*/
David Wurtzel believes the cast deftly balances the personal with the political and imitate without mimicking the historical figures.
“The promise” is the Balfour Declaration of November 1917 which said that the British Government “view with favour the establishment in Palestine of a national home for the Jewish people”. It lies at the heart of Ben Brown’s fine play, performed in the round at the Orange Tree. For much of the action, the floor is covered by a map of the Ottoman Empire. Not the least of the many historical ironies which run through the production is the sight of British ministers, sitting in London, carving up that Empire before the First World War has actually been won.
The first scene is set in an Edwardian garden in the early days of World War I. An unusual triangle links Venetia Stanley (a beautiful Miranda Colchester), and the two men who are in love with her: the rich, Jewish and politically ambitious Edwin Montagu (a poignant Nicholas Asbury) and the Prime Minister, Herbert Asquith (Christopher Ravenscroft, with a permanent lightness of touch). Asquith apparently takes his passion no further than holding Venetia’s hands but he writes to her daily even as he ostensibly presides over the War Cabinet. Montagu offers marriage but on condition that Venetia officially converts to Judaism, thus complying with the condition of his father’s will. Venetia for her part does not seem to be in love with either one of them. There is a splendid scene in which the most liberal rabbi in London explains monotheism to the freethinking Venetia.
The second half
The compelling personal drama of the first half gives way to more political debate and historical dimension in the second half. Politics, we learn, is both personal and thinks in the short term. Lloyd George (by then Prime Minister) favours a British mandate in Palestine in order to keep the French (still our war allies) far away from the Suez Canal. The Foreign Secretary, Balfour, has been pro-Zionist for several years. Lord Curzon points out that he is the only one around the table who has actually been to Palestine. He assures everyone that it is a barren land and inhospitable to large Jewish immigration. The great dividing line is between the two assimilated Jews in the Cabinet, Herbert Samuel (now a Zionist) and Montagu.
Mongatu believes that Jews in any event should be “a religion, not a race”. If the national home for Jews is in Palestine, why give them equal rights anywhere else? Three million oppressed Russian Jews might find a better life in the Middle East, but what about the six million left behind in Europe? The words “six million”—the number who would later be murdered by the Nazis—hung like a pall over the auditorium.
A triumphant note
The play ends on a triumphant note: Samuel and Balfour opening the Hebrew University in Jerusalem. Offstage one hears the clamour of Arab voices. The indigenous majority (then outnumbering Jews by six to one) had been represented by no one at the British Cabinet table. The large cast deftly balances the personal with the political and imitate without mimicking the historical figures. Patrick Brennan has great fun as Lloyd George, easily outmanoeuvring the lovesick Asquith. Sam Dastor played convincingly three roles: the arrogant, aristocratic Curzon, the worldly liberal rabbi and an obedient Arab servant.
David Wurtzel practised at the criminal Bar for 27 years and is a door tenant at 18 Red Lion Court. Prior to his retirement, he was a consultant in the CPD department at City Law School and consultant editor of Counsel. David is a member of the Counsel Editorial Board.
The first scene is set in an Edwardian garden in the early days of World War I. An unusual triangle links Venetia Stanley (a beautiful Miranda Colchester), and the two men who are in love with her: the rich, Jewish and politically ambitious Edwin Montagu (a poignant Nicholas Asbury) and the Prime Minister, Herbert Asquith (Christopher Ravenscroft, with a permanent lightness of touch). Asquith apparently takes his passion no further than holding Venetia’s hands but he writes to her daily even as he ostensibly presides over the War Cabinet. Montagu offers marriage but on condition that Venetia officially converts to Judaism, thus complying with the condition of his father’s will. Venetia for her part does not seem to be in love with either one of them. There is a splendid scene in which the most liberal rabbi in London explains monotheism to the freethinking Venetia.
The second half
The compelling personal drama of the first half gives way to more political debate and historical dimension in the second half. Politics, we learn, is both personal and thinks in the short term. Lloyd George (by then Prime Minister) favours a British mandate in Palestine in order to keep the French (still our war allies) far away from the Suez Canal. The Foreign Secretary, Balfour, has been pro-Zionist for several years. Lord Curzon points out that he is the only one around the table who has actually been to Palestine. He assures everyone that it is a barren land and inhospitable to large Jewish immigration. The great dividing line is between the two assimilated Jews in the Cabinet, Herbert Samuel (now a Zionist) and Montagu.
Mongatu believes that Jews in any event should be “a religion, not a race”. If the national home for Jews is in Palestine, why give them equal rights anywhere else? Three million oppressed Russian Jews might find a better life in the Middle East, but what about the six million left behind in Europe? The words “six million”—the number who would later be murdered by the Nazis—hung like a pall over the auditorium.
A triumphant note
The play ends on a triumphant note: Samuel and Balfour opening the Hebrew University in Jerusalem. Offstage one hears the clamour of Arab voices. The indigenous majority (then outnumbering Jews by six to one) had been represented by no one at the British Cabinet table. The large cast deftly balances the personal with the political and imitate without mimicking the historical figures. Patrick Brennan has great fun as Lloyd George, easily outmanoeuvring the lovesick Asquith. Sam Dastor played convincingly three roles: the arrogant, aristocratic Curzon, the worldly liberal rabbi and an obedient Arab servant.
David Wurtzel believes the cast deftly balances the personal with the political and imitate without mimicking the historical figures.
“The promise” is the Balfour Declaration of November 1917 which said that the British Government “view with favour the establishment in Palestine of a national home for the Jewish people”. It lies at the heart of Ben Brown’s fine play, performed in the round at the Orange Tree. For much of the action, the floor is covered by a map of the Ottoman Empire. Not the least of the many historical ironies which run through the production is the sight of British ministers, sitting in London, carving up that Empire before the First World War has actually been won.
Update from the Chair of the Bar
By David Green
Mário Barroso, Head of R&D and Method Development at AlphaBiolabs, examines the forensic science underpinning hair drug testing, its evidential scope and limitations, and why it remains the gold standard for evidencing patterns of drug use in family proceedings
Unlocking your aged debt to fund your tax in one easy step. By Philip N Bristow
Clement Cowley, Partner at The Penny Group, discusses the upcoming changes to pensions and Inheritance Tax and the potential impact on your financial future
Save the Children UK is the latest charity to benefit from a £500 donation from AlphaBiolabs via the company’s Giving Back initiative
James McNeill Whistler at Tate Britain until 27 September Rothko in Florence at Palazzo Strozzi until 23 August Reviewed by Stephen Cragg KC
The Chief Legal Officer to the Metropolitan Police, barrister Brett Welch, tells Anthony Inglese CB about his mission and the work to turn the Met around
Barrister apprenticeships – shortly to provide the fourth pathway to the Bar – are an ideal opportunity to support local talent and ‘grow your own’, say Tim Coulson and Dr Jane Dennehy
Grok around and find out – or not? Mariya Peykova investigates the nudification scandal, what the law has to say about sexually explicit deepfakes, and whether stronger regulation is needed
Oliver Lewis spotlights an overlooked yet rapidly evolving area of law – coercive and controlling behaviour within care contexts
.tmb-carlisting.jpg?sfvrsn=9ca7ad96_1)
