israel, my people's safe place.
The difference between Obama and Trump no longer feels seismic. Today I fear they may be different sides of the same coin. Liberal vs extreme. One a softer cushion, the other relentlessly cruel. But either way, war upholds the economy, the system doesn’t actually change, and we continue to kill each other, here and abroad.
As a cis, white, Jewish, American, female, “not in my name” resonates not only as my response to the Palestinian crisis, but everything we are experiencing.
I feel like an artichoke in a washing machine. I am having a hard time finding which way is up. Tossed and tumbled, each cycle peels back another layer of me in search of my heart and humanity.
Scene 21: curiosity
curiosity illuminated on screen
spotlight on actor. dark after scene
ACTOR:
We are in a trauma pile up. Our generational trauma has reached a threshold that can no longer be contained. Fear has blinded us and placed our hearts in a chokehold.
To think that people had it better in other times is a lie.
Better for who?
The dark reality of our situation is that it reflects how shitty we have been to each other going back millennia.
My community is torn, others are being demolished.
My concern for humanity’s welfare is considered violent, and violence is condoned as the answer.
In questioning what I thought I knew, my motives are questioned.
In wanting solidarity with another people, I’m alienated from mine.
I’m told I’m naive, disloyal, and making things worse. Am I?
What I can say with absolute clarity is that war will never achieve peace, only healing will.
Scene 22: color me well
color me well illuminated on screen
“Mi Shebeirach” by Debbie Friedman
spotlight on singers (3) holding each other tight. audience washed in light of teal looking water. dark after scene
SINGERS:
Mi shebeirach avoteinu
M'kor hab'racha l'imoteinu
May the source of strength
Who blessed the ones before us
Help us find the courage to make our lives a blessing
And let us say Amen
Mi shebeirach imoteinu
M'kor habrachah l'avoteinu
Bless those in need of healing with r'fuah sh'leimah
The renewal of body, the renewal of spirit
And let us say Amen
Scene 23: feel, loved
feel, loved illuminated on screen
spotlight on actors. dark after scene
ACTOR 1:
LOVE is the answer, but the questions are complicated.
We want love to be obvious. We want it to exist with a binary foundation. Black/white, good/bad, pure/evil.
But alas, love remains elusive, because it is infinite and all encompassing.
It’s the magnificent colors of our humanness. It’s the place in between. The place that is fertile ground for our becoming.
ACTOR 2:
With love, here is one more glimpse of what it feels like to be Jewish me. Because only love will get us out of this mess and perspective is critical for change.
The Jewish High Holidays begin later this week.
This season is marked by two celebrations, Rosh Hashanah (Jewish new year) and Yom Kippur (day of atonement).
The focus is love… Self love, familial love, exalted love, universal love.
ACTOR 3:
This used to be my favorite time of the year. New outfit, new spirit.
Traditional meals were served. Extended family and friends gathered around a very long table beautifully appointed with flowers, fine china, and sterling silver flareware.
My folks threw an extravagant dessert party to honor the sweetness of life. A tradition my husband and I carried on until Covid. It was a community affair and all were welcomed.
Our fasting on Yom Kippur was sincere and my neighbor threw another community gathering to break-the-fast. Presumably we had atoned for all wrong doing and could start afresh. A new chapter in the book of life.
ACTOR 4:
A time of joy and reflection. Reckoning and renewal.
Covid had all of us attending services online and celebrating more intimately anyway, but until 2023, there was joy to be found in that intimacy.
Scene 24: feel, flexible
feel, flexible illuminated on screen
spotlight on actors. dark after scene
ACTOR 1:
How can I possibly explain what it feels like now, three years into the horrors of an upside down world.
Almost everyone I know is carrying on as if nothing has changed.
I remain changed forever, with my son leading the way to a new world, my daughter following suit, and my husband left lost and longing for what was. My heart is shattered.
ACTOR 2:
We pray now separately and wearily break bread together. We try to find some joy and the traditional food helps a little. We have agreed not to talk about the part that hurts. It is what has kept us together.
Some families have broken over this divide. Ours came dangerously close. Immense love for each other remains our common connection. Note to everyone who thinks you understand, or thinks you know what you would do, you don’t. This story runs deeper than you can imagine.
I know, because I lived it.
Our synagogue is on a road I travel daily. I avert my eyes. My husband is still a member.
I’ve tried to locate a place we might both feel at home, but it doesn’t exist yet. The few offerings I found just made me feel even more isolated. I too miss what was.
ACTOR 3:
Last year he beseeched me to join him in person at a solemn Yom Kippur service. We clutched each other's hands, tears filling both our eyes. He spoke the words, trying to feel them deeply. My lips remained closed in betrayal.
This year I can not go. I will pray in nature, in my own thoughts. I can’t even say any of the words that once meant so much for my soul. He will go himself. Alone. My heart breaks a million times over.
I know new practices are on the horizon. Our son is vested in being part of that change. His efforts help bridge our family.
But for now, I am here. Gutted.
