Review: YENTL at Malthouse Theatre

Kadimah Yiddish Theatre’s adaptation of Yentl appears much closer to Singer’s original story, which given when it was written, very bravely delves into how religion and culture can both influence and repress expression of gender and sexuality. As stated by Gary Abrahams in the Director’s Notes in the Show’s program, “Singer’s tale is dark – he writes of a world full of dybbuks, golems and ghosts…The team of co-writers and developers wanted to confront the complexities of this story head on and dive into its darkest corners, honouring the rich Yiddish traditions and ideas so prevalent in Singer’s work.”

A dark, ghostly, post-apocalyptic theatrical environment was certainly created onstage through Dann Barber’s exceptional set and costume design, which was framed well by Rachel Burke’s lighting design. Russell Goldsmith’s sound design was also hauntingly beautiful. Amy Hack, Nicholas Jaquinot, Genevieve Kingsford, and Evelyn Krape fantastically brought the story’s characters to life, and were all equally strong. Amy Hack as Yentl provides an onstage vulnerability that is truly authentic.

As expected, Gary Abrahams’ direction is brilliant, and his exquisitely bilingual Yiddish-English adaptation of Yentl, which he co-wrote alongside the expertly talented Elise Esther Hearst and Galit Klas, is stunning. What perhaps is so clever about this adaptation of Yentl, is that while the creative team start the conversation around the feminist, gender, queer and trans themes expressed so eloquently in Singer’s story, they let you, as the audience, finish the sentence. At its heart, Yentl’s story transcends culture, country, and religion, as we the audience share one character’s joy, heartache, bliss and pain, in discovering who they truly are.

Yentl is playing at Malthouse Theatre, through to 17th March 2024.

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