Yentl - Review

Marylebone Theatre, London

****

Based on the original short story by Isaac Bashevis Singer

Co-written by Gary Abrahams, Elise Esther Hearst & Galit Klas

Directed by Gary Abrahams

Evelyn Krape above Amy Hack 

Drawn from Isaac Bashevis Singer’s famous short story, Yentl tells of a Jewish girl from a shtetl in the Pale of Settlement whose dream is to study Judaism’s holy scriptures in the yeshiva. But with the strictures of her faith excluding women from places of study, it is through Singer’s wonderful imagination that Yentl assumes the identity of a young man, changes her name to Anshel and starts her unique journey.

Life of course bowls its challenges and as Yentl’s narrative unfolds and the course of true love emerges, the complexities of her deceits and desires lead to the most unconventional and uncomfortable ménage a trois. This is a story of a world of orthodox tradition being upended by the most unorthodox of behaviours, played out with a sensitive finesse. What makes Yentl even more distinctive is that the evening’s dialogue seamlessly segues between English and (surtitled) Yiddish, imbuing the story with a rich authenticity.

This production is devised by the Kadimah Yiddish Theatre of Australia under the leadership of the show’s director Gary Abrahams and the company’s artistic director Evelyn Krape and first played in Melbourne four years ago. It speaks much for the cast's belief in this play that three of its quartet of players are from Australia and have journeyed across the globe to bring the show to London.

Amy Hack assumes the title role in a performance that is as delicate as it is powerful. Hack convinces us of Yentl’s passion and her pain.

It is Evelyn Krape herself who lends the most flavoursome sprinkling of Yiddishkeit to the proceedings. Her character is The Figure, a ghostly fusion, if you will, of Greek chorus and the Emcee from Cabaret, who both comments on the story’s calamitous turn of events, as well as at times portraying Yentl’s conscience. Onstage for most of the play, Krape is magnificent in a portrayal that captures the compassion, pathos and above all the self-deprecating satire of Yiddish theatre. Look at Krape to get a glimpse of the dramatic forces that were to inspire the likes of Mel Brooks and Larry David.  

Ashley Margolis and Genevieve Kingsford, respectively play Avigdor and Hodes, the two “innocents” who fall into Yentl’s web of deception. They too give very strong performances that are both believable and credible as we follow their personal experiences of discovery and revelation. 

This is not a show for traditionalists, who may find both the narrative and the moments of occasional nudity troubling. But for those who seek an alternative interpretation of a slice of Jewish literary history, together with the most fabulous tribute to the art of Yiddish theatre, then Yentl is unmissable.

Runs until 12th April

Photo credit: Manuel Harlan

Emma Kingston - Review

Live at Zedel, London

****

Emma Kingston

The early evening Saturday slot at Live At Zedel saw a full house enjoy Emma Kingston’s solo cabaret debut. Known within the industry and to her growing fan base as a powerhouse performer with a stunning voice, Kingston delighted for a non-stop hour in a set list that spanned the decades.

Accompanied by MD Freddie Tapner on piano, the song choices drew mainly from Kingston’s personal favourites rather than her career and not surprisingly the anecdotes with which she confidently peppered her routine were drawn mostly from loving family experience. Her brief tale however of being asked, at a moment’s notice, to provide emergency cover to In The Heights, nearly two years after she’d last played the show, hinted at this talented woman’s already impressive career.

There was an evident love for Streisand with the famous singer’s work popping up several times in the hour. Funny Girl’s People was gorgeous, while for an encore the audience were offered Piece Of Sky from Yentl, with Kingston making the number a glorious finale. 

Vocally magnificent throughout. Kingston’s is a voice of amazing power combined with her pitch perfect ability to hold a note forever. But majestic strength does not always equal dramatic presence. As she offered up a beautifully sung take on The Man That Got Away, perhaps one of the most poignant torch songs ever, it was noticeable that for that song to really work it needs to be sung (much) later than 7pm, and ideally by a weathered chanteuse with perhaps a few more miles on the clock than the disarmingly youthful Kingston. In an enchanting nod to her age and heritage however, Kingston (along with the talented Tapner) had put together a well woven medley of Disney numbers that, amongst others, saw Ariel segue into Pocahontas segue into Elsa.

One of the gig’s sweetest spots was hearing a perfectly nuanced She Used To Be Mine from Waitress. Kingston’s take on Sara Bareilles’ ballad was flawless and casting directors should be taking note of this contender for the role of Jenna, should the show ever cross the pond.

Notably absent from the evening were anything from Fiddler (where Kingston had played an exceptional Hodel at Chichester last year) nor from Les Miserables, where she had served an lengthy stint. Next time perhaps....

Emma Kingston’s career has been outstanding to date - and as this review is published she has already arrived in Taiwan, returning to the role of Eva Peron (a casting personally approved by Andrew Lloyd Webber) in an international tour of Evita. Singing only one song from that show Kingston treated us to You Must Love Me. Hers was a powerful, beautiful interpretation proving why she is one of the finest performers of her generation.