When describing the characters at the center of Birthright—Jonathan Spector’s provocative new drama about friendship, identity, politics, and identity politics at MCC Theater—the Eureka Day playwright gives each member of a tight-knit millennial sextet a sense of purpose: Chaya (played by Succession star Zoë Winters, a marvel in plays including White Noise and Heroes of the Fourth Turning), whose family’s suburban D.C. home provides the meeting point for various reunions, is in search of community; Izzy (Molly Bernard, who stole scenes for seven seasons as pansexual publicist Lauren on TV’s Younger and recently made a dazzling Broadway debut in Leslye Headland’s Cult of Love) is in search of justice; Noah (Stereophonic’s Eli Gelb, exuding Golden Retriever energy), a writer, is in search of understanding; Emerson (Nate Mann) is in search of serenity; Alona (Molly Ranson) is in search of home; Lev (Hale Appleman) is in search of meaning. As for Chaya’s mother, Deborah (Liz Larsen, a delight): “What’s with all the searching?”
It’s no spoiler to say that over the course of the fast-moving—no, really!—three-hour-and-15-minute play, which spans three decades totaling 18 years, everyone finds a bit of what they’re looking for. Some more than others.
Spector introduces us to the group, all Ashkenazi Jews, when they’re in their early 20s, fresh off their birthright trips to Israel. The women are still basking in the glow of drunken nights with soldiers. “I just think their presence is obviously to like convince people how sexy it would be to live in Israel,” Izzy muses. The guys are talking tech—“some site people like put up videos for free. You Tube?” Emerson wonders. And Noah starts to wade into politics, ranting about George Bush and Iraq, declaring that the world is “finally waking up to the fact that our whole society has been stuck for the past 50 years in this narcissistic snow globe of baby boomer fantasies,” and proudly proclaiming that “we’re never going to put one of those assholes in charge again” (sigh).
[Read Frank Scheck’s ★★★★☆ review here.]
Fast-forward to 2016—literally. After the first interval, Spector condenses 2007 through 2015 into a sort of electronic flip-book, with highlights projected onto a massive video screen. We see short group emails from assorted accounts (subject line: “BirthLeft Reunion”); then, via Facebook, photos from milestone events (Emerson’s baby, Izzy’s wedding, and more). After the second interval, the years 2016 to 2023 flash by: The group has ditched Facebook in favor of text messages in order to communicate—more baby photos!—before moving on to the more secure WhatsApp. Part Three begins in June 2024, when the events and wounds of the previous October 7—the start of the Israel-Hamas war—are still fresh.
Spector does a terrific job evolving his characters: When we first meet Noah, he’s writing a blog; later, he’s running his own website; eventually, he becomes a full-time podcaster. Chaya’s first foray into politics is as deputy campaign manager for a NYC city council race; she ultimately ends up in the Obama White House, then working on Hillary’s campaign; her last job is heading up a “nonprofit based in Jewish values.” Even unseen characters go through their own evolutions: We hear about Alona’s mom being on the Atkins diet, then doing a pre-wedding juice cleanse, and finally discovering “the life-changing magic of Ozempic.”
As you might imagine, as the friends get older, they become more politically aware and more passionate about their views. Part Three is definitely the most highly charged: Tensions begin to flare when Izzy mentions a protest on the Golden Gate bridge demanding a ceasefire. “And were you demanding Hamas release the hostages too?” retorts Chaya. Izzy fires back: “Well the U.S. is not supplying Hamas with two ton bombs that they—” But Spector is too smart to let this turn into an episode of Crossfire. Don’t be surprised when a personal text pops up or when Izzy and Chaya start Googling like crazy to support their respective arguments. (David Bengali provided the ubiquitous projections.) It briefly breaks the tension—and it’s completely realistic. They’re all just as focused on their phones as we are.
And speaking of phones: You’ll be required to lock yours in a Yondr pouch when entering the theater; there’s some brief nudity, as a few characters pop into the backyard hot tub (Scott Pask’s set expertly captures upper-middle-class life in suburbia). If you need to access your phone during the intermissions, you’re able to. But you likely won’t want to. You’ll want to stay in this world as long as possible.
Birthright opened June 29, 2026, at MCC Theater and runs through July 26. Tickets and information: mcctheater.org
