YAAKOV BRESSLER
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THEATRE REVIEWS

my perspective on shows i've seen.
unsplash-logoPhoto by Kilyan Sockalingum

HENINURS: UNCOVERING MAN'S (INNER) DEMON

3/3/2019

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Imagine a world where men are all knowing, all powerful, and control everything and everyone. Well actually, it's just one man. And he's your father and he is a son of God. And he knows everything. At least, this is what he tells you.

​Enter into the dark and deceptive world of Lucie Alloucie's new play Heninurs which just finished a run at the 2019 NYWinterfest festival at the Hudson Guild Theater. Directed by Sara Ravid, it is amongst the most successfully executed "dark" theatre I've come to see, as of yet.
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L to R: Hen (Claudia Thiedmann), Plarissa (Maya Hendricks), Ma (Oumou Traoré), Urs (Lily Lipman). Photo by: Michael Kirshner
Heninurs centers around two shabbily-dressed anxious teenage girls, Henrietta (Hen) and Ursula (Urs) who obey the word of their unseen father (whose name is not revealed, though we can assume is an ode to Adam) with blind submission. Man's power of his two girls (a term he lovingly employs) is deceptively manipulative as he reconfigures narratives taking place beyond the confined space of the limited interior of the room which Hen and Urs are living in – and have lived in for their entire lives.  Inauspiciously, seated among the two girls is a worn out (though well dressed) black woman named Ma who cannot speak. She is gripped with severe pain throughout the story for reasons only to be answered by you imagination.

The curiosities of this isolated room grows throughout the play. For one, the commanding man (Adam-like character) is heard but never seen. His erratic diatribes are startling and abusive. At one eruptive moment, the mention of the evil spirit "Lilith" is met with a retribution of rage and demonic accusations. Almost as if suddenly, a stunning woman appears in the space and is persuading the two girls that she is their mother, Plarissa. An outraged Adam storms forward almost immediately, directing his wrath at the presence of the "demon" who has just approached and contaminated his abode. Plarissa begs for compassion, that she wants her girls to life a life beyond "this confinement."

The man (Adam-figure) of the story rages that Plarissa is the demon Lilith in disguise. He violently diatribes that Lilith wants to eat the children's flesh – her own children – to satisfy her demonic urges. This gesture and the acceptance of it by Hen and Urs displays Adam's megalomania and toxic control over his children (or are they, you begin to wonder).

The harshness of Allouche's story stems from the lore of the Midrash of Lilith – an account of the first woman god had created. As it goes, Lilith was created, like man, from dust and was man's equal. But upon her disobedience of refusing to be man's subservient, she was cast beyond the garden of eden. And god proceeded to make for man a women of his own choosing, one from his flesh – Eve. 

The incestuous gesture of Heninurs symbolizes the manipulative nature of early man (or yet still?) – that they'd rather be with being which is made to their will than one of their own.

Such deception is overwhelming for Lilith who has, upon arriving to see her girls, been demonized, repulsed, and physically apprehended by her own children. The emotional hurt and distrusting nature of the characters of Heninurs suggest that the harrowing narrative unfolding on stage has perhaps been perpetuated since.
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Oumou Traoré as Ma. Photo by: Michael Kirshner
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Michael Fiocco as Man. Photo by: Michael Kirshner
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Maya Hendricks as Plarissa. Photo by: Michael Kirshner
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SPACEMAN: TETHERED TO A DREAM

3/1/2019

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Spaceman takes you on an outer space journey on board the Aeneas, a spacecraft headed to mars. Manning the craft is the Aeneas’ lone passenger, astronaut Molly Jennis (played by Erin Treaday) – a confident and highly likable scientist who has become homesick in her now 7 months of solitary travel.
Erin Treaday as an astronaut in a spacecraft to mars. Contains bright lights and space travel.
Photo by ClintonBPhotography
The monotony of space travel (everything is running normal) is juxtaposed with immediate panicky moments of when things could be collapsing (a blown out chip, for example) showing how mentally demanding Molly’s job really is. In an emotional moment, Molly tells us (paraphrased) “It’s so strange. I have so much time and don’t know what to do with all of it. Then suddenly, my life is in danger and another 5 seconds would save me.” From this, we begin to understand and sympathize with Molly’s struggle with staying positive and in control of her emotional state.
 
Inauspiciously, Molly’s colleagues in Houston are toxic misogynists who need her to act a certain way because of corporate interests. They require that she record herself in her craft so they can broadcast the journey and earn more funding. As one would assume, they don’t return her requests for a broadcast of televised sports – “to keep the bandwidths open for mission specific data.” That imbalance of give and take sets the tone for the environment in which Molly has to overcome.
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Photo by ClintonBPhotography
​On top of this, we learn that Molly’s ex-husband died while on a similar space mission when he had gone out for a spacewalk without his tether. The chance of finding him, floating around in space haunts her in her solitude.
 
