We sat down for an exclusive interview with Gary Abrahams, co-writer and producer of Yentl, a bold new adaptation of Isaac Bashevis Singer’s story from Kadimah Yiddish Theatre. Hot of a series of sell-out Australian seasons it comes to Marylebone Theatre from 6 March 2026 for a strictly limited run until 12 April. Tickets here.
What felt most urgent to reclaim from Singer’s original Yiddish story that you believe has been softened or lost in previous adaptations of Yentl?
The original short story is far darker and more morally ambiguous than both the well known film and early stage play. The world of the story is steeped in Yiddish folklore, images, archetypes and Judaic spirituality. Yentl’s inner conflict is more starkly drawn and intense, at times verging on a form of “possession”. Reading the original short story I was also struck by how overt the gender identity themes were. Yentl’s identity struggle reads as far more complex than simply being a female who wants to be allowed to study. It’s clear in the Singer’s writing that Yentl is questioning her very being- body and soul. The core conflict and dilemma is strikingly contemporary, and think our adaptation touches on an urgency for a modern audience, and a world in which these conversations are usually framed within secular experience. Particularly those who feel conflicted about their own spiritual leaning and faith and their sense of gender and sexual identity. It felt exciting to develop a work that held questions of faith and sexual/gender identity with equal importance and seriousness, about a character who doesn’t want to have to sacrifice one for the other.
How did staging the work bilingually in Yiddish and English shape the emotional and political resonance of the story for contemporary audiences?
The Yiddish language creates a wonderful texture for the world of the play, and also offers surprising dramaturgical resonances. As co-writers and developers we were very particular about which sections should be in Yiddish, and why. There is very specific meaning behind which sections we’ve chosen to perform in Yiddish, and which sections we’ve allowed to remain in English. Our choices echo the way language might have been used during the period in various shtetl’s across eastern Europe. There was a difference between everyday colloquial language, and the language that would have been used in Yeshivas and places of worship.
For the actors, and myself as the director, the exploration of Yiddish as a performance tool was exciting. It’s a very onomatopoeic language; incredibly expressive and robust. The language forces a particular physicality and energy, which in turn led the actors and myself to create the heightened theatrical style of the piece.
In reconnecting Yentl with its darker, more transgressive roots, what new moral or spiritual questions emerged for you as a co-writer and director?
One of the core themes explored in the work is the “creation” myth most of us know so well. Eden, the serpent, Eve and the apple. The first transgression as it were. The dichotomy being that Eve being led by the serpent to the apple led us to consciousness. Human autonomy. Choices. Morality. If Eve hadn’t ben persuaded to eat the apple than humanity- as we understand it- doesn’t begin. Therefor the interpretation of the serpent as being evil is flawed. The serpent was necessary. Part of the larger plan.
This analogy echoes Yentls own journey; in that their transgressions are necessary for Yentl’s evolution. And potentially, the evolution of a branch of Judaism that moves away from the patriarchal to allow equality of access to its teachings.
It is quite heady stuff- but it’s portrayed and dealt with in the show in an exciting and lively fashion!
How do the supernatural elements Singer hints at—dybbuks, ghosts, unseen forces—function theatrically in your interpretation of Yentl’s inner world?
I created the character of “The Figure”, which is an invention entirely original to this adaptation. The spark of this idea was the notion of the “Yetzer Hara”- a term in judaic teaching that alludes to ones transgressive inclinations. This character acts as a narrator, a guide, and also Yentl’s inner dialogue. The Figure actively goads and pushes Yentl, teases her, encourages her, at times fight against her. It is purposefully unclear whether this Figure exist within or outside of Yentl. Is it a demon? A ghost? A spirit that possesses her? Yentl doesn’t know- and this creates interesting conflict- both for Yentl and for the audience.
This device allowed us as theatre makers to lean into the style, imagery and archetypes of Yiddish folklore and horror; the afore mentioned dybbuks and ghosts. And the direction greatly influenced all the design elements- from set and costumes and make up, to lights and composition. We wanted to create a world that felt both ancient and timeless, that nodded to older styles of 19th century Yiddish Theatre while still feeling boldly contemporary.
As both co-writer and executive director of Kadimah Yiddish Theatre, how do you balance artistic risk with the responsibility of stewarding a historic cultural institution?
Kadimah literally translates as “forward”. Moving forward! It’s in the DNA of the organisation to not only look back, but to forge a path towards the future . And as part of that Kadimah Yiddish Theatre – an arm of the larger organisation- is committed to creating new and contemporary works that suggest Yiddish can still be a contemporary language, rather than a historical curiosity. It’s not so much about risk as about looking for stories that, while being rooted in Yiddish culture and identity, also hold universal resonances. And stories that lend themselves to the particular theatrical style and mode we are developing as a company. With any independent company it’s necessary to develop a distinctive style, while making sure your shows don’t feel the same or repetitive. That’s the primary balancing act. As we grow and expand our reach it’s important that audiences familiar with our work are excited by each new production we present, and feel assured that we will deliver on the quality and professionalism they have come to expect.
It’s also important that our artists and creatives, myself included, also work frequently outside the company , collaborating with other organisations and artists. We all have robust freelance careers, and work separately from each other. So when we return to create work for KYT there is a newness and freshness each time, while also continuing to develop a deep and continuous thread.
What does bringing this production to London, a city that has influenced your artistic development, mean to you at this moment in Kadimah’s 100-year journey?
It’s a significant milestone for the company! In its 100 year history it has had many phases. In its early years it was a major theatre company, with its own venue, a large audience, staging regular productions of new Yiddish works from Europe to packed houses. But like so many theatres from the early 1900’s, by mid-century audience tastes had changed, audiences had dried up, and the theatre arm became more community led and focussed. It was only around five or so years ago that things pivoted back towards a more professional and public outfacing enterprise. And a big goal of that change was to invite larger audience to experience in and share in Yiddish culture and language.
It seems fitting that on our 100 year anniversary we take this step towards international exposure and collaboration. It will hopefully be the first step in a much longer journey. As makers we want to create work both for our hardcore and loyal community, and a larger international audience. And of course the diaspora reached most parts of the world, so our potential audience exists far and wide.
London is one of the primary theatre capitals of the world. It’s a city bursting with culture, and theatre of all types, styles and genres. It’s theatre artists are world leaders in the art form, but it’s also an industry frequently exposed to international practice and works. We’re all very curious to see how this project lands with London based audiences. Regardless of how it’s received it’s just very exciting to be a small part of a larger theatrical landscape and conversation for this moment in time. It’s a project we loved creating, and have loved sharing with audiences over the past few years. It’s a project we hope to keep sharing for many years to come.