The Fairfax – Arts Centre MelbourneReviewed on March 16, 2022
Live theatre is back with a refreshing vengeance.
In 2022 alone, I have already had the privilege to experience shows such as A Chorus Line, Fun Home, If / Then, Jagged Little Pill, and 9 To 5. Whether by happenstance or not, each of these works share several common traits and thematic similarities.
All five pieces place female protagonists front and centre. Thrown off the deep end by difficult personal choices and/or professional challenges, their respective narratives are tested and framed for maximum effect. How these characters handle their respective paths, give audiences ample reason to commit until curtain down.
Yentl, presented by the Kadimah Yiddish Theatre, is a welcome and dynamic addition to the fold.
In researching this review, the show’s genesis makes for interesting reading. First published as a short story in 1962, “Yentl the Yeshiva Boy” was written by Isaac Bashevis Singer. An adaptation for the stage by Leah Napolin (with Singer) followed in 1975.
As far back as 1968, the esteemed singer-actor-director, Barbra Streisand, expressed interest in bringing his work to the screen. Buying the rights to Singer’s tale, her take appeared fifteen years later at a time when gender politics were a bankable theme in mainstream motion picture entertainment.
Several key examples from the era such as Tootsie with Dustin Hoffmann, and Victor / Victoria starring Julie Andrews spring to mind. This pair of monster hits addressed serious issues such as female discrimination and sexual liberation with punch and flair. Played mostly for laughs, each film shared a knack for wry charm, which ultimately reinforced their sucess.
Streisand incorporated an original musical score into Yentl to propel her vision. However, she also watered down or removed some of the darker and more controversial themes contained within Singer’s original piece. Though the movie has achieved cult status since, back then it was deemed a critical and box office failure.
With Streisand’s exclusive ownership, Singer’s story should have been a done deal. What she purchased however, were rights to the English translation. Meaning, the original Yiddish version was still available. This curious loophole has given Yentl a fascinating second life.
Yentl is the tale of a young women whose forward-thinking father gives her an education, which for the time, was the exclusive domain of men. When he passes away, she is determined to continue alone. Disguising herself as a male college student, her hunger for knowledge is peppered with complications.
With a running time of two hours (excluding a twenty-minute interval), it must be said there is never a dull moment. Audience reaction I overheard on opening night ranged from ‘full on’ to ‘highly relatable’.
Truthful writing from Gary Abrahams, Elise Hearst, Galit Klas and Evelyn Krape allow Yentl’s emotional plight, ongoing schooling, and the breathing space to be fully negotiated. No detail in her journey is left untouched. (Yiddish translation was provided by Rivke Margolis.)
Furthermore, the choice to present Yentl both in English and Yiddish makes for an immersive experience. Surtitles projected and positioned onto the wooden set above the actors, run in tandem with bursts of heated dialogue.
As audience members, we are allowed exclusive entry into a world sealed firmly behind closed doors. This bilingual approach lifts the coded lid, as it were, giving the story both piercing power and a sense of historical place.
With three separate projects (including Yentl) currently on the go, Abrahams is also the show’s co-director with Virginia Proud. In the pair’s expert charge, the characters are intelligent, and fully formed. The duo also highlights each player’s passion and fallibility in equal measure, making them distinctly human, too.
The creative team also strips Yentl back to absolute basics.
Where the original Broadway production used twenty actors to convey the story, this iteration features a cast of four. Secondary characters are excised; or spoken of yet no longer seen. Very much an ensemble piece, unforced exposition does a great deal of heavy lifting. Meaning that sharp characterisation and contemporary dialogue, give Yentl a healthy lineal focus.
Theatre veteran, Krape is also the show’s narrator. On top of this demanding role, she juggles other male and female parts throughout both sixty-minute acts. At times shifting back and forth between these roles within seconds, the actress provides that vital link between viewers, the other actors, and the story, with Shakespearian omnipotence.
Nicholas Jaquinot plays Avigdor, Yentl’s study partner, confidante, and rival. Acting at times with fearless abandon, Jaquinot injects his role with emotional zest. We cannot help but love him.
So much more than a passive object of beauty, he is matched by Genevieve Kingsford as Hadass. You sense her confusion and struggle, stifled (yet secretly passionate) lost in a world against her choosing.
Jana Zvedeniuk plays the title role with solid range and youthful aplomb. Despite the social barriers blocking her character’s path, the actress gives a performance which is always present, powerful, and full of heart.
Strong Lighting Design (by Rachel Burke), Set and Costume Design (by Dann Barber), Sound Design and Composition (by Russell Goldsmith), all provide the technical support necessary in making Yentl a satisfying and atmospheric journey.
Worthy of repeat viewings, this is a timely piece with wide-ranging and though-provoking appeal.