Scene 25: belief grief
belief grief illuminated on screen
“Avinu Malkenu” plays thru scene
spotlight on actor. dark after scene
ACTOR:
my words are trapped, stuck in the pit of my despair
i think because i can't find them, maybe they have gone away
then a trigger happens
an unhinged tidal wave escapes my lips, engulfing anyone in its wake
my void met with pity, confusion, at best, concern
belief upended beyond comprehension
death of faith
my shattered soul a heap of rubble
contained in the seeming normal sight of me
how can this be?!
there was good, i saw it, loved it pure
where to turn?
for it is clear, at least to me, that the world is upside down
so, old though i am, i try to flip my body
it's a brave move
i'm still suspended midway
i don't know where it goes
but now the tears flow from my feet
attempting to release my truth
excavating the roots of my lineage
watering the scorched earth nearer now to my head
beseeching me to build better
will i have the courage to imagine that
Scene 26: color me more
color me more illuminated on screen
“I Am Light” by India.arie
stage dark. singers a cappella. heard but not seen. Soft spotlight bounces around audience with each verse. dark after scene
SINGER 1:
I am light, I am light
I am light, I am light
SINGER 2:
I am not the things my family did
I am not the voices in my head
I am not the pieces of the brokenness inside
SINGER 3:
I am light
I am light
I am light, I am light
SINGER 4:
I'm not the mistakes that I have made
Or any of the things that caused me pain
I am not the pieces of the dream I left behind
SINGER 5:
I am light
I am light
I am light
I am light
SINGER 6:
I am not the color of my eyes
I am not the skin on the outside
I am not my age
I am not my race, my soul inside is all light
SINGER 7:
I am light, I am light
I am light, I am light
SINGER 8:
I am divinity defined
I am the god on the inside
SINGER 9:
I am a star
A piece of it all
I am light
Scene 27: feel, wise
feel, wise illuminated on screen
spotlight on actor. dark after scene
ACTOR:
We are in the lifeboat of humanity. Our wisest selves are capable of pulling us to shore.
This piece foreshadows our possibility.
The background is my favorite Scott Mutter poster and related quote.
It’s of a Chicago library, my daughter lives there. Her pillow “joy” is at the forefront of the piece. The poster currently resides with my son, a special collection librarian and archivist.
“A culture and what it produces is made possible and is reflective of the knowledge that underlies it.”— Scott Mutter
The pillow is sitting on the chandelier from our bedroom, reminding me that hope is potential and wisdom is illuminating.
Supremacy utilizes knowledge for greed and destruction.
But… WE are inherently builders. And WE can utilize knowledge to build better.
The foundation of which is simple.
None of us are free, until all of us are free.
Period.
I remain optimistic.
Scene 28: color me forward
color me forward illuminated on screen
“We Just Want To Be Free” by Zach Matari
singers(2) w/flying dove images over stage and audience . dark after scene
SINGER 1:
Just hold on until the morning
Promised me we'll make it home
Can anybody find an answer?
How much longer can this go?
DUET:
We just wanna be free We just wanna be free We just wanna be free
We just wanna be free
SINGER 2:
Praying this will be the moment
I feel a change is here
So stay with me and just believe Were standing on the highest
mountain
Yelling out until they know
DUET:
We just wanna be free
We just wanna be free We just wanna be free
We just wanna be free
Scene 29: i am eve
i am eve illuminated on screen
“Garden” plays with ABBY pre-recorded voice. dark after scene.
ABBY
2026 marks my 65th year.
My family honored the moment with a “garden of knowledge” experience inspired by a painting from 12 yr old me.
Weird to be witnessed so fully. Truth be told, aging has really thrown me.
I know it’s just my response to old patterns. Trying to meet my trepidation with tenderness.
In closing I leave you with this poem from the me that has always been and is becoming, humane.
Apple of my third eye
You are SCARED. I understand. But rearrange the letters. Now you are SACRED.
The seed to our potential lives in our perspective.
The apple is knowledge. By all means, join me, let’s take a bite.
Here’s the tricky part. Knowledge can indeed be power, but ALWAYS it is wisdom that makes it sacred.
The current situation is not a punishment, nor is it the end of times. It is an opportunity to shift from patriarchy to possibility.
People, planets, earth, science, spirit. The intersection is vast, complicated, and comprehensive. As you awaken, so will your ability to grasp the connection.
Go back to the Garden of Eden and see it through a lens not confined by religious connotations, misogyny, and fear of the unknown.
Adam represents the left brain. Analytical, logical, structured, and finite. Physical. Human. Noun.
Eve represents the right brain. Intuitive, creative, untethered, and infinite. Metaphysical. Breathe. Verb.
Together they are Language. Together they are Life. Together they inform the unique thumbprint that is the essence of our humanness.
I am Eve. And Adam. And you.
EVERYTHING we do is creation.
Healing from colonization is a group project.
I am. We are…
In fact, the people and the future is counting on us.
Let go and let’s go!
Scene 30: color me green
color me green illuminated on screen
“Imagine” by John Lennon
Stage dark. Cast enter stage in a line, one by one wearing green light-up glasses. in line for curtain call. dark after scene. place glasses behind them for curtain call.
SINGERS a cappella
Imagine there's no heaven
It's easy if you try
No hell below us
Above us, only sky
Imagine all the people
Livin' for today
Imagine there's no countries
It isn't hard to do
Nothing to kill or die for
And no religion, too
Imagine all the people
Livin' life in peace
You may say I'm a dreamer
But I'm not the only one
I hope someday you'll join us
And the world will be as one
Imagine no possessions
I wonder if you can
No need for greed or hunger
A brotherhood of man
Imagine all the people
Sharing all the world
You may say I'm a dreamer
But I'm not the only one
I hope someday you'll join us
And the world will live as one
Curtain call & credits for when filmed
“You Can Fly” from Peter Pan (instrumental)