Review: NOVEMBER 4 at Voices Festival Productions

The world première of November 4 has opened just after the 30th anniversary of the assassination of Israeli Prime Minister Yitzhak Rabin on November 4, 1995. It is a mitzvah that there are now no longer Israeli hostages and a shande that, as the script of November 4 pointedly notes, Israel now has a Prime Minister who thinks he's the Messiah. And it is profoundly ironic that one character in November 4 believes that Rabin's work to create peace between Israelis and Palestinians caused October 7. But examining that work right now has indeed been made more crucial because of the massacre of Israelis by a Palestinian terrorist group; Rabin and his Palestinian counterpart, Yasir Arafat, sought peace through what became known as the Oslo Accords. Danny Paller (Music and Lyrics) and Myra Noveck (Book) tell the story of Rabin's last month in this engrossing musical.

Similar to other musicalizations which dramatize sober, actual events the outcomes of which the audience probably already knows (e.g. Assassins,Titanic, Parade, Hamilton), November 4 never tries to whitewash history into entertainment. (An exception to this, “Babs,” a number which explores whether Barbra Streisand might be prevailed upon to boost attendance at one of Rabin's peace rallies, comes straight out of Tin Pan Alley by Broadway. Seeing the absolutely dignified Mitch Greenberg portray the absolutely dignified Yitzhak Rabin doing his hoofer imitation thoroughly entertains; this charming and bracing hoot fortunately remains the only frivolous diversion in a musical which otherwise sensibly avoids goofball.) All the other songs develop characters, reveal motivations, and shed light on private thoughts just the way Oscar Hammerstein said they should. “Grandpa was a Soldier” is an insightful duet for Rabin's wife (the radiant Nicole Halmos) and granddaughter (Emma Wallach). “The Law of Hot Pursuit” sets to powerful music the Talmudic (and questionable) justification manufactured in self-defense by Rabin's assassin, Yigal Amir (a relentless Noah Mutterperl). Chris Daileader as Amir's brother joins him in “Pure Heart,” a chilling musical expression of the manipulative and hypocritical ways in which religious fundamentalists often minimize their failures of morality. Greenberg has many poignant musical moments alone which reveal his inner thoughts in graceful song.

The audience gets to hear every note and word of these excellent performances because the actors do not use microphones; being able to hear every word, sung or spoken, of a show has gone completely out of fashion in 21st Century Theatre, but the fact is that an unadulterated human voice serves as its own vibrant, theatrical element. The natural beauty of the speech and singing heard in November 4 has not been available for decades; the body mike, never perfected, continues to be overrated by theatres vast and small. In splendid contrast, the true sound of November 4's ensemble gives to the audience the rare gift of immediacy; their five fine voices amplify the play's many emotional moments without the intrusion of artificial technology.

Alexandra Aron (Director) and Paige Rammelkamp (Music Director) pace November 4 with élan. Rammelkamp conducts two other musicians from the keyboard; it's probably just an equipment limitation that makes the band sound somewhat farther offstage than they actually are, but they completely support the singers which matters most. Lauren Helpern's very sturdy unit set provides both spaciousness and intimacy. Chelsea Dean's properties dress Rabin's home and office with just the right few pieces to create an environment without making the show difficult to run. It is dressers and/or a highly organized costume rack and prop table which must manage the difficult. Halmos, Daileader, and Wallach play many different characters who shed or add a garment or a thing to help depict their changes in identity. And some of these quick changes are super-quick. Wallach, in particular, has really mastered the acting that must accompany the costume changing; watching her age and alter while she dons a tichel to become an orthodox woman in 2025 with memories of 1995 is a highlight of the evening.

At one hour and 43 minutes without intermission, some may find November 4 a long evening, but the show repays attention with truth and very great caring. 2025 desperately needs the wisdom of 1990s Rabin who wanted Israel to put the possibility of peace ahead of the ineradicability of violence. His mouth to God's ears.