Malky Goldman News

Distinguished Israeli actor, Gera Sandler, has joined the cast of the upcoming Yiddish world premiere of Eugene Ionesco's Rhinoceros in the role of Dudard.

Yesterday, the cast of the Yiddish world premiere of Eugene Ionesco's Rhinoceros held its costume parade, the point in rehearsal where actors model their costumes for the director's approval. The resplendent wardrobe for Rhinoceros has been created by innovative designer Susannah Norris-Lindsay. Scroll down for a sneak peek!

At the first rehearsal, director Moshe Yassur succinctly explained to the play's cast Ionesco's perception of Theatre of the Absurd, as documented in the video below! Called 'an allegory for our times' by The New York Times, Eugene Ionesco's Rhinoceros is generally cited as one of the main influences of Theatre of the Absurd.

For its first production of the 2017-18 season, New Yiddish Rep will present the Yiddish world premiere of Rhinoceros by Eugene Ionesco. Tickets go on sale today!

For its first production of the 2017/2018 season, New Yiddish Rep will present the Yiddish world premiere of RHINOCEROS by Eugene Ionesco. Performances will begin September 7th, with the Opening on Thursday, September 14th at the Castillo Theatre, 543 West 42 Street (between Tenth & Eleventh Aves.) RHINOCEROS will be performed in Yiddish with English supertitles.

Making his theatrical debut as the scribe in the New Yiddish Rep's GOD OF VENGEANCE, real-life lawyer and ex-Hasid Eli Rosen told American Theater's Simi Horowitz that he believes in 'transparency': 'The only way to effect change is to shine a light on what goes on behind closed doors.' Or in the case of Sholem Asch's controversial 1907 play, in the basement of a brothel owned by Yankl Shapshovitch, deftly played by Shane Baker, a Yiddish stage veteran with a Vaudeville background.GOD OF VENGEANCE is a large, sprawling text, full of complex characters whose motives invite debate. In this, Asch's play embodies the best traditions of Judaism, along with the brokenness he sees in Judaism's most extreme forms. Still, Asch did not want the play produced in the wake of the Holocaust, fearing it might fuel anti-semitism. The issue is not lost on modern interpreters of Asch's text, but the New Yiddish Rep approaches the play with all the rigor and sensitivity one would wish from a Rabbinic scholar poring over a verse of the Talmud.