At the show introduction, Aaron spoke about the set representing the layers of history (platform of Israel’s war room atop rubble of centuries, literally.) He also read from Golda’s autobiography, a passage about her not wanting to be prime minister, but accepting the job because she felt she had no choice.

The designers are excited about the challenge of a one-person show, especially sound, lights, and projection.

After the show intro, we adjourned to the rehearsal room. Aaron divided the script into 9 sections and we began working through, like this:
– read through a section
– discuss and table-work
– read through again

Some things that stood out to me:

Moshe Dayan as Golda’s military conscience – the two of them going down together, taking blame for unpreparedness.

The abstract structure of antisemitism: Jews get sandwiched between the power and the people.

The twelfth-century Christian blood libel, a myth still alive today in parts of the world – a miniseries, “Horseman without a Horse” was made in the last 5 years repeating it. Jews killing an arab girl for matzos.

Gibson shifting between the war story and the personal story. He tightens the tragedy then releases through humor. He gives us new, complicated political information, then lets Golda pull back and comment on it.
The war story is the anchor – the other story is the digresssion. The war story progresses through landmarks. The phone call. The cabinet meeting.

Discussions between Aaron and Camille about text.

Aaron, Camille and I are going to see EMMA on Sunday.