Actor quits West End show in protest over co-star Dame Maureen Lipman’s pro-Israel views
Actor Gerard McCarthy has pulled out of the West End transfer of the play Right Before I Go after declining to publicly promote co-star Dame Maureen Lipman, citing her outspoken pro-Israel views as incompatible with his own political beliefs. McCarthy, known for BBC dramas including Call the Midwife and The Fall, had been set to reprise his role when the production moved to London's Soho Theatre, but withdrew following Dame Maureen's casting announcement and after tensions reportedly developed with the play's creator, Stan Zimmerman.
McCarthy, who had performed the role at the Edinburgh Fringe, said in an Instagram post that he had privately raised his concerns rather than seeking to have Dame Maureen's casting reconsidered, saying he simply did not wish to use his own platform to promote someone whose views differed from his own. Dame Maureen, 80, has been a prominent Jewish voice supporting Israel since the October 7 attacks and has previously described facing anti-Semitic abuse and needing private security while touring; she has not commented publicly on McCarthy's departure. The play itself deals with suicide, using real suicide notes, and each performance is followed by a discussion with a mental health professional.
- Gerard McCarthy quit West End's Right Before I Go over Maureen Lipman's Israel views
- He refused to promote her casting, citing incompatible political beliefs
- Lipman has faced anti-Semitic abuse and used security while touring
Both sides, in good faith
The strongest fair case each way — we don't pick a winner.
The case for
Supporters of McCarthy's decision argue that no performer should be compelled to lend their public platform, including press and promotional appearances, to amplify a colleague whose political views they find morally objectionable, particularly on a conflict as contested and painful as Israel and Gaza. They note he acted with restraint, raising concerns privately rather than campaigning to have Dame Maureen removed from the production, and simply chose to withdraw his own participation rather than impose his views on others. For them, this reflects a legitimate exercise of personal conscience and freedom of association, distinct from seeking to silence or punish her.
The case against
Critics contend that theatre depends on the ability of colleagues with differing beliefs to collaborate professionally, and that treating a co-star's personal political views, however strongly held, as disqualifying risks importing an ideological purity test into the arts that could deter open debate and mutual respect. They point out that Dame Maureen has described facing anti-Semitic abuse and needing security, and argue that singling her out over her support for Israel, rather than any conduct on set, unfairly conflates a colleague's identity and political stance with grounds for public boycott, and sets a troubling precedent for how the industry treats Jewish artists who express such views.