BWW Reviews: New Jewish Theatre Presents Compelling Production of THE PEOPLE'S VIOLIN

By: Feb. 28, 2010
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The People's Violin is an interesting search for identity, as an experimental filmmaker attempts to track down his father's true lineage, and hopes to find himself in the process. It's interesting to note that Charlie Varon's play was originally a one man show, especially since its lead protagonist, Sol Shankman, is so self-obsessed that it's sometimes too painful to watch. The New Jewish Theatre's current presentation (February 24 - March 14) is definitely thought-provoking and engaging, and though some of the characters might not be all that likable, there's still something compelling about watching this mystery unfold, as Sol begins to come to terms with his father's "true" identity, as well as his own.

Sol Shankman is a failure, as a filmmaker, and as a husband and father. His last shot at the big time comes in the form of a documentary about his father, a renowned psychotherapist, Sidney Shankman, who was famous for his work with holocaust victims. But, he's more interested in trying to find out about his father's past than his work, and when he touches on the subject of a fire that killed both of his parents, his father shuts him out completely. He dies of a heart attack a few days later, and wracked with guilt, but still filming his reactions to all of this, he decides to continue with the project. His obsessive behavior alienates his family, his friends, and even the audience to a degree, and the circumstantial evidence he uncovers only clouds his fuzzy judgment even further. Even re-inventing himself doesn't save his troubled soul. It's only when he stops talking to the camera and decides to participate in his own life that he shows any signs of redemption.

It's a tricky part, but Richard Strelinger does excellent work as Sol. He vetches like a more morose and serious Albert Brooks character at times, but I was sucked into his quest all the same, and anxious to see where it would lead him. Richard Lewis sparkles in a number of roles, including his distant father, and a street peddler who sells mechanical violins that may have been his brother, among others. Ruth Heyman shines as his wife, Nirit as well as Sol's mother, Sylvia. As Nirit she projects the hardened exterior of a woman fed up with her husband's foolishness, while her portrayal of his mother finds her far more nurturing and accommodating, providing a splendid contrast. Terry Meddows is wonderful in a number of key roles, including a young protege of Sidney's named Paul Kolodny, who had more of a father-son relationship with Sidney than Sol did.

Deanna Jent's direction is sharp as always, and the ensemble work is smartly played, and fairly well paced. Dunsi Dai's set design is simple, but effective, making the most of the space and using black curtains to allow the video screens that set up each scene to really stand out. Glenn Dunn's lighting adds necessary drama, while Michele Friedman Siler's costuming is an appropriate fit.

The New Jewish Theatre's strong presentation of The People's Violin continues through March 14, 2010.



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