Why I Chose Not to Program The Death of Klinghoffer and Why I Still Support It

Over the past week or so I’ve had many difficult exchanges with friends and family over social media around posts I’ve shared about the Metropolitan Opera’s production of The Death of Klinghoffer. I’ve shared articles defending the production, reviews of its artistic merit, social critiques of what the controversy represents and even parallel experiences of the production in other cities. Those who were convinced it was anti-Semitic remain firmly convinced. Those who believed the protests were just another example of right wing denial of any legitimate Palestinian narrative remain similarly unswayed. Depressingly, this episode has only reinforced the worst stereotypes each side had of the other in the ongoing shouting-match over Israel (can we really call it a conversation at this point?). The Jewish general manager of the Met Opera has been compared to a Nazi sympathizer and a supporter of Hamas. I’ve read comparisons of the actions of those who opposed the performance of the opera to a “book burning of Adams’ work.” By my rule of thumb, whoever calls his opponent a Nazi first loses — and it’s hard to find any winners in this encounter.

Achille LauroMy own feelings about the opera itself are mixed — I saw the film version created for Channel Four in the UK directed by Penny Woolcock in 2004. At the time, I was considering it for possible inclusion in the Washington Jewish Film Festival in my capacity as the Festival’s director. I remember being entranced by the music, disturbed by its portrayals of history and touched by certain images that have stayed with me over a decade later — such as that of Klinghoffer’s wheelchair sinking through the water after he has been murdered and thrown overboard. I chose not to include the film for a number of reasons, some practical (opera on film is a tough sell) and some artistic/thematic. While I appreciated the aesthetic strengths of the work, it felt far too removed from its subject to be included in a Festival in which other films dealing with the Israel-Palestine conflict spoke with greater authenticity and authorial intimacy. The work overall, felt like the product of outsiders to the conflict, looking to illuminate the tragedies and universal lessons for both sides. Firsthand knowledge of course, isn’t a prerequisite for great art, but when the subject is one that brings such passion along with it, one runs the risk — as Adams and his librettist Alice Goodman have certainly be accused — of naivety. That is why the work itself turns the characters themselves into archetypes more than real people, the terrorists are an extension of the chorus of exiled Palestinians and the Klinghoffers are extensions of the chorus of exiled Jews. One cannot blame Klinghoffer’s daughters for objecting to the opera — that is not their father up there (but neither should they have the last word). We are all products of our history, but the opera isn’t really interested in why these people were affected in the ways they were. It is why the captain is in many ways the most interesting character, he is also a product of history, but its effects on his character are more subtle and his choices stem from a much more personal, interesting and humanely flawed place.

A friend I respect greatly wrote me, “folks flying planes into skyscrapers, dragging gay men to their deaths behind cars,etc? They get no inner lives.” I simply can’t agree. Their inner lives may leave them twisted and deranged, committing heinous acts because of the person they have become, but to deny that their inner lives are not worthy of some kind of artistic exploration is to go too far. Why? Because to have that attitude is easy when you’re talking about Hitler, Osama Bin-Laden or Pol Pot; but there are a lot of shades of grey between them and the historical rungs of the ladder that the Achille Lauro terrorists occupy. To elevate Klinghoffer’s murderers to the level of genocidal prime-movers is to engage in a false equivalency that blurs our understanding of evil. It runs the risk of a turning a tradition which takes the weighing of justice most carefully, into a shrill hyperbole.

So, my defense of the opera has to be couched in the acknowledgement that given my own opportunity to program it, I chose not to. I think it is probably fair to say that even if I had wanted to program it, given the controversy that already surrounded the work, I might have faced internal and external opposition that would have made including it unwise and impossible. And it is that last acknowledgement that leaves me so unsettled. Because what was at stake in this debate was not the production of this specific opera in this specific venue. It was the freedom of artists, Jewish and non-Jewish, Israelis and Palestinians, to engage with the most sensitive and provocative topics in their histories and create music, theater, dance and stories from them, and for arts presenters to provide audiences with the opportunity to see and judge for themselves the results.

