In a theatrical landscape often muted by culture wars, a new play at a prominent London venue is breaking the silence with remarkable courage. Sam Grabiner's 'Christmas Day' at the Almeida theatre serves up a gripping and complex exploration of British Jewish identity, family dynamics, and the seismic impact of the Israel-Gaza conflict.
A Dinner Table Where Worlds Collide
Directed by James Macdonald in an interval-free production, the drama unfolds in real time within a north London setting. The action centres on a family meal where father Elliot, played by Nigel Lindsay, visits his adult children. His son Noah (Samuel Blenkin) and daughter Tamara (Bel Powley) are living in a converted, slightly sinister office space, designed by Miriam Buether.
What begins with light, Larry David-esque humour swiftly escalates into heated debate. The gathering expands to include non-Jewish flatmate Maud (Callie Cooke), who provides comic relief on yuletide rituals, and Tamara's ex-boyfriend, now called Aaron (Jacob Fortune-Lloyd), who returns from Israel. Their conversation becomes a battlefield for ideologies, covering antisemitism, spirituality, and belonging.
Navigating the Unsayable with Respect
The play's most explosive moment arrives when Tamara uses the word 'genocide' to describe the killings in Gaza. This triggers the family's deepest fault lines. Characters reference unseen news events—possibly the Bondi beach attack or the latest from Gaza—creating a palpable sense of a world in crisis that has forced this family into a kind of bunker.
Remarkably, Grabiner's script avoids conflating Israel with Jewishness while deliberately stepping onto this highly charged ground. Elliot's pained, emotional defence—"They [Palestinians] had their chance … It's ours now"—contrasts sharply with Tamara's arguments against occupation. The play handles these perspectives with utmost respect, allowing characters to disagree fiercely while maintaining an underlying affinity.
A Flawed But Essential Piece of Theatre
While not perfect, the production is widely hailed as immensely courageous, both in its writing and in its programming by outgoing artistic director Rupert Goold. Some plot elements, like a doped-up flatmate and a symbolic finale involving a dead fox, feel undercooked or arcane. The drama meanders at times, and major revelations occasionally occur after the central debates have peaked.
Yet, its power is undeniable. It is a rare drama that tackles British Jewish identity with such complexity and raw honesty. The silences are loaded, the arguments dangerous merely in their airing. It embodies Stella Adler's vision of theatre as a 'spiritual and social X-ray of its time', offering a vital, outspoken snapshot of contemporary divides.
'Christmas Day' continues at the Almeida theatre in London until 8 January.
