Across Israel, Meir Panim responds to the growing needs of the country’s 1.75 million impoverished residents through various food and social service programs.
Jacob and Jack
World Premiere, May 14 – June 20, 2010
By Ensemble Playwright James Sherman, directed by Dennis Zacek
Zacek McVay Theater, Victory Gardens Biograph Theater
2433 North Lincoln Avenue, Chicago
Trying to summarize the plot of “Jacob and Jack,” currently in its world premier at Victory Gardens in Chicago, is a bit like, well, trying to understand a Yiddish play if you don’t speak Yiddish. The viewer quickly gets the sense that something really interesting is happening in the play’s myriad flashbacks – which are simultaneously redundant and singular – but even after skimming the Jacob and Jack script, I’m still having trouble keeping the narrative and chronology straight.
Here’s the gist of it. Pitchman Jack Shore (think Billy Mays if he was the “Flying Carpet Guy”) does his mother Esther a favor by agreeing to play his grandfather, the Yiddish theater star Jacob Shermerinsky, in a performance for Esther’s women’s Yiddish theater group. Jack’s co-stars are his wife Lisa and the ing?nue, Robin. “Jacob and Jack” oscillates between scenes in real time, which play out Jack’s, Lisa’s and Robin’s stage fright, jealousy, longings and insecurities, and flashbacks in the same dressing rooms 75 years earlier, where Shermerinsky, his wife Leah, the actress Rachel and actor Moishe prepare for a Yiddish performance.
Janet Ulrich Brooks as Leah Shemerinski, Craig Spidle as Jacob Shemerinski,
Laura Scheinbaum as Rachel. Photo by Liz Lauren.
To make matters more confusing, Jack and Jacob are played by the same actor (Craig Spidle), as are Lisa and Leah (Janet Ulrich Brooks), Robin and Rachel (Laura Scheinbaum), and three other pairs of characters: Esther and Hannah (Roslyn Alexander), Ted and Abe (Daniel Cantor) and Don and Moishe (Andrew Keltz). When Jack is in costume as Jacob, it gets particularly difficult to tell if one is watching Spindle play Jack, Spindle playing Jacob or Spindle playing Jack playing Jacob.
The Victory Gardens website actually puts it really well in its promotional materials: “As Jacob and Jack frantically rush from room to room, the audience is transported through time with each slam of a dressing room door. In the Yiddish and contemporary theater, one thing remains certain: the show must go on.” The notion of a slamming door representing a time portal is quite compelling when one considers how a slammed door generally refers to a lost (or ruined) opportunity. Although the show must go on the Yiddish show, tried as it did to go on, came to an end.
Slamming doors also turn out to be great metaphors for the Yiddish theater which was always about nostalgia for the past and trying to assimilate into the present. There are the prerequisite clich?s about Yiddish theater – like Jack and his manager Ted wondering if English words like “svelte,” “famished” and “tissue” are Yiddish – but the play also addresses sobering truths about Yiddish theater and Hollywood.
Craig Spidle as Jack Shore, Janet Ulrich Brooks as Lisa Shore and Roslyn Alexander as Esther. Photo by Liz Lauren.
Asked if she will change her name from Robin Weinberg, the actress responds by refusing to buy into the assimilationist demands of Hollywood. “Yea,” she says, “to Sophie Rosenschwartzenstein.” Jack’s mother tells him that in his tribute to her father, he gave Jacob Shermerinsky, whose fame corresponded with the decline of Yiddish theater, the respect his work deserved, but never received. “Jacob and Jack” has the insight to bring together two performances, one as Yiddish theater was declining and the other as it is being revived. There is something of a Dybbuk reference, to be sure, in a play that memorializes something even before it is dead.
In a talk at Victory Gardens before one of the performances of “Jacob and Jack,” David Chack, president of the Association for Jewish Theatre, put Yiddish theater into proper context. “When Abraham Goldfaden died, it was like when Michael Jackson died,” Chack said. Evidently, Marlon Brando even acted in a play in 1946 to raise money for Jews in Palestine, he added.
Craig Spidle as Jack Shore gives Ted (played by Daniel Cantor) and Don (played by Andrew Keltz) a thrill. Courtesy: Victory Gardens. Photo by Liz Lauren.
According to Chack, Yiddish theater brought not only the best of Eastern European Jewish culture to America but also important Russian theater, like Chekhov’s repertoire. Yiddish theater is still impacting American popular culture today, Chack said, as in Yiddish references in the Coen brothers’ film “A Serious Man” (2009).
But however entertaining (or troubling) “A Serious Man” is, the classical Yiddish theater Chack spoke of was the sort of experience where the theater resembled a temple. Yiddish plays wrestled with “hefty subjects,” and theatergoers underwent a “religious experience.”
(L-R) Andrew Keltz as Don innocently watches as Ted (played by Daniel Cantor ushers Jack (played by Craig Spidle) out of Robin’s (played by Laura Scheinbaum) dressing room.
Photo by Liz Lauren.
I asked Chack if he thought a Yiddish revival was underway. Despite a revival of Klezmer music in the 1980s, he said, “we are not seeing that as much these days. We are starting to see a bit of the wane.” Of course, if a revival were underway, Chack confirmed, he would be thrilled to see it.
Although “Jacob and Jack” is packed with references to the waning and waxing of Yiddish theater, is does not devote a lot of attention to the Yiddish theater as temple that Chack described or the religious experience of watching a play. To Jacob, Jack, Lisa, Leah, Robin and Rachel, the Yiddish theater is a livelihood and subject material, but not synagogue. If anything, the references to religious values in the play surface in the form of attempts to censor Yiddish theater.
