A captivating anecdote for exploring self and queer identity through religion and breaking gender norms.
Yentl is a compelling ode to those who wish to defy odds whilst maintaining a sense of belief and exploring the boundaries of their religion. Traditionally, Jewish girls were highly restricted by formal religion (Torah/Talmud) to study for centuries, primarily from the Talmudic era until the early 20th century. Yentl craves to defy her gender expectations as a woman just to be married off and serve a man for the rest of her life. Now, she must navigate grief whilst approaching the alien realm of masculinity to achieve further study and learn about the world around her. She possesses a unique perspective on knowledge as a cisgender woman and introduces this to a man she meets on her travels, Avigdor. The play is reminiscent of Shakespeare’s Twelfth Night, without a set of twins, and provides more specific references and themes surrounding the Jewish faith.
The set depicted a rural minimalistic grassland using woodchips and a couple of scattered large rocks. We were also met with a grey separation curtain which revealed a large wooden set piece to act as a multi-rolling backdrop. A particular detail that really stood out was the use of carvings in the backdrop of small squares or windows that lit up. Metaphorically it created this idea of “windows of opportunity” for not just Yentl but the story to unfold, some out of reach with a ladder still makes the highest box unobtainable.
The play was linguistically plentiful, using traditional Yiddish and providing a projection of English subtitles for those who did not speak the language. This provided a space to remain true to the language, since movement alone helped convey emotions of the dialogue that audience members could cast their attention away from subtitles and still be enveloped with emotion and storytelling.
Yentl explores themes of sexuality, gender, queer identity and religion, with a poignant commentary for those who identify as non-binary. Yentl expresses feelings of being both genders but neither and that she may have a woman’s body but she feels so much more than how she appears. Whilst this remains a historical commentary on a religion that previously restricted gender roles, contemporary audiences may relate or find allyship within the story within its queerness. It also acts as a signpost for those who aren’t as informed on the topic, providing an opportunity for them to understand deeper what it feels like to identify as queer or nonbinary. Religious themes were also prevalent with the use of the apple as knowledge for a character in reference to genesis, and a goat headpiece wielded by The Figure. The symbolism of a goat may generally symbolize sin, rebellion, stubbornness, and separation from God which mirrors themes in the story.
The wonderful Amy Hack brilliantly portrayed the titular character of Yentl, who skillfully developed her from naive to gaining a strong maturity and achieving a fulfilling sense of self. Evelyn Krape as ‘The figure’ conveyed the character with a cheeky warmth, utilising both masculine and feminine traits within the performance. Genevieve Kingsford gave a gorgeously elevated performance as ‘Hodes’, portraying both her young feminine traits and harrowing desperation to be a mother. Last, but by no means least, Ashley Margolis as Avigdor. Margolis gave such depth and complexity within the character, portraying the sexually-driven and romantic sides to the scholar.
The emotional gravity of this play was carried with such care by these four individuals, audience members often forgot there are only four people performing. A huge congratulations to them and it was a privilege to get to see their opening night performance.
For tickets and listing, please go https://tickets.marylebonetheatre.com/shop/tickets/series/Yentl