Page 56 - Jewish Book Annual Volume 22

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witz, he has also created the most avant-garde experimental
studio in the country. Another young director likely to make
some impression is Clive Donner, chosen by Pinter to make the
film of
The Caretaker.
Frank Hauser, director of the resourceful
Oxford Playhouse, shows a marked internationalism in his pro­
ductions.
If there is one sphere in which British Jews are less prominent
it is, oddly enough, as actors; none have attained national, let
alone international, stature. This compares poorly with the
United States or prewar Europe. The late Frederick Valk, the
German-born actor, was the last Jew to play star roles at the
Old Vic, although in 1963 a talented young actor, Lee Montague,
made some impression as Shylock. David Kossoff and Miriam
Karlin are probably the best-known Jewish actors, both remark­
ably versatile. Their popularity and the growth of interest in
Jewish idioms can be seen in two television programmes, one
located in a dressmaking factory and the other in which Kossoff
plays a lovable cabinetmaker.
If final confirmation is required of the contribution made by
Jews to the postwar British theatre, it is provided by the New
English Dramatists series, published by Penguin. Of the twenty-
one plays so far published, eight are by Jews; whilst at least ten
other works by Anglo-Jewish writers qualify.