Here's what Jacobson says about the work:
Rhetoric is precisely what has warped report and analysis these past months, and in the process made life fraught for most English Jews who, like me, do not differentiate between the worth of Jewish and Palestinian lives, though the imputation – loud and clear in a new hate-fuelled little chamber-piece by Caryl Churchill – is that Jews do. “Massacre” and “Slaughter” are rhetorical terms. They determine the issue before it can begin to be discussed. Are you for massacre or are you not? When did you stop slaughtering your wife?
I watched demonstrators approach members of the public with their petitions. “Do you want an end to the slaughter in Gaza?” What were those approached expected to reply? – “No, I want it to continue unabated.” If “Massacre” presumes indiscriminate, “Slaughter” presumes innocence. There is no dodging the second of those. In Gaza the innocent have suffered unbearably.
Quite simply, in this wantonly inflammatory piece, the Jews drop in on somewhere they have no right to be, despise, conquer, and at last revel in the spilling of Palestinian blood. There is a one-line equivocal mention of a suicide bomber, and ditto of rockets, both compromised by the “Tell her” device, otherwise no Arab lifts a finger against a Jew. “Tell her about Jerusalem,” but no one tells her, for example, that the Jewish population of East Jersusalem was expelled at about the time our survivors turn up, that it was cleansed from the city and its sacred places desecrated or destroyed. Only in the crazed brains of Israelis can the motives for any of their subsequent actions be found.
Thus lie follows lie, omission follows omission, until, in the tenth and final minute, we have a stage populated by monsters who kill babies by design – “Tell her we killed the babies by mistake,” one says, meaning don’t tell her what we really did – who laugh when they see a dead Palestinian policeman (“Tell her they’re animals... Tell her I wouldn’t care if we wiped them out”), who consider themselves the “chosen people”, and who admit to feeling happy when they see Palestinian “children covered in blood”.
Anti-Semitic? No, no. Just criticism of Israel.
Only imagine this as Seven Muslim Children and we know that the Royal Court would never have had the courage or the foolhardiness to stage it. I say that with no malice towards Muslims. I do not approve of censorship but I admire their unwillingness to be traduced. It would seem that we Jews, however, for all our ingrained brutality – we English Jews at least – are considered a soft touch. You can say what you like about us, safe in the knowledge that while we slaughter babies and laugh at murdered policemen (“Tell her we’re the iron fist now”) we will squeak no louder than a mouse when we are abused.
Caryl Churchill will argue that her play is about Israelis not Jews, but once you venture on to “chosen people” territory – feeding all the ancient prejudice against that miscomprehended phrase – once you repeat in another form the medieval blood-libel of Jews rejoicing in the murder of little children, you have crossed over. This is the old stuff. Jew-hating pure and simple – Jew-hating which the haters don’t even recognise in themselves, so acculturated is it – the Jew-hating which many of us have always suspected was the only explanation for the disgust that contorts and disfigures faces when the mere word Israel crops up in conversation. So for that we are grateful. At last that mystery is solved and that lie finally nailed. No, you don’t have to be an anti-Semite to criticise Israel. It just so happens that you are.
If one could simply leave them to it one would. It’s a hell of its own making, hating Jews for a living. Only think of the company you must keep. But these things are catching. Take Michael Billington’s somnolent review of the play in the Guardian. I would imagine that any accusation of anti-Semitism would horrify Michael Billington. And I certainly don’t make it. But if you wanted an example of how language itself can sleepwalk the most innocent towards racism, then here it is. “Churchill shows us,” he writes, “how Jewish children are bred to believe in the ‘otherness’ of
It is not just the adopted elision of Israeli children into Jewish children that is alarming, or the unquestioning acceptance of Caryl Churchill’s offered insider knowledge of Israeli child-rearing, what’s most chilling is that lazy use of the word “bred”, so rich in eugenic and bestial connotations, but inadvertently slipped back into the conversation now, as truth. Fact: Jews breed children in order to deny Palestinians their humanity. Watching another play in the same week, Billington complains about its manipulation of racial stereotypes. He doesn’t, you see, even notice the inconsistency.
And so it happens. Without one’s being aware of it, it happens. A gradual habituation to the language of loathing. Passed from the culpable to the unwary and back again. And soon, before you know it...
Not here, though. Not in cosy old lazy old easy-come easy-go England.
Jacobson wrote this in February. It's almost as if he saw three months into the future and looked at Melbourne, Australia.