That is not a priority for many of the opponents of The Death of Klinghoffer. While there were some true arts supporters among the opera’s opponents, for many others (among them, the organizing core), the opera was another front in the total war for Israel’s survival. And while I can share their goal — that Israel survive — I cannot share their belief that this opera constituted a threat to that survival, or even that it was antagonistic to it (or for that matter, that its survival depends on a “total war” footing). I believe this as a Jew, as a Zionist, as a writer, and as someone who has first-hand knowledge of terrorism. But by mounting such a large, public and compelling campaign against an opera that most people will never hear or see, a profoundly chilling wind has been blown across the landscape of Jewish culture specifically and American culture more broadly. In development offices and board meetings across the land, well-intentioned but misguided leaders will ask themselves when faced with the prospect of presenting potentially challenging and controversial material, “Do we want another Death of Klinghoffer on our hands?” Only the most committed (and masochistic) will conclude that they are willing to risk it.

As I was getting this post together, another deadly chapter in this ongoing conflict was written in Jerusalem. A terrorist plowed his car into a crowded Jerusalem train station and took the life of a three-month-old baby girl; an attack which was initially reported in the A.P. as, “Israeli police shoot man in East Jerusalem.” Up in Ontario, an attack with still unfolding causes and consequences reminds us that terror, like that of the Achille Lauro, remains a frequent feature of our landscape. Events like these and their coverage illuminate how pro-Israel activists can see malevolence lurking around every corner and why their suspicions are not without a basis in reality. The urge to circle the wagons and put-off critical examination of ourselves and the “other” for the distant future is strong.

Yet, I do not believe that attacking straw men in the arts serves the long-term interests of the pro-Israel community. It conflates real terrorists with those who wish to understand why terrorism still attracts thousands to its cause; those who are ideologically committed to our destruction with those who wish to understand the historic grievances that feed such fundamentalism. Our tradition demands better.

photo by D. R. Walker, via Wikimedia Commons


Filed under Arts, Facts as we see them, Jewish Stuff, Non-Profit

3 responses to “Why I Chose Not to Program The Death of Klinghoffer and Why I Still Support It

  1. Problem is – there is not much chance of operas being produced about the murder of the British soldier in the streets of London last year, or the recent Ottawa attack, that will seek to explore the inner lives of the murderers and the trauma’s that led them to become so vicious. Its somehow widely accepted that its OK to portray murderes of Jews as “also human” but will someone ever try to make a 9/11 opera, where the hijackers sing about their motives? I doubt it. That is why “Klinghoffer” is viewed so negatively by the Jewish community – it makes the impression that it singles the Jews out as the only victims that may be equalized with their abusers.


    • With all due respect, I don’t think that’s an accurate assessment. Pondering the nature of evil and the people who commit it is a theme that runs through a lot of art having nothing to do with Jews — I could start with Macbeth and keep going to Tony Soprano and Walter White. Stephen Sondheim’s “Assassins” is all about people who tried to kill the President. Make no mistake, there is a lot of horrible propaganda out there (particularly in the Arab press) that glorifies terrorists and anti-Jewish violence. But that’s not what’s happening in Klinghoffer. One can acknowledge a Palestinian narrative (Klinghoffer also acknowledges the Jewish/Israeli narrative) without also condoning the violence that narrative inspires in some people. As I write, the opera is quite flawed, but its specific flaws are less dangerous than the principle that “works like this” out to be kept off-stage.


      • With all due respect, I don’t think your response is relevant. The violence in other works of art you refer to is political or criminal. The anti-Jewish violence is racist and genocidal. I was talking about the glorification and justification of anti-Jewish terrorism and how it is unimaginable that an opera about the suffering of the Lybian people and how it lead to the Lockerby bombing will ever be produced in London.

        Mind you, I never said anything about keeping works like this off-stage. I think censorship is a crude, harsh measure that can be used only in extreme circumstance. But I think “Klinghoffer” deserves the criticism it gets. Sure, the perpetrators have excuses for their behaviour. But its one thing to portray them as the excuses they are and another to join the perverted poisoned minds of ruthless thugs in rationalizing their vile acts.

        I repeat my claim – the “understanding of the historic grievances that feed such fundamentalism” seems to be limited to the grievances (supposedly) caused by Jews. If “Klinghoffer” would be a part of a wider tradition of entering the mind and (imaginary) suffering of modern-day terrorists it would be fine. But it is “one of a kind” work – no production would dare equate contemporary terrorists and racist murderers with their victims, unless they are Jewish.

        Narrative-shamarrative – the bottom line is that the cultural establishment feels it necessary to show that the murderers of a Jew also deserve sympathy and their acts are somehow justified by the (imaginary) injustice inflicted upon them by the Jews, and would not even dream of doing the same with other terrorists, like Igal Amir or Baruch Goldstein to name a couple.


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