The Yiddish Book Center’s Great Jewish Books Teacher Resources

In Act 4, Scene 9, of Part Two: Perestroika, Roy Cohn, the Jewish attorney largely responsible for the conviction of Julius and Ethel Rosenberg in 1951, lies in his hospital bed dying of AIDS. The year is 1986. The ghost of Ethel Rosenberg enters and informs him that he has been disbarred and can no longer practice law. Roy begs Ethel to sing him a song and, reluctantly, she sings him the well-known Yiddish folk song “Tumbalalaika.” (Tum means “noise” in Yiddish, and a balalaika is a Russian stringed musical instrument.)

This iconic photograph of the Rosenbergs was taken in 1951 as the couple left the courthouse after being found guilty of espionage. The recording of "Tumbalalaika" is by Nathan “Prince” Nazaroff, on his album Jewish Freilach Songs (1951), licensed by Folkways Records, which is now owned and operated by the Smithsonian. (As is often the case with folk songs, more than one set of lyrics exists for "Tumbalalaika," and the lyrics Nazaroff sings are distinctly different from the ones presented by the lyrics sheet we've chosen, from Lomir kinder zingen [1970]. The written lyrics, however, are the more well-known ones today.)

Suggested Activity: Have students read Act 4, Scene 9, of Part Two: Perestroika. Then show them Roger Higgins's photograph of the Rosenbergs. Have students examine the photograph in small groups. Discuss: do you recognize the people in this photo? What can you learn about these individuals just by looking at the photograph? Reveal that the woman is Ethel Rosenberg, whose ghost visits Roy Cohn on his deathbed. Tell them about Cohn's role in the Rosenberg trial.

Next, ask students to research the case of Julius and Ethel Rosenberg in small groups. Students should consider: who were Julius and Ethel Rosenberg and what were they accused of? Were they innocent or guilty? Were they tried and punished fairly? Did anti-Semitism play a role in their sentencing? Have each group take on a different question and present their findings to the class.

Then return to Act 4, scene 9, and have students consider: What is the significance of this scene and what role does Jewishness play in it? What is the effect of including historical figures in a play featuring primarily fictitious people, places, and events? What does the inclusion of Cohn and Rosenberg add to the play? 

Then play the recording of "Tumbalalaika" and examine the lyrics as a class. What is this song about? What kind of song is it? When might you imagine someone would sing this song? Why might Kushner have included this song in this scene?

The biblical episode of Jacob wrestling with the Angel, from Genesis 32:22-31, has inspired artists for centuries. It is also referenced several times in Angels in America. Prior is repeatedly visited by angels and wrestles with one of them. Joe tells Harper how he was fascinated with the story as a child; he sees the story as a metaphor for his own struggle with his homosexuality and his Mormon faith. 

Suggested Activity: Ask students to compare and contrast the four images of Jacob wrestling with the angel from Gutenberg, Rembrandt, Leloir, and Moreau. Have students discuss in small groups: what are the similarities and differences between these artistic works? How do these images relate to the themes of the play? Why might a painting of Jacob and the angel have had such a strong impact on Joe?

In his monologue at the opening of Part One: Millenium Approaches, Rabbi Isidor Chemelwitz eulogizes Louis’s grandmother, Sarah Ironson. In doing so, he lists the names of Sarah’s family members:

“We are here this morning to pay respects at the passing of Sarah Ironson, devoted wife of Benjamin Ironson, also deceased, loving and caring mother of her sons Morris, Abraham, and Samuel, and her daughters Esther and Rachel; beloved grandmother of Max, Mark, Louis, Lisa, Maria… uh… Lesley, Angela, Doris, Luke and Eric. Eric? This is a Jewish name? Eric.”

This illustration from a 1977 issue of Moment provides a concise visual representation of the trends in Jewish names that seem to confound Rabbi Chemelwitz. 

Suggested Activity: After reading the opening scene of Part One: Millenium Approaches, ask students to look at the illustration in small groups. Invite students to discuss: how does this image relate to Rabbi Chemelwitz’s comment about Eric’s name? What kinds of historical events might impact how Jewish parents choose to name their children? To what extent does this image reflect naming traditions that you have observed in your own community? What, if anything, makes a name Jewish?