In September, The Lehman Trilogy, an Italian play that had its English-language debut in Britain in 2018 to much acclaim, is reopening. The drama is a fictionalized telling of the story of the Lehman family, beginning with their arrival in the U.S. from Germany in the 19th century and culminating in the collapse during the 2008 financial crisis of the bank they founded. Dave Rich comments:
The play presents itself as a morality tale about global finance, a story of financial trickery that left countless ordinary people impoverished or homeless. It is also saturated with Jewishness. We are told within the opening lines that Henry Lehman, the eldest of the three brothers, is “a circumcised Jew.” The brothers repeatedly cry Barukh Hashem (“Blessed is God”) as they build their fortune. . . . It is gratuitous and overwhelming: not just a passing mention of Jewishness here or there to make the point that the Lehmans were Jewish, but as in-your-face as it is possible to be. In other words, this is not only a play about bankers who are Jews, but a play about Jews who are bankers.
And what does it tell us about these Jews? Mainly that they love money and will do anything to get more of it. Every stereotype of the greedy, self-absorbed, materialistic Jewish financier is present. . . . Emanuel Lehman is so cheap he reuses the same bunch of flowers every time he asks a girl to marry him “so he would not have to re-buy them,” but so brash that he eventually woos his bride by declaring “I’m one of the richest Jews in New York.”
This ought to ring alarm bells for anyone with even a passing knowledge of anti-Semitic stereotypes, but it seems as if the idea that Jews love money and power is—to use an appropriate phrase—priced in.
In an early scene, the Lehmans, after lighting Hanukkah candles, find out that their neighbors’ crops are on fire and of course say, “Barukh Hashem!” because they see a financial opportunity. And then there is the depiction of the 1929 Wall Street crash and the suicides it supposedly precipitated:
Strikingly, unlike all the other bankers shown in the play up to that point, these victims of the system the Lehmans supposedly built do not appear to be Jewish. Rather than having names like Emanuel and Mayer, they are called Teddy, Vernon, Jimmy, Don, and Fred. They are still bankers, but honorable and sympathetic ones, and not Jewish; . . . it has to be non-Jews who are the unsuspecting victims of Jewish malpractice. Jews making money while non-Jews die is about as anti-Semitic as it gets.
More about: Anti-Semitism, Finance, Theater