Review: Faygele (Marylebone Theatre)
- All That Dazzles
- 7 days ago
- 4 min read
Review by Daz Gale
⭐️⭐️⭐️
Programming at Marylebone Theatre has been far from dull over the past few months. Following the rave-reviewed and Olivier-nominated What We Talk About When We Talk About Anne Frank, an ambitious attempt to stage their first musical there wasn’t quite as successful. Hoping to repeat the success of the former is the world premiere of Faygele, a new play that continues the themes of Jewish heritage but in a very different way.
Inspired by true events, Faygele tells the story of Ari Freed whose world is upended at just 13 years old when his father calls him a “faygele” at his Bar Mitzvah. The equivalent of another slur beginning with f to refer to gay people, Ari struggles with his identity against a family and culture that tell him his very existence is wrong. Ultimately, the clashes and Ari’s own struggles prove too much in a play that explores the events that pushed Ari over the edge.
Writer Shimmy Braun has created a story based partly on his own as a closeted gay Orthodox Jewish man and partly on the true story of another teenager who didn’t make it. Revealing Ari’s fate in the opening moments of Faygele is a bold choice that leaves the audience intrigued to see what led up to it. The play even begins with Ari in the audience, describing what we’re about to watch as a “gut punch” - however, the fact we know the end of the story prevents that gut punch from ever happening - perhaps keeping I would argue that by re-ordering some of the scenes to not reveal the play’s end immediately would create a far more impactful and emotional watch, that is sadly lessened by knowing too much too quickly.
Though there is a case of some scenes possibly being in the wrong order, there is a real quality to Shimmy Braun’s writing that shines through. Humorous moments and a story told with sensitivity leads to some truly powerful moments with Braun’s own story creating a personal and authentic touch. At its core is a story of acceptance and an urge to do better when it comes to accepting those in the LGBTQIA+ community. With recent events regarding trans people, the message of Faygele extends far beyond gay Orthodox Jewish men. Though this story roots itself in the religion and culture as to why Ari can’t be accepted, the essence of it really could be transported to any other setting and still be as vital to be told.
For all its good intentions, Faygele does come apart slightly towards the end, never quite fulfilling the promise it started - again, in part due to the initial reveal reducing the stakes. There is also a rather odd inclusion of a sequence far different to anything else in the play where the story of “The Turkey Prince” is told. To call this inclusion jarring would be an understatement - coming seemingly out of nowhere, it is completely at odds with the rest of the play and cheapens it to something that doesn’t match the quality of the writing elsewhere. Though I understand what Braun was trying to do with this sequence, to this reviewer, it just didn’t work, killing the pacing of the show and adding unnecessary absurdity to a play rooted in realism.
Hannah Chissick’s direction ties together Braun’s writing and manages to elevate it for the most part. This is most evident in the attention given to the character of Ari with mannerisms and conflicts in his personality reflecting his despair at the situation handled beautifully. David Shields’ set design is simple yet effective, transforming the stage with minimal props and never threatening to distract from the acting - surely the greatest aspect of Faygele.
Ilan Galkoff leads the cast as Ari Freed in a sensational performance. His ability to charm and flirt not just his fellow cast members but also the audience allows for a compelling portrayal. This, in turn, makes the more emotional and distressing moments all the more effective, with Galkoff showcasing versatility, range, and a real abundance of skill in a stunning characterisation.
Ben Caplan and Clara Francis play Ari’s parents, keeping cards to their chest for the most part but showing moments of vulnerability, regret and their own complications as they argue between the love of their son and not agreeing, or should I say understanding, the man he is. Andrew Paul is a standout among the cast as the lovable Rabbi Lev, bringing moments of comedy and, forgive the pun, levity. The cast is completed by a late addition as Yiftach Mizrahi attempts to be the voice of reason as Sammy Stein, adding another element to the mix as he clashes with the others and provokes interesting dialogue.
I found myself gripped by Faygele throughout and continually impressed by both the writing and the acting. It was slightly frustrating to see a show with so much potential make a couple of missteps that could be easily rectified. Regardless, the message conveyed in this play is a crucial one that I would encourage everyone to take note of, as we could all do with being a bit more accepting in this world. Though Faygele is still a good play in its current form, I can see this could be even better with just the tiniest of tweaks.
Faygele plays at Marylebone Theatre until 31st May. Tickets available from
Photos by Jane Hobson