The extent of Molly’s toxic environment is contextualized when Molly dons her spacesuit which is covered in corporate sponsors’ logos. It is then that the audience is beckoned to question whether Molly is better off untethering herself from her relationship with Earth entirely and manning her mission on her own.
 
In contrast to Molly’s mission, her personal journey takes place in the depths of her psych. Treaday’s riveting performance has the audience gripping their chairs and wiping their tears as she faces every doubt she’s ever had in her expedition to the red planet.
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Photo by Russ Rowland
Written by Leegrid Stevens, directed by Jacob Titus, and produced by the Loading Dock Theatre, Spaceman delves into the struggles of hope and control and how either can tether us to dreams. If you enjoy powerful theater about strong people being brought to their knees (and science, and space travel), I recommend you go see it.

​Spaceman is playing until March 9, 2019 at the Wild Project in the East Village. Tickets are $20–$30.
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THE TALMUD – RABBINIC METHOD MEETS KUNG FU

1/13/2019

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Presented by Meta-Phys Ed, THE TALMUD is a genre-bending performance based on the Talmud and Kung-Fu films about the transmission of ancient traditions and sacred wisdom across generations; from teacher to student and master to disciple
Meta-Phys Ed.’s
Meta-Phys Ed.’s "The Talmud" A performance based on the a 5th century Rabbinic text and Kung-Fu films. Photo by Jenny Sharp.
The experimental theatre production of ​THE TALMUD takes a deep dive into the layers of talmudic text and its symbolic interplay of dance, fight, and aerobatics common to Kung Fu archetypes. Jesse Freedman's directing masters the balance of these seeming incomparable genres into a smooth aerobatic dance with a wide range of movements, mediums, and words.

Multiple veil-like drapes capture projections while passing them through to the drapes behind them, creating a secondary and sometimes tertiary display of a single image or text. Moreover, these images are often times livestreams from cameras adhered to cast members in the story gesturing to the inward circular and repetitive behavior of Rabbinic reasoning and suggesting a scale of fathomability. In contrast, the presence and self-aware nature of Kung Fu movements and transitions gestures towards a contrast of present applicability. Together, the two mediums offer a narrative of juxtaposing themes – perhaps suggesting contradictions within the behaviors of the Talmudic scripture.

The cast, played by Hui-Shan Yong, Lucie Allouche, Sean Devare, and Zixin Liu (plus Lu Liu on the Pipa) offer a vibrant ensemble of argument and conflict, balanced within the scope of camaraderie. Their acting suggests that perhaps the arguments entailed in the Talmud are just sport – much like a fight club practicing King Fu. However, these conflicts can turn deadly, forcing individuals to take sides and enact violence.

As a whole, the interplay of various narrative mediums within THE TALMUD takes you into a deep headspace, very much like a drug – a theme in Meta Phys-Ed's previous  show WAKE...SING...(2018)​. Though the show has already closed, I would recommend you see it if you want to see something explorative, bizarre, contradictory yet harmonious, and multi-medium.

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"THE PLAY THAT GOES WRONG" GOES RIGHT

11/12/2017

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The cast of
The cast of "The Play That Goes Wrong." Photo by Jeremy Mandel.
Set mishaps, script blunders, mispronunciations, and actors being knocked unconscious are only some of the bungles in The Play that Goes Wrong. The comical farce is two hours of slapstick and silly humor centering around a play which is running far from smoothly. Currently playing on Broadway, you can see it for as low as $30, though I highly recommend the front row balcony tickets for $49 ($57 after fees). Tickets here.
 
Upon entry to the theatre, audiences are greeted by a sneering mustached man with a crooked bowtie who is in fact the lead actor and “director” of the play within the play (portrayed by Mark Evans). Similarly, a stage manager (played by Akron Watson) is fixing, or rather, slamming a door that won’t stay shut. Eventually the door’s unreliability and further slamming causes mayhem during the show, disrupting the plot and causing further mayhem. 
 
