Nir Paldi’s Edingbugh fringe hit is a daring piece of theatre. Our MC for the evening is the glamorous queen Star (played by writer and director Paldi). Her first words are a warning: this will be an explosive production. Star is accompanied by a one-man musician, ‘Camp David’, and a troupe of five dancers, the Starlets, clad in military uniform. Through cabaret-style song and dance, Star and the Starlets tell the story of both the Israeli nation and one Jewish boy, caught up in the fighting.
The scope and ambition of Paldi’s story defies quick summary. Moreover, the plot keeps pausing as the authoritarian Star stops to berate the Starlets or, increasingly, they question why their queen does not let them explain certain episodes in more detail. Does she have something to hide? Paldi is not taking sides on the struggles of the Middle East. He exposes problems with the attitudes of both sides. Jewish prejudice towards the Palestinians is portrayed as childlike. Later, when the Starlets are reciting a long list of all the crimes committed against Jews (since 1100), Star sighs flicks back her hair, pulls up a chair, and tells the audience that now would be a good time to check if the bar is still open.Ballad of the Burning Star makes the audience laugh and flinch by turns. Much about the performance is uncomfortable. The choreography is hunched and taught. Is it ok to smile at the cabaret acts? (“Do the inner conflict song, NOW!” Star barks.) Is it OK to explore a centuries-long conflict in which thousands have died through musical theatre and drag? It is the way this piece plays with what is acceptable that makes it stand out from other satirical or more serious political treatments of the topic. And nowhere are our responses more conflicted than in the sudden finale, when we see what lies beneath Star’s hair, make-up and flowing gold dress – guilt.