Craig Spidle as Jack Shore, Janet Ulrich Brooks as Lisa Shore, Laura Scheinbaum as Robin share a tender moment. Photo by Liz Lauren.
Though Moishe notes when the group hits bad luck, “Man plans and God laughs,” the characters in both the play and the play within a play give the impression that although God laughs at man’s first plan, it is up to man to make the best of it and come up with a better plan. That second man-made plan, at least within “Jacob and Jack,” seems to be a promising guide to success, which, in the theater world, looks a lot like California.
That might be the most interesting question, if a revival is indeed underway or if one looms on the horizon. To what extent, if at all, will the new Yiddish theater retain the religious aspects of the theatrical tradition it is resurrecting? There is surely enough of a trove of references to Jewish and American history and culture to mine for many Yiddish plays without once referring to anything religious, but wouldn’t that be missing a tremendous opportunity?
About the Author: Menachem Wecker, who blogs on faith and art for the Houston Chronicle at http://blogs.chron.com/iconia, welcomes comments at firstname.lastname@example.org.
If you don't see your comment after publishing it, refresh the page.
Comments are closed.
Everyone is always looking for cute yet simple and inexpensive ideas to enhance their table at special occasions. Here are some attractive ways to create that festive look. Whether you use china or plastic, your guests will surely be delighted with your charming setup.
Wouldn’t it be great if you had a chavrusa working with you, guiding and helping you in your work environment?
What made an M.I.T. scholarship student, taking time off from his doctorate in medicine, to backpack, and then decide to backtrack, chuck it all… and get a haircut? Perhaps it is easier to understand a Harvard law student becoming enamored with the logic of Gemara and settling down to struggle with the intellectual challenges of Aramaic acrobatics.
JetBlue flew an empty aircraft from Boston to JFK to assist us. The care and concern of the flight attendants was amazing. They were astounded by our group, so much so that at the end of the flight, the captain related for all to hear that he was truly impressed by the care that the HASC counselors provided for the special-needs campers – all of whom have physical, mental, or emotional disabilities. We did our best to demonstrate a true kiddush Hashem.
Q: What does twice exceptional or 2e mean?
The battle over partnership minyans is just the latest scuffle in the war over women’s roles in the Orthodox community.
Last month’s column outlined some efforts during the first half of the nineteenth century to establish Jewish agricultural colonies in America. In only one case was a colony actually established.
According to Maimonides, the great medieval Jewish scholar, “Gifts for the poor [matanot l’evyonim] deserve more attention than the seudah and mishloach manot because there is no greater, richer happiness than bringing joy to the hearts of needy people, orphans, widows and proselytes.”
Having everyone home on a snow day can be a lot of fun – the first few times it happens. Once snow day number six hits, perhaps not so much and the real creativity has to come out.
Imich was born in 1903 in Poland, where he later earned his Ph.D. in 1927, despite the best efforts of anti-Semitic professors to sabotage his thesis
Never sacrifice the people who matter for anything of lesser importance…
Hannah believed that one must learn about the evils of the past so that they aren’t repeated.
The exhibit, according to a statement from guest curator Michele Waalkes which is posted on the museum website, “examines how faith can inform and inspire artists in their work, whether their work is symbolic, pictorial, or textual in nature. It further explores how present-day artwork can lead audiences to ponder God, religious themes, venerated traditions, or spiritual insights.”
It all started at an art and education conference at the Yeshiva University Museum. When one of the speakers misidentified a Goya painting at the Frick Collection, both the gentleman sitting next to me and I turned to each other and corrected the error simultaneously.
One of my favorite places when I was growing up in Boston was the used bookstore on Beacon and St. Mary’s streets. Boston Book Annex could play a used bookshop on television; it was dimly lit and cavernous, crawling with cats, and packed with a dizzying array of books, many of which sold three for a dollar. But used bookstores of this sort, however picturesque and inviting, are a relatively modern phenomena. In the Middle Ages, for example, I would never have been able to afford even a single used book unless I had been born into an aristocratic family. (Full disclosure, I was not.)
Jewish medals, several with Hebrew inscriptions and provocative imagery, were among the gems at The European Art Fair (TEFAF) in Maastricht, Netherlands, as I wrote in these pages two weeks ago. Another mini-trend at the fair, which will interest Jewish art aficionados, was an abundance of works by Marc Chagall.
It’s virtually impossible to ignore the financial aspects of TEFAF Maastricht, the annual arts and antiques fair in the historic city about two hours south of Amsterdam. More than 250 dealers from nearly 20 countries sell their wares—which span from Greek and Roman antiquities to contemporary sculptures—in the halls of the Maastricht Exhibition and Congress Centre, whose corridors are adorned by nearly 65,000 tulips.
Max Ferguson’s 1993 painting Katz’s may be the second most iconic representation of the kosher-style delicatessen after the 1989 Billy Crystal and Meg Ryan film, When Harry Met Sally. Ferguson’s photorealistic painting depicts the deli from an interesting perspective, which is simultaneously inviting and hostile—in short, the dichotomy of deli culture.
The whole idea of an artful pushka (tzeddakah or charity box) is almost a tease, if not an outright mockery. Isn’t there something pretty backward about investing time and money in an ornate container to hold alms for the poor?
Located about nine miles north of Madrid, the Palacio Real de El Pardo (Pardo Palace) dates back to the early 15th century. Devastated by a March 13, 1604 fire that claimed many works from its priceless art collection, the Pardo Palace and its vast gardens were used as a hunting ground by the Spanish monarchs.
Printed from: http://www.jewishpress.com/sections/arts/yiddish-theater-is-alive-and-well-at-least-in-chicago-but-what-does-it-have-to-say-about-religion/2010/06/16/
Scan this QR code to visit this page online:
No related posts.