Kvetch

Steven Berkoff's acclaimed play takes its title from the Yiddish word meaning to complain and whine incessantly. This definition draws associations with the stereotype of the neurotic American Jew, as popularised by the likes of Woody Allen and Rick Moranis. So why have IC DramSoc cast an outwardly confident English man as the work's main protagonist? Why does his business superior dismiss him as a "schmuck" while attempting an impersonation of Sir Michael Caine? Why is his archetypal nagging wife portrayed by a softly-spoken lady with a lisp who appears to be of Hispanic extraction? And why does the young lady's mother torment her son-in-law in a Mancunian accent?

The answer to all of the above is, presumably, because the theatre company is based in London and doesn't have access to actors capable of delivering the dialogue convincingly. Perhaps they hope that the cast will reflect the universal nature of the script's themes, rather than completely undermine them.

"An American play about anxiety," Kvetch focuses on the failing marriage of Frank and Donna, a couple cohabiting with the latter's mother. When Frank invites a friend, Hal, to dinner, tensions flare. Each character's internal monologue is exposed to the audience, explaining and contradicting their actions and speech.

Unfortunately, in eradicating any overt Jewishness from the cast, the play is deprived of the claustrophobic sense of community required in order for its characters' soliloquies to seem like true moments of escape.