This production of Yentl is an incredibly engaging theatrical imagining of the short story of which it is based. The original Yiddish short story Yentl, The Yeshiva Boy by Isaac Bashevis Singer, published in 1962 has proven to still have a relevance today, over 60 years since the story was conceived.
Simply put, Yentl is the story of a young woman (Amy Hack) who goes against the Jewish orthodox tradition that forbids females from studying religious scripture. After her father dies, Yentl makes the decision to dress as a male, to continue her studies. However, her journey becomes a lot more complex to navigate when she meets and befriends fellow study partner, Avigdor (Nicholas Jaquinot) and love interest, Hodes (Genevive Kingsford). All the while, being haunted and driven by The Figure (Evelyn Krape).
The four individual cast members are incredibly talented, elevating this timeless story to new heights. Amy Hack, who plays Yentl, is moving in portraying the journey of a woman, who embodies a man, falls in love with a man, and then a woman, ultimately deciding between love and faith. Hack brings the emotional turmoil of Yentl to the stage in a big way. All the while moving between the English and Yiddish languages so effortlessly.
Yentl’s core relationships, played by Nicholas Jaquinot (Avigdor) and Genevive Kingsford (Hodes) reinforce the masculine and feminine in their interpretations of each character. Jaquinot exemplifies a young man at the peak of his sexuality, and Kingsford, a sweet and innocent Jewish woman naively experiencing love and sexuality for the first time. Both Jaquinot and Kingsford bear all on stage and reinforce the turmoil that Yentl faces as she navigates herself between both characters.
Evelyn Krape plays The Figure, yet also plays many other characters including Yentl’s father. Krape is outstanding and brings such a cheeky energy to the stage. Krape speaks mostly in the Yiddish language and allows the audience to look at the story that unfolds onstage in the context of the Jewish faith and the politics of faith and love. The Figure is essentially a gender-bending character that offers self-reflection and commentary on Yentl’s journey. Krape is a stand-out and masterfully moves between characters enthusiastically and effortlessly.
For those who do not understand the Yiddish language, there are surtitles projected high onto the stage to help you through. And although there were some clumsy technical errors and transitions on the night, the staging and technical production is solid, allowing audiences to fully immerse into the dramatic story on stage. Also, one word of warning, this production contains some very adult themes, nudity, and elements that some might find confronting. However, this production of Yentl will leave you pondering themes that are relevant and applicable to people of all walks of life, regardless of your religious beliefs.
FOUR STARS (OUT OF FIVE)
Yentl is playing at the Playhouse theatre in the Sydney Opera House until 10 November 2024.
Tickets at Yentl | Sydney Opera House.
The reviewer attended the opening night on 19 October 2024.
Header image credit: Jeff Busby
