Review: Yentl (Marylebone Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

When most people think of Yentl, they immediately think of the iconic Barbra Streisand musical movie from 1983, but the story stretches far beyond that. Originally a short story by Isaac Bashevis Singer, this new theatrical take has already wowed audiences in Australia, with acclaimed runs in Melbourne and the iconic Sydney Opera House, and now makes its international debut with a limited season at London’s Marylebone Theatre. But would this contemporary adaptation of the story be able to find its place in the world, or would it have been better left in the past?

Yentl tells the story of a young Jewish woman who dares to defy Orthodox law by disguising herself as a man in order to study Jewish scripture. Discovering a world rich with possibility, things get complicated when she begins a close friendship with Avigdor and a romantic relationship with Hodes. Trying to keep her true identity hidden, Yentl finds herself tangled in uncharted territories, with faith, gender, desire and tradition colliding, propelling her toward a destiny that challenges every boundary.

It may have been written more than 60 years ago, but there is a surprising relevance to Yentl that allows for this new contemporary take on the story to resonate like never before. Though it can be argued queerness has always been a part of Yentl, this story ramps that up, shining a light on it in an unashamed fashion. As Yentl struggles to decide where her affections lie and her male friend also struggles with feelings for her, without knowing the truth about her, it has a lot to say about the binary of gender, exploring that aspect of the story in a more detailed way than previous adaptations would allow. It also invites comparisons with modern conversations around women’s rights and transgender identity. While the heart of the story may have been ahead of its time when it first premiered, it now feels even more poignant and powerful, telling an important story and highlighting the empathy such situations require.

It is Gary Abrahams, Elise Esther Hearst and Galit Klas who have been tasked with adapting Isaac Bashevis Singer’s original short story, and they have done a remarkable job at not only retaining the essence of Yentl that has made its various incarnations a much-loved story for generations, but updating it in a way that feels fresh, ensuring a new generation are able to discover it without the risk of it feeling dated or irrelevant. This is a bold and brave take on Yentl, and the approach may feel jarring initially. I must admit not knowing just how to respond to it when it first started, with the first Act covering a lot of ground and being unafraid to be something different to the norm. I approached the interval still uncertain of how much I was enjoying the production… and then Act 2 happened. A masterclass in a slow burn paying off - every questionable aspect from the first Act was redeemed in a faultless hour that sped by, leaving me utterly gripped and even moved as Yentl roared towards its climax.

Chief to Yentl’s success and the masterful way it carefully sews the seeds for every loose end to tie itself together is Gary Abrahams’ thrilling direction. There is no better way to describe this approach to Yentl than bold, and that is exactly what Abrahams does with every aspect of his production.  From the mysterious character known only as ‘The Figure’ veering between humour and a more sinister side to the overall dark aesthetic of the piece, the attention to detail in this production impresses at every turn. This is a team unafraid to try something different, going out of their way to attempt to revitalise a story that is already well-known and well-loved. It is a risky strategy that doesn’t always pay off, but Yentl is a resounding success, and Abrahams’ direction is a large factor in that.

These bold choices are replicated in some of the intricate design choices. Dawn Barber’s set design keeps a simplistic, grounded approach, bringing the story back to its roots with subtle details in the design. Lighting design by Rachel Burke originally and Tom Turner for this production is dark and gloomy, giving an ominous effect that has a huge impact and always looks beautiful - the gradual fade out in a couple of moments was a particular strength, with a stunning use of shadows at crucial moments. Sound is also crucial to Yentl, with Max Lyandvert’s original design and Julian Starr for this production incredibly utilised. Underscoring at key moments, it proves atmospheric through its faultless execution, elevating the production and increasing the impact in key moments.

Produced by Kadimah Yiddish Theatre who have been sharing the richness of Yiddish language and Jewish culture since 1925, Yentl is a bilingual production that features both English and Yiddish throughout - if that acts as a deterrent for anyone who worries they may not be able to follow, let me assure you every Yiddish bit of dialogue (aside from one very brief moment) is subtitled on a screen, cleverly and naturally placed on the set as opposed to sticking out like a sore thumb. “Richness” is a word they use to describe themselves, and it is quite apt, as this choice to have a bilingual production added to the authenticity and, yes, richness of the piece. After the first few occurrences of darting your eyes between the actors and the subtitles, you settle into the rhythm, and rather than detracting from the story, it actually ends up adding to it.

Amy Hack gives an exhilarating and even exhausting performance in the lead role of Yentl. In a demanding turn, she demonstrates an immeasurable amount of talent, taking the audience on a journey and tapping into every conceivable emotion one person can. There is a loveable element to the nature of her character, and Hack relishes this, in a turn that is utterly compelling to witness at every moment. Yentl’s desire to be a man certainly hits differently than it would have done in the past, coming across quite emotional with the desire to have the same opportunities a man has but a woman is forbidden, as well as the sense that she doesn’t want to be a woman at all. These are not easy aspects to come across, but Hack ensures these are handled sensitively and with the gravitas such topics deserve in a masterclass performance. If Hack’s performance impressed throughout, her final scenes more than wowed. As the story all came to a head, Hack showcased all of her strengths in a performance that left me on the edge of my seat and almost forgot to breathe.

It may have her name in the title, but Yentl is far more than a one-person show. Ashley Margolis is charming and charismatic as Avigdor, displaying a winning, natural chemistry with Hack in their scenes together. Similarly, Genevieve Kingsford gives a sweet and lovable turn as Hodes, offering a very different dynamic in her scenes with Hack, but always thrilling. The four-strong cast is completed by Evelyn Krape as “The Figure”. The nature of this character is open to interpretation, feeling like a clown at times, a guiding spirit and even a demon at others, but her ever-presence can change the tone in a heartbeat, managing to work as a narrator as well as a dark force that attempts to steer and influence Yentl, mocking her at times. It is a difficult task to get right due to the complexities of its contrasting qualities, but Krape proves an absolute marvel.

Usually, I get a sense for how much I am going to love a production quite early on. That wasn’t the case for Yentl. Its drastic aesthetic and unconventional choices initially made it a tough watch - one I wasn’t entirely sure I was enjoying. If you are not enamoured with the first Act when you visit, don’t walk out, whatever you do -  the payoff in the second is more than worth any aspect that didn’t quite land in the first. The result was a show that got better with each passing minute, with its final scene and ultimate revelation among the best theatre I have seen so far this year. I found myself thinking about Yentl for the entire journey home, making connections as to why certain elements were chosen, and finding myself appreciating the direction and every creative choice in doing so. Whether you are a fan of the original story or have never heard of it and simply thought Yentl was a type of seed, there is something for everyone in this production. If you are looking to be thrilled, moved, enraptured and wowed, Yentl at Marylebone Theatre will offer these to you in a way no other show will, in a striking experience that not only knows exactly what it wants to be, but rises to the challenge/

Yentl plays at Marylebone Theatre until 12th April. Tickets from https://allthatdazzles.londontheatredirect.com/play/yentl-tickets 

Photos by Manuel Harlan