Breakout performances rarely come as high-voltage as Jenna Augen’s turn in Bad Jews, the Joshua Harmon play that is transferring to the Arts Theatre starting March 18 after previous runs both at the St. James Theatre and out of town in Bath. Inheriting Tracee Chimo’s New York role, Augen puts her own spiky, sparky spin on the religious Daphna, who comes to grief with her assimilationist cousin Liam (Ilan Goodman) over the fate of a family heirloom. The immediately warm Augen chatted to Broadway.com on the eve both of the play’s West End upgrade and of turning 30 about defending a tricky character, making it overseas, and being ready for whatever happens. You have a base in L.A.—is this third run of Bad Jews making you reassess where you want to focus your career? Now it just seems as if there are many more possibilities in terms of staying here. When I left almost two years ago now, my prospects here felt very limited but now it looks as if there are options. I do have a life out in L.A. now and would love somehow to get a proper career going there as well as here, so I’m not sure how that bridge is going to be built. Daphna is such a high-octane presence. Is it hard to leave her behind every night? I do find it difficult to shed her skin because her rhythms are so total. She’s so aggressive and her energy level is at such a high voltage that I have a really hard time coming down off it; I get completely exhausted. The last couple of weeks at the St. James we had 9-show weeks so two days of back-to-back shows. At the end of those, I didn’t know which end was up! [Laughs.] You and Ilan Goodman are so well-matched that the play’s various debates deliver big-time. Well, Ilan’s amazing, without which I wouldn’t be able to do what I do, but also the writing for the two characters is so perfectly paralleled and Liam’s rant has exactly the same thought patterns as Daphna’s; they’re on one wavelength, [but] the two sides of a single coin. And while they dislike each other and tick each other off, they on some level enjoy having that other person kicking off in the room: you’ve got to have some enjoyment in what they do on stage. Daphna is so quick-witted, yet volatile. Do you enjoy playing such a vibrant character? I wasn’t ready to say goodbye to her at the St. James; I think we were all finding things every single week. It only really hit me towards the end of the run just how strong her sense of injustice is about the fact that her cousin Liam has really stolen the chai [the Hebraic heirloom belonging to their late grandfather]. It was taken off this elderly man who was lying comatose in the hospital, so no wonder it remains a hot-button issue when Daphna and Liam meet. The title of the play is an eye-opener with its suggestion that there are different kinds of Jews. Do you relate to that thematic? Well, my mother is a non-Jewish opera singer so I’m the product of the kind of situation that Liam has in the play with Melody [his non-Jewish girlfriend, who studied opera]. My dad is Jewish: he’s a molecular biologist and also genuine supporter and appreciator of the arts, and I’ve always felt very lucky to be my parents’ daughter. But there are spooky coincidences between my own life and what is in the script. When I first read it, I went, “Whoa, this is strange!” So you’re open to whatever happens? I am—I have to go where the wind takes me. You never know what’s next in this business but for now I’m just so glad to be having this job, and doing this play, for the third time. Did you see the play during either of its two off-Broadway runs? I hadn’t, but I’d heard such wonderful things about it, and the original Liam [Michael Zegen] from the New York production happened to be in London and he came to see us, which was nice; it was really exciting to feel as if we were part of this trans-Atlantic team. You’re the only American in the four-person cast. Does that feel weird? Not at all. I went to [the Royal Academy of Dramatic Art] here and was often the only American being British in plays, so the fact of being the odd person out doesn’t feel strange to me. What’s good, I think, is that the accents in our show are pretty great and because I’m there, if anybody has a question about anything, they can just ask. The Arts Theatre marks your third run of Bad Jews—how does that feel? I’m so lucky. I was so happy to get this job in the first place. It was a long shot because I had been out of the country for a couple of years so it was just really nice to get the job. Then to be so well-received in Bath—where there are no Jewish people [laughs]—and at the St. James was incredibly exciting. I started crying when [co-star] Ilan [Goodman] came and told me this transfer was a possibility. As long as your American accent hasn’t been too tempered by time abroad! I know, right? We had a great dialect coach who caught me up on some stuff and here I was thinking, “Wait a minute, I’m from Connecticut,” and he said, “No, you’ve got a few Canadian sounds in your speech”—that’s what I get for spending so much time in England [laughs]. View Comments
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“From the beginning of the year to August 15, 11,18 percent more accounts were fiscalized compared to the same period last year. That’s 17,3 million more bills. The amount of these bills is higher by 6,55 percent, which is HRK 7,4 billion more compared to the same period last year. ” said Kutlesa. The results of intensified surveillance are central Dnevnik HRT-and commented by the Director of the Tax Administration Božidar Kutleša who points out that the Tax Administration performed 10.256 fiscalization inspections this year, of which over 6 were with irregularities. Since the beginning of the year, the Tax Administration has been continuously conducting tax inspections, and as the turnover has increased in accordance with the tourist season, special attention has been paid to issuing fiscal invoices. Interestingly, the daily amount of fiscalized accounts on August 16 reached HRK 890 million, which is the largest amount fiscalized in one day since fiscalization was introduced in 2013.
The new home at 38 Kurumba St, Kippa-Ring sold before its first open home. Picture: SuppliedKIPPA-RING’S spot on an elite list of Australian suburbs to watch this year has been confirmed with two houses breaking the suburban house price record in the last months of 2018.In a stunning end to the year, the near new 66 Centaur Street broke the record by $22,000 when it sold privately for $697,000 on November 19.The week before Christmas, the brand new five-bedroom house at 38 Kurumba Street sold before its first open home for $710,000. More from newsParks and wildlife the new lust-haves post coronavirus14 hours agoNoosa’s best beachfront penthouse is about to hit the market14 hours agoNew homes, such as this one at 66 Centaur St, are proving popular with Kippa-Ring buyers. Picture: SuppliedThe Redcliffe Peninsula suburb has been seen as a poor cousin to neighbouring Newport since part of Kippa-Ring was excised to help create Newport in 2008. The median house price in Kippa-Ring is currently $435,000 compared to Newport’s $770,000, CoreLogic property data shows.But increased sales demand saw the Price Predictor Index put Kippa-Ring on the national list of hottest suburbs to watch in 2019.Crown Properties sales associate Cameron Reid sold 38 Kurumba St, and said buyers were missing out on a great opportunity by refusing to look in Kippa-Ring.“People are paying big dollars for Newport homes and 150m away we have sea breezes and water views and big parcels of land.”