I've been reading Theodor Herzl (1860-1904) because he's the most important political Jew of the last century or so, giving his short life to a heroic, "tragic" cause (his word) that he never saw come to life, a cause I likely would have joined were I a European of the early 1900s. Herzl is also an amazing character: grandiose and literary, with a desolate personal life, he reinvented himself from
being a newspaper feature writer to become the king of the Jews in the
space of a couple of years, alienating his professional community and beginning a hellbent and unending tour of European and Asian courts, using baksheesh and journalistic connections to try and win anti-Semitic princes to Zionism.
My interest in this character is shared by playwright David Zellnik. Herzl animates Zellnik's (magnificent) play Ariel Sharon Hovers Between Life and Death and Dreams about Theodor Herzl, which I saw in workshop a couple of years back and keep waiting to see performed. I sent Zellnik an email about Herzl to begin a dialogue. He wrote:
Yes, Herzl is a huge figure, one of the most relevant to understanding the current Middle East. I don’t know why his story is so under-known, under-dramatized. There is a lot to wrestle with and a lot to admire - I have great respect for anyone trying to save lives, which he surely tried to do and surely did. And whatever his flaws, you have to give it to him: he saw very clearly that Europe’s Jews were in grave danger.
My play is, on the whole, sympathetic to him… although the other major character in it is Ariel Sharon, and the play acts as a dialogue between the two – exploring their great differences but also their connection at opposite ends of the Zionist trajectory. And in doing so perhaps confuses some of the audience’s sympathy for Herzl (more on this later).
Herzl is commonly thought of a self-hating Jew/successful journalist who transformed himself into a Zionist prophet – who in the final 9 years of his life created a movement that would lead to the founding of Israel. My play respects this but does 2 things: it shows him as he often thought of himself – as an overlooked playwright – and also argues that his youthful self-hatred was never abandoned, merely reframed.
Herzl the Dramatist
OK, he was a lousy playwright. But the supreme irony is that while his actual plays tended to be shallow bedroom farces, he understood deeply the theatrical nature of politics. For instance, the First Zionist Congress: he made sure the Delegates wore black-tie formal wear, he “set-dressed” the casino it was held in for better press photos… and he dressed himself to look like a major leader. He knew he was operating without any firm support and so aimed to create an illusion of momentum in order to secure a state.
On a deep level he had a playwright’s desire to recast Jews from supporting players into the leads. Look at this quote from the Zionist journal: