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April 4, 2008
Age-old Jewish ghost story
Love and grief feature dominantly in adaptation of A Dybbuk.
TOVA KORNFELD
The enthusiastic theatre students at the University of British Columbia, ably directed by David Savoy, have undertaken the ambitious task of presenting the Canadian première of the most famous Yiddish play of all times, the supernatural tale of love and redemption, A Dybbuk.
According to Jewish mystical literature, a dybbuk is a disembodied spirit that enters the body of a living person in order to possess that person's soul. Writer S. Ansky developed the idea of the play between 1912 and 1917, while leading Jewish folklore expeditions through small towns in Eastern Europe. The drama reflects his perception of the shtetl's religious and cultural mores and his appreciation of its hidden spiritual resources.
The story takes place in a 19th-century shtetl, where young Leah, in love with yeshivah bocher (boy) Chonon, is thwarted in her efforts to find happiness by her father, who is busy arranging a marriage for her with a suitable (rich) husband. When Chonon finds out that his Leah is to be married, he turns to the kabbalah for comfort, but, in his fomenting fervor, dies of grief, a heartbroken man.
Meanwhile, under the chuppah, the chosen groom, a nebbish (useless person), wants out of the marriage, but the contract has been signed and the wedding must go on. Leah, however, flees from the chuppah to visit the graveyard. It is there that Chonon's spirit possesses her body. This sets the stage for the very powerful exorcism ceremony, replete with the sounding of multiple shofars.
Tony Kushner's adaptation plays upon the theme of the grey area in Jewish folklore between life and death and modernizes it by adding in hints of the Holocaust and the devastation to come.
Savoy, who was featured in the Independent March 21, brings a riveting interpretation to the production. The ensemble cast, wearing 1940s dress with yellow Stars of David sewn on their coats, carrying suitcases, as if awaiting deportation, move in and out of the shadowy scenes guided by the "messenger," dressed in that period's overcoat and fedora, who, as narrator, brings together the threads of the play.
Considering the difficulties inherent with the use of so much Yiddish and Hebrew dialogue, the cast performs admirably. The outstanding performance in this production comes from Maura Halloran, who plays Leah with such pathos that one is chilled by the possession scenes. Shaun Aquiline, the exorcising rabbi, Kevin Stark as Chonen and Aslam Husain as the messenger also produce noteworthy performances. The Scribe, played by Jeff Kaiser, has a small yet memorable scene of possession during the exorcism (watch closely or you may miss it). The actual exorcism scene, with seven tallit-draped, shofar-brandishing figures, portrays an unforgettable life and death tug-of-war. All of the 17 actors are talented, and this production showcases that talent.
The Chassidic dancing scenes are set against the background of the klezmer-inspired original, live music of the Creaking Planks quartet (clarinet, dulcimer, slide guitar and accordion), whose haunting melodies float down to the audience from the balcony of the set. Musical director Patrick Pennefather has achieved a major coup with the original score.
The sparse, authentic set, designed by community member Yulia Shtern, moves from synagogue to graveyard to train station by subtle lighting designed by Ian Giles. Costumes by Ariel Rivera complete the atmosphere. Lovers of Yiddish culture, klezmer music, supernatural phenomenon and passionate acting will not want to miss this gem of a theatrical piece.
The show runs to Saturday, April 5, 7:30 p.m., at the Frederic Wood Theatre, UBC, www.theatre.ubc.ca, 604-822-2678.
Tova Kornfeld is a Vancouver freelance writer.
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