As the lights dim, audiences are introduced to the fictitious Cornley Polytechnic Drama Society and their play A Murder at Haversham Manor – the play within The Play that Goes Wrong. At the rise of the curtain, calamity immediately strikes: actors are scrambling to their positions, props are broken, the dysfunctional set (including the aforementioned broken  door) causes injury. One such mishap is when the whiskey on set is replaced with a bottle of paint thinner. Characters take a sip of the whiskey and remark “that’s delicious” - even while  they are choking and spitting it out. Similarly, everything that could go wrong does – providing high energy farce and slapstick comedy. This may be terribly fun or simply terrible, depending on your preference
Cast of Ashley Bryant (left) and Harrison Unger (right). Photo by Jeremy Daniel.
At the core of the gaudy play is a story offering a positive and humorous perspective on calamity and chaos. The characters in The Play that Goes Wrong view their work as direly serious, judging their performance with solemnity. Their delusion of success and consequential despair when their show falls apart is comical and ludicrous. Such an instance offers humor as an alternative perspective for despair – that we can laugh at our mistakes and use them to grow.
 
From a production perspective, The Play that Goes Wronggoes right in several ways. Namely, its humor is self-devised, meaning the play is funny without prior context. Viewers are not expected to know any canonized works or be familiar with any style of theatre to find the play funny. Furthermore, the depth of design that a period work requires (the play within the play is set in the 1930’s) makes the piece all the more mesmerizing. Such qualities make The Play that Goes Wrong appealing for those who do not typically see Broadway shows.
 
The show’s business model is centered around being charming for audiences that typically do not see Broadway shows, with low ticket prices (which start at $30) and a very low weekly running cost of $300K (which is 1/3 – 1/5 of typical). The show’s venue, the Lyceum Theater, seats 922, comparably small for Broadway considering the Gershwin Theater, where Wicked plays, which seats 1923. Such a choice in a venue allows for lower running cost of the show. Casting is also done with this accessibility in mind, as no stars are in the cast. As a whole, the production seems designed for non-typical theater goers.
 
Overall, if you enjoy gaudy low-brow humor, you’ll enjoy The Play that Goes Wrong. If you enjoy more cerebral work or are easily aggravated from shouting or slamming doors, you will most likely not enjoy this play. And if you are curious to see what a high quality low-budget Broadway show looks like, purchase $30 tickets and be amazed.

Yaakov Bressler and friends see
Thank you to the friends who joined me for "The Play that Goes Wrong!"
Yaakov Bressler making a weird face at
At intermission, I give my best "this is going wrong but I like it" face.
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A KREUTZER SONATA: RELIGION AT ODDS

8/13/2017

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Actors Jack Turrel, Timothy Oriani, and Joe Rubio in the play
Photo by Brandon Saloy from Mia Isabella Photography. Featuring Left to Right: Jack Turrel (as Terry Michaels), Timothy Oriani (as David Lindenbaum), Joe Rubino (as Avram Lindenbaum).
Religion, family, and acceptance face off in Larry Rinkel’s A KREUTZER SONATA. The play depicts the difficulties of an observant Jewish young musician and that which challenges his religious rigidity. Currently showing at The Unfringed Festival at The Secret Theater, tickets are available for $18 HERE.
 
The play follows a skilled pianist, David, an orthodox Jew, and his equally skilled duet partner Elena, a staunch atheist. Their religious and cultural differences stand as obstacles to their duet performance of Beethoven’s Kreutzer Sonata for their university’s showcase. Additional conflicts arise from David’s Protestant roommate, David’s parents’ disintegrating marriage, and his father’s loss of faith. The story summarizes the experience of holding onto religion throughout difficult circumstances.
 
A KREUTZER SONATA portrays what happens when a resilient person faces unyieldingly difficult situations – that at some point they’ll need to choose to bend or break. As the play’s protagonist pursues his education in music school, his unanswered question about religious and family life result in snowballing of conflicts that amalgamate into a cacophony. Only once David acknowledges and reflects upon his rigidity do his issues begin to resolve.
Timothy Oriani as David Lindenbaum (a conflicted Orthodox Jew) in The Kreutzer Sonata. He wears a red shirt and a kippah while studying music notes. His worried father stands behind him in the distance.Photo by Brandon Saloy from Mia Isabella Photography. Featuring Timothy Oriani (as David Lindenbaum)
The conflicts in this story – rigidity in perspective versus open-mindedness and religious fortitude versus loss of faith – are both relatable if not familiar. David’s path in a foreign environment stresses his religious views, molding him into a more flexible and open-minded person. This journey is exemplary of modern orthodox Judaism, which blends orthodox religious observance within the professional business or academic sphere, and resolves conflicts which may oppose religious observance with flexibility and open-mindedness.
 
Audiences with an interest in religion will enjoy the show’s discourse of religious observance in difficult circumstances – an especially important topic for those who identify as modern orthodox Jews. Furthermore, the show is successful in raising strong questions about faith and coexistence.
 
Overall A KREUTZER SONATA is a strong production for its stage in development. It raises important questions about religion, coexistence, and flexibility in perspective.

More of Brandon Saloy's work at: 
https://brandonsaloy.com/

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AMERIKE THE GOLDEN LAND – Oy Yoy Yoy!

