S. H. Mosenthal’s blockbuster drama Deborah, popularized in the English-speaking world as Leah, The Forsaken, delivered generations of nineteenth-century theatergoers fantasies about Jewish women. This paper explores the rich performance history of this work, offering a new perspective on the role of popular culture in launching distinctly liberal forms of philosemitism.
channeling Kahn and his cinematic alter ego Dr. Strangelove, and yet providing adequate answers to such questions may be the best we can do in our own scramble for continuity. Kahn’s failure, of course, was not so much in his particular choice of precedent, but in the very assumption that the future will develop as cyclical repetition of an ostensibly familiar past, The small print on those worthless mortgage-backed securities makes it clear: “Past performance is no guarantee of future results.” providing us the comfort of that familiarity. On this happy accounting, when