In this episode, presented in collaboration with The Magnes Collection of Jewish Art and Life at UC Berkeley, we explore “Lilith,” a short story by Primo Levi, featured in his 1981 collection Moments of Reprieve. Dr. Francesco Spagnolo, Curator of The Magnes Collection and Professor of Music and Jewish Studies at UC Berkeley, discusses the ways in which “Lilith,” with its combination of memoiristic storytelling, sharply drawn characters, and mythic resonances, speaks not only to the work Levi created throughout his career but to Italian Jewish history and beyond.

In this episode, presented in collaboration with the Oregon Jewish Museum and Center for Holocaust Education (OJMCHE), we explore Fiction without Romance; or the Locket-Watch, a novel which was written by Maria Polack in the East End of London and published in 1830.

Dr. Heidi Kaufman, Professor of English at the University of Oregon and Regional Museum Educator at OJMCHE, discusses the ways in which the novel, believed to be the first by an Anglo-Jewish writer, upends some of the misconceptions and stereotypes about 19th century life in the East End.

This illuminated lecture brings together readings from the short play "The Marvelous Puppet Show" by Miguel de Cervantes, published in 1615, with a talk from Dr. Barbara Fuchs, Distinguished Professor of Spanish and English at UCLA and director of Diversifying the Classics. Dr. Fuchs reveals the ways in which Cervantes' uncannily prescient interlude dissects the foibles of belief and belonging and poses uncomfortable questions for the here and now.

This episode was recorded live on April 20, 2024 at First Congregational Church of Los Angeles and is presented in collaboration with Diversifying the Classics at UCLA. The podcast presentation is supported in part by a grant from the Los Angeles Department of Cultural Affairs.

In this episode, presented in collaboration with Hebrew College, we begin by exploring two poems from the second half of the 19th century by prominent American poets. One, "The Jewish Cemetery at Newport," by Henry Wadsworth Longfellow, is generally thought to have been written during a visit to Newport in 1852 and was then published in 1854. The other, a response to that work by Emma Lazarus, called "In the Jewish Synagogue at Newport," was likely written in 1867 and then published in 1871.

Rabbi Dan Judson, Provost of Hebrew College, discusses how the poem by Lazarus both builds upon and deviates from Longfellow's poem. He also shares about the artistic and ideological journey that Emma Lazarus, as a Jewish American writer, took over the course of her career, using her poem "The Banner of the Jew," published in 1882, as an entry point to understand this journey, and touches on the ways in which her evolution speaks to Jewish identity in America and the American experience overall.

Support for this episode is provided in part by A More Perfect Union: The Jewish Partnership for Democracy.

This guest episode from Primary Source, a limited series podcast from the Taube Center for Jewish Studies at Stanford University, explores the notorious and fraudulent antisemitic text most commonly known as The Protocols of the Elders of Zion, taking a look at its history and its impact on world politics. This episode from our colleagues is a meaningful companion to our popular Season 1 episode, "The Protocols, Henry Ford, and The International Jew," co-produced with the Association for Jewish Studies, which investigated, in part, the ways in which The Protocols were distributed in the United States and beyond.

Dr. Jennifer Wells, former Assistant Professor of History and International Affairs at the George Washington University, takes us through the social, economic, and political landscape of Elizabethan England as Aaron Henne, the writer and director of our latest work, The Merchant of Venice (Annotated), or In Sooth I Know Not Why I Am So Sad, and artistic director of theatre dybbuk, illuminates that history's impact on our interpretation of Shakespeare's Merchant.

This episode is presented in collaboration with the George Washington University Department of History.

This is the third and final episode in our series connected to concepts that intersect with The Merchant of Venice (Annotated), or In Sooth I Know Not Why I Am So Sad. That production combines text from Shakespeare's The Merchant of Venice with Elizabethan history and news from 2020 to the present. In doing so, it seeks to illuminate how, during times of upheaval, some people may place blame for their anxieties on an “other.”

This illuminated lecture brings together work from Dr. Daniel Pollack-Pelzner, Visiting Scholar at Portland State University and scholar-in-residence at the Portland Shakespeare Project, with readings of excerpts from Shakespeare's Merchant and other related materials. Dr. Pollack-Pelzner takes up the question: “Why perform The Merchant of Venice?" and discusses its production history, scholarship related to the work, and his own personal relationship to the play. 

This episode is presented in collaboration with the Shakespeare's First Folio: 1623-2023 Festival at Portland State University and was recorded live as part of the festival on October 26, 2023 during theatre dybbuk's residency in Portland, Oregon.

This is the second in a three episode series connected to concepts that intersect with theatre dybbuk's most recent theatrical work, The Merchant of Venice (Annotated), or In Sooth I Know Not Why I Am So Sad. That production combines text from Shakespeare's The Merchant of Venice with Elizabethan history and news from 2020 to the present. In doing so, it seeks to illuminate how, during times of upheaval, some people may place blame for their anxieties on an “other.”

This episode is supported in part by a grant from the Los Angeles Department of Cultural Affairs.

In this episode, presented in collaboration with the George Washington University Department of History, we examine the history of the word “ghetto" and look at ways that ideas contained in Shakespeare's play overlap with and deviate from that history.

Dr. Daniel Schwartz, Professor of Jewish History at GW, guides us through this exploration, sharing some of the concepts contained in his book, Ghetto: The History of a Word.

This is the first in a three episode series connected to concepts that intersect with theatre dybbuk's most recent theatrical work, The Merchant of Venice (Annotated), or In Sooth I Know Not Why I Am So Sad. That production combines text from Shakespeare's The Merchant of Venice with Elizabethan history and news from 2020 to the present. In doing so, it seeks to illuminate how, during times of upheaval, some people may place blame for their anxieties on an “other."