For one thing, Sophie, who is biracial, grew up with a father a Black professor of environmental science but Abe rarely saw his after the separation. Whether they also chose that fate is an open question for all their similarities, there are also crucial differences. His mother and hers, best friends since childhood, raised Abe and Sophie (Sarah Cooper) to be each others bashert: their fate, their soul mates. Somewhat too conveniently for himself and the play, Abe is married to the daughter of another Satmar refugee. Abe (Eddie Kaye Thomas) is now an acclaimed 40-something novelist, having won, we are told, a Pulitzer and two National Book Awards before turning 30. The purple samples of his work provided suggest that the prizes were massively misjudged. Thats not a spoiler but the foundation for the second story, which takes place decades later and proceeds in alternating chapters with the first. Schmuli has spirited away their daughters Esther has fled Brooklyn with their infant son, Abraham. Nevertheless, within five years, their marriage is in ruins.
Even if Schmuli (Dave Klasko) is a bit meek, and Esther (Lucy Freyer) alarmingly headstrong, they seem at first like a traditional Orthodox couple, looking forward to making a family. The first begins in 1973 with the wedding of Esther and Schmuli, members of the Satmar Hasidic community who barely know each other. In the Jewish subcategory alone, we have Shtisel, Unorthodox and the perennial ∿iddler on the Roof. But Anna Zieglers awkwardly hitched play The Wanderers, which opened Thursday at the Laura Pels Theatre, may be the first to consider the problem of forced matches while also exemplifying it.Ī shotgun seems to have been involved in forcing its two incompatible tales under one roof. Theres no shortage of stories that explore the merits and pitfalls of arranged marriages.
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