Yentl - Sydney Opera House (NSW)

Presented by Kadimah Yiddish Theatre, Monstrous Theatre and Neil Gooding Productions in association with Shalom

Educational, raw and captivating, this is theatrical storytelling at its finest

Reviewed by Justin Clarke

The Playhouse, Sydney Opera House

Until 10th November, 2024

Tickets: https://www.sydneyoperahouse.com/theatre/yentl

Notions of gender, religion and sexual politics collide in a stunning bilingual production of Yentl, presented by Kadimah Yiddish Theatre that invites audiences to discover Yiddish culture. There is no Barbara Streisand here, no “papa can you hear me?” to be uttered. Instead, Isaac Bashevis Singer's original Yiddish short story is brought to life through a melding of Yiddish (with surtitles) and English languages, told through melodrama, and deeply resonating performances.

In 1870’s shtetl, Poland, Yentl (Amy Hack) defies her Jewish orthodox traditions as she yearns for knowledge and to study the Torah and other religious scripture. After the death of her father, Yentl takes on the male disguise of Anshel, escaping to live as a man in a Yeshiva, a Jewish religious school. From here, Yentl explores what it takes to defy religious paradigms, faith and love to discover who you truly are.

Yentl, Malthouse Theatre Production (2024). Images by Jeff Busby.

Direction by Gary Abrahams holds a guiding hand throughout the production, instilling humour and emotion in the productions’ key moments. Abrahams’ handling of the Yiddish elements allows audience members from any denomination to follow along, although some key references may go over the heads from those unfamiliar with specific cultural references. It’s not to say this is a weakness in the production by any sense, in fact the rich tapestry of culture that is woven throughout is the beating heart of the production.

Dann Barber’s set design is simplistic and rustic. A large boxed set holds hidden shelves where candles are lit and props seem to appear out of nowhere. It follows the overall atmosphere of Yentl that strips the performance of anything grandiose or unnecessary, allowing the story to be at the heart of the production. A large curtain inscribed with scripture hides and reveals set changes, morphing the set into closed quarters when necessary. 

It is Amy Hack’s portrayal of Yentl that keeps you captivated throughout.

Layered throughout, Max Lyandvert’s music and sound design amplifies moments of tension, instils energy in celebration, and layers scenes with a necessary depth when required. Lyandvert transports us further into the story, facilitating a mesmerising theatrical experience.

Yentl is at times like Twelfth Night in its plot; the story of a woman disguised as a man who falls in love with a handsome youth, only to be admired by their love interest. Whether or not Singer’s short story was inspired by the bard or not, it helps to create humorous moments of love triangles and unrequited love. 

Throughout Yentl’s journey, we’re led by the omniscient storyteller, The Figure (Evelyn Krape), who translates plot points and slowly manifests the innermost fears and thoughts from within Yentl themself. While at first Krape’s performance is jarringly melodramatic, her ability to morph into multiple characters as well as break and create tension, is done with a masterful touch.

Nicholas Jaquinot’s Avigdor and Genevieve Kingsford’s Hodes both aid in relaying the story's love triangle, as they take on roles in Yentl’s life that both build and create the person they discover themselves to be. In comparison to the 1983 film and Broadway musical, the exploration of sexuality is pivotal in these two characters when it comes to Yentl’s character.

...an educational breath of fresh air masterfully delivered with the utmost humanity.

It is Amy Hack’s portrayal of Yentl that keeps you captivated throughout. Hack demonstrates an ability to convey a breadth of emotion through small looks and facial expressions, giving on much more than she is audibly telling. The eventual climactic breakdown of Yentl’s facade as Anshel makes you hold your breath, as you unknowingly lead forward in your seat. 

Once you think you’ve figured out the importance of Yentl in the first act, the second adds an entirely new depth as gender and sexuality emerge through Yiddish culture. There are discussions that reflect the transgender experience in our modern culture and, coupled with Hack’s performance to translate this, offers an education in the theatrical realm.

In a theatrical sphere that becomes more divisive as world events continue to escalate, Yentl offers a moment of pause, an educational breath of fresh air masterfully delivered with the utmost humanity.

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Creatives

Directed by Gary Abrahams and co-written by Gary Abrahams, Elise Esther Hearst, and Galit Klas  

Associate Director Virginia Proud

Set and Costume design by Dann Barber 

Lighting design by Rachel Burke 

Music and Sound design by Max Lyandvert

Cast

Amy Hack Yentl 

Nicholas Jaquinot Avigdor 

Genevieve Kingsford Hodes

Evelyn Krape The Figure

Understudies

Kandice Joy

Anthony Sandler

Joe Tigel