When Catherine O’Hara delivered the perfect Purim spiel
The ‘Schitt’s Creek’ actress, who died at 71, once gave a riotous turn as an actress playing a Southern Jewish matriarch
Catherine O’Hara in 1986. Photo by Bonnie Schiffman/Getty Images
By PJ Grisar January 30, 2026
Catherine O’Hara, the SCTV star who rose to international fame in Home Alone and had a late career renaissance on Schitt’s Creek and on Apple TV+’s The Studio, has died at 71. The cause of death was not clear at press time.
O’Hara was an actor known for her versatility, convincing millions she could forget her son as she left for vacation (twice) and going on to play a series of eccentrics, like Moira Rose, the self-involved, delusional ex-soap opera star and mother of an interfaith on Schitt’s Creek, opposite her regular collaborator of decades, Eugene Levy.
While O’Hara may be best remembered for that show, for which she won a Golden Globe and an Emmy, or in the improvised mockumentaries of Christopher Guest, it was in a rare scripted film by Guest where she gave perhaps the most indelible Purimspiel in cinema history.
In 2006’s For Your Consideration, O’Hara plays veteran actress Marilyn Hack, cast in an awards-baity picture called Home for Purim. We get a glimpse of the film, a weepy melodrama set in the American South and starring Hack as a terminally ill matriarch.
Together the family joins with groggers to sing a tune that speaks of Achashverosh telling Esther “don’t farbrent” and rhymes it with “shep naches later in my tent.”
Of course the comedy here is that this film could have wide commercial appeal, and the premise that one would travel great distances to come home to observe Purim with the family as if it were Christmas (it’s later changed to Home for Thanksgiving).
After the family finishes singing the song, Hack in character, sounding like a Tennessee Williams matron, coughs ominously on cue into a napkin to signal her time is near.
“My time is short and I will not leave the Purim table,” Hack says as the hacking mother.
On request from her daughter — played by O’Hara’s frequent co-star Parker Posey — she then explains the significance of Purim to her brood.
“I’m an Esther, like the queen,” she says, wearing a glittering diadem. “She was a woman who came from the worst of times to the best. To a palace where she had everything she wanted. Comfort, riches, power. And she risked it all, including her life to serve a higher purpose, commit a selfless act to save a nation.”
O’Hara plays this to the just-believable-hilt, scored by an Itzhak Perlman-esque violin strain. When she asserts that “my selfless act was to protect my family from all the Hamans,” her kin spin their groggers and she loses it as only she could.
“I don’t have much time! Put your toys down!”
She then flips the story, realizing the irony that the Haman she was trying to protect her daughter from, turned out to be her. In what would have been the Oscar clip, the children dispute this: “You’re no Haman, Mama. You’re Queen Esther.”
Played for laughs, the scene — and indeed the premise of the film-within-a-film — was in some ways prescient, as Evangelicals increasingly look to Esther’s example.
A proof of O’Hara’s range is that, while making her mark in a Christmas film franchise, she could contribute perhaps the highest profile instance of Purim to the canon. That it wasn’t believable was the point, but the fact that she could so effortlessly embody an actor acting badly makes you think she could have sold the real thing.
