The City ★★★★ – Israel’s Incubator Theatre makes its Edinburgh debut at Shalom – just three years after protests prevented it from being part of the Festival Fringe
One highlight of the International Shalom Festival is the return to Edinburgh of Jerusalem’s Incubator Theatre with their hip-hop opera The City, a clever homage to all those private dicks who walk the mean streets of the city trying to solve crime. The City is entirely written in rhyme, combining rap, hip-hop and spoken word to tell a tale of vanity, lust and murder. This is the company targeted by pro-Palestinian demonstrators in 2014, which meant they were unable to perform at the Fringe. So it’s all the more exciting and gratifying that they are at last making their proper Edinburgh debut. When JR’s Arts Editor Judi Herman saw The City at JW3, London, where it played three sold-out performances in the aftermath of the Edinburgh protests, she was inspired to write the following four-star review in rhyme.
Writer/performer Hadar Galron is the inspirational artistic director of the three-day-long International Shalom Festival taking place at the Edinburgh Festival Fringe this month. Its mission is to “build cultural bridges and celebrate coexistence and peace” by bringing artists from both the Israeli and Palestinian communities to share a dialogue with visitors to the festival. Here she tells Judi Herman more about the packed three days of the Festival – and how she plans to combat anti-Israel protesters like BDS (Boycott, Divestment, Sanctions) by shedding some real light in Edinburgh.
The International Shalom Festival runs Tuesday 8 – Thursday 10 August. Times vary. Donations on the door. Venue 340, Drummond Community High School, Edinburgh, EH7 4BS. www.shalomfestival.org
So your late grandfather assumes the role of a fairly benign dybbuk (malevolent spirit) and enters the bodies of a variety of unsuspecting hosts, mostly Israeli (as we are mostly in Tel Aviv), to gee you up to right what he perceives as a historical wrong perpetrated during the 1940s in post-war Eastern Europe. It’s not quite on the same scale of the vengeance that, say, Hamlet’s father demands. All Grandfather’s co-survivor and landsman (person from the same village) has done is slope off when the pair are apprehended for trying to sell smuggled sugar on the black market, leaving Grandfather to face the music and two months in a Russian labour camp. But Grandfather is rankled in death, as in life, and now he’s spotted a chance to set the record straight, for the cowardly landsman’s historian of a grandson, Yoad Riva, is writing a book about his grandfather.
This is the clever, quirky premise of Gur Koren’s moving, funny chamber piece, which opens a window onto the past, to remind us that it is always with us, particularly in the case of second and third generation Holocaust survivors, and especially for Israelis.