7/23/2017

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Cast of
Photo by Victor Nechay
Strong movements, beautiful singing, and heartfelt emotions bring history to life in the Yiddish musical AMERIKE THE GOLDEN LAND. The musical follows the journey of Europe’s and Russia’s Jews to the Lower East Side, depicting their hardships, pain, and the joys of immigrant life. Showing at the Museum of Jewish Heritage on an extended run until August 20th, discount tickets are available here.

The musical revisits the archives of Yiddish theater to present a snapshot of immigrant life for early 20th century NYC Jews . The overall journey depicted in the show displays a culture of immigrants trying to “open doors” for their communities and their brethren in Europe. The story culminates with immigrants trying to keep the gates of Ellis Island open behind them, coming full circle to the show’s opening where immigrants push to open the gates before them.
Such a story is increasingly relevant in the US as immigration becomes a heated political issue. AMERIKE succeeds in relating its audience to the struggles of a class of immigrants who grew to become major contributors to US culture.  It reminds New Yorkers of their humble beginnings, that at one point we were all immigrants. The show also encourages keeping our “gates open” for immigrants.

AMERIKE successfully portrays the difficulty of passing through Ellis Island as a family (sometimes a child or a spouse was withheld), the challenges of earning an income, and the fight for workers’ rights. This will resonate with audiences as these historical issues that were faced by the immigrants of the early 20th century still plague modern day immigrants and working class citizens.

The Yiddish component of this musical propels it, providing it with unparalleled authenticity. Furthermore, using the language of the immigrants reinforces the influence that Yiddish language has had on NY humor, entertainment, dialect, and culture. Furthermore, Yiddish is an emotive and witty language that when used in song can express sadness, happiness, anger, and humor in a simplistic and palatable combination. While most New Yorkers aren’t proficient in the language, many are familiar with some Yiddish words (oy vey!). The show displays subtitles in English and Russian so following along is easy.

To summarize, the Yiddish musical AMERIKE THE GOLDEN LAND immerses its audience in the struggles and joys of New York’s Jewish immigrants . AMERIKE is mindful of the past, yet empowering for modern audiences, making it relevant at a time when society needs both to move forward.

A taste of the music in the show Lebn zol kolumbus (Long Live Columbus!)

Chorus in Yiddish:
ay, s’iz gut,
zingt zhe ale mit:
lebn zol kolumbus,
trinkt briderlekh lekhaim!
o lebn zol kolumbus
far dem land dem nayem!
zayt tsufridn,
gleybt nit in di trombes.
shrayt zhe yidn:
lebn zol kolumbus!
Chorus in English:
Ay, it’s great,

everyone sing along:
Long live Columbus!
Brothers, drink a toast to life--l’ḥayyim!
Oh, long live Columbus
for discovering this new land!
Be merry!
Pay no heed to the grumblers.
Jews, shout:
Long live Columbus!
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1984 on Broadway Terrifies

7/9/2017

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Photo of the Broadway production of the play
Photo © Tristram Kenton
Packed with gunshots, violent lighting, a lingering spooky base effect which grows to a terrifying rumble, slaughter, and a torture scene, 1984 on Broadway is 100 minutes of gut dropping terror. Based off George Orwell’s 1984 dystopian novel, the play displays a grim world in which all is controlled by an omnipresent government that rules with such supreme force that people’s thoughts are constantly monitored. Those with disloyal thoughts are brutally punished. Showing at the Hudson Theater, discount tickets are available beginning at $35 here.

But what’s to say about the piece aside from a horrifically frightening contextualization of Orwell’s dystopia? For one, it beckons audiences to contemplate the absence of freedom of speech and expression. Also, because theater is experiential, audiences enter this chilling world in which people are tortured for thought crimes. This combination of contemplation and experience evokes a sobering discourse of freedom and government. On this, I argue the play fell short of its capability and my expectation.

The relevance of the extreme scenarios as comparative thought experiments is undoubtable. However, my expectation of 1984, as I would assume many others’, was that the dystopic play would offer discourse to current anxiety in global and American politics. In a time when people feel their government has run amok, that media can be infiltrated, and that digitalized information can be surveyed, a play such as 1984 can offer a voice of empowerment and positivity rather one of fright and hopelessness. Because the book and film is bleak, such a play could’ve offered a more positive narrative with a contrasting display of hope and resilience at a time when people most need it.

Conclusively, the play does an outstanding job drawing its audience into the horrors and extremism of Orwell’s 1984. Unfortunately, it does little else.
Yaakov Bressler in cotton suit and bow tie with two friends at the Broadway production of
Thank you Chavie and Mordy Siegel for joining me to see this show!
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