Reviews  

Battling Bigotry on the Campus
by Irene Backalenick

Jews have become more and more visible in this country, as they make significant contributions and rise to important positions, a circumstance that can be seen as both good and bad, inciting both admiration and envy.

But in earlier days, in the early ‘60s, to be specific, WASP country was still mostly out of bounds for Jews. Specifically, it was not easy for a Jewish student to make it into the all-Christian, no-Jews-wanted college fraternities.

How important was this issue? Apparently, in the ‘60s it was important. As the barricades came down, there and elsewhere, the world began to change more and more for American Jews.

Steve Karp, the Artistic Director of a theater in Stamford, Connecticut, has taken on this story in his new play "Fraternity." As both playwright and director of the play, he is doing what he does best—that is, carefully assessing and dramatizing a political or social issue.

Drawing on his own youthful experience, Karp tells the story of a Jewish college student who is tapped for an all-Christian fraternity. Sam Katz, the student, is not sure that he wants to be the guinea pig for the fraternity, as it makes its first move against bigotry. Sam's girl friend Betsy and his roommate Eddie are both appalled that he would bond with this anti-Semitic group. But like Hamlet, Sam Katz grapples with his very soul, to determine whether such an act would be a heroic step or a betrayal of his fellow Jews.

At first glance, "Fraternity" would seem to be both dated and lightweight. Do we care about fraternity boys while peace in the Middle East and elsewhere struggles to emerge? Do fraternities even still exist on most campuses? Aren't drugs and casual sex and date rapes more serious college issues?

But we soon realize that darker, more universal, issues are at stake. It is the question of maintaining one's very identity under fire—a question that is applicable to peoples in all times and places.

Generally, it is inadvisable for a playwright to direct his own play. The two roles can be at war with each other, as the playwright strives to keep his precious lines no matter what the director thinks best for the production. But this time around, Karp manages harmony in both his roles, casting wisely and directing astutely. Scenes, as written and performed, are short and sharp-edged, with a cinematic quality. And the players in this debut production all first-rate. There are times when "Fraternity" tends toward the didactic. But Karp saves the day by giving his characters humanity and their problems a real edge. Moreover, as writer and as director, he keeps the play going at fast pace.

For Jews, Sam's dilemma will have considerable meaning. But all audiences should appreciate "Fraternity" for its much broader ramifications.