Career
Her stage plays include Theresa, based on the true story of a Jewish woman in Guernsey during the German occupation in the Second World War. This is the first in The Holocaust Trilogy. lieutenant is followed by A Dead Woman on Holiday, which is set in the Nuremberg Trials, followed by her adaptation of Anski"s The Dybbuk.
Her next volume contains The Yiddish Queen Lear and Woman In The Moon.
The final volume includes Crossing Jerusalem, which is about the conflict in the Middle East, The Golem, a version of the Prague myth of the Golem for young audiences, Street Joan a satire based on a Jewish Black Londoner who dreams she is Joan of Arc and Year Zero which reveals World World War II stories from Vichy France. In 2007 her adaptation of The Merchant of Venice was staged at the Arcola Theatre and printed as The Shylock Play in 2009.
All her plays are published by Oberon Books. Her autobiographical essay Prima Ballerina Assoluta is published in collection Truth, Dare or Promise.
She was a NESTA Dreamtime Fellow in 2006 and Writer in Residence at the Wiener Library in 2007 with a Leverhulme Grant.
Her archive is held by the University of York where she was Writer in Residence in 2003. Her journalism has been published in The Guardian, "The Observer".The Independent, The Financial Times and The Times. The Dybbuk premiered in London at the New End Theatre, Hampstead in July 1992, then the Lilian Baylis Theatre.
Since 1992 it has played in Munich at the Festival of Jewish Theatre, at Maubeuge"s International Theatre Festival, in Poland (British Council tour), Sweden, Belgium and a major British regional tour.
The Dybbuk is published by Oberon Books in "The Holocaust Trilogy", three plays by Pascal. The Dybbuk had its United States premiere at Theater for the New City in New York City in August 2010.
Her play "Nineveh" was produced by Theatre Témoin at Riverside Studios in 2013. "Street Joan" will have it Edinburgh Festival debut in August 2014 at The Bedlam Theatre.
The Miami Herald said the incident "has left raw feelings among those who call the cancellation a capitulation to politics and those who say the play was deeply and needlessly hurtful." Pascal protested that “the intent of the play was to show the complexity of Israeli life,” and called the early closure "censorship." The Jewish Daily Forward commented: "The controversy mirrors others faced by American JCCs over media perceived to be critical of Israel, notably in Washington and New New York".
