Aaron Ashman’s 'The Wall': The Return to Zion and the Hidden Repertoire of Hebrew Culture

Abstract

Aaron Ashman’s 1938 biblical play The Wall is based on the Book of Nehemiah and focuses on the rebuilding of Jerusalem’s walls during the Persian Restoration period, also known as ‘The Return to Zion.’ Though never performed in mainstream theaters, the play had a strong grassroots presence during the 1940s and 1950s, particularly in amateur theater, youth groups, and ideological settings. As such, it is part of what we call the ‘hidden repertoire’ of Hebrew culture during that period. The article analyzes Ashman’s dramaturgical adaptation of the Book of Nehemiah. On the one hand, the play draws contemporary-didactic parallels between the biblical restoration period and Ashman’s own time, with emphasis on the Tower-and-Stockade enterprise, the policy of restraint during the Arab Revolt and the preference for political pragmatism over a messianic vision of sovereignty. On the other hand, the play imbues the biblical story with mythic-tragic qualities, highlighting its underlying unsolvable dilemmas. This duality reveals the challenge of using Nehemiah’s story as a foundational myth for Zionist Hebrew theater. The play’s reception outside of mainstream theaters points to its liminal status in the broader repertoire of Hebrew culture.