Some fantastic shows are visiting the Edinburgh Festival Fringe this year, plenty of which have a Jewish cultural interest. There are even a few that our Arts Editor Judi Herman has already reviewed from previous runs and spoken to creatives behind the productions in some cases, so we thought it’d be great to revisit those. Below you’ll find the listings info for Knock Knock, The Flying Lovers of Vitebsk, and Kafka and Son, as well as links to the theatre reviews and JR OutLoud podcasts.
Kenny Wax is an eclectic producer, responsible for the spectacular award-winning Top Hat, Hollywood musical turned West End show; enchanting children’s shows, including Olivier- nominated Room on the Broom; and now Fellini’s 1954 film La Strada. All are musical adaptations, reimagined with originality and sensitivity, each by the right team for the job.
I rounded off October by spending two consecutive evenings being excited and challenged by the work of two talented young Israeli performing artists, both with so much to offer. Niv Petel is heartbreaking in Knock Knock, his beautifully nuanced account of a devastating situation faced by too many Israeli families, and Hagit Yakira attracted full houses for her exciting new work Free Falling.
Petel is an extraordinary physical actor, wonderfully convincing as a devoted mother whose son is the centre of her life. An engaging and important contribution to our understanding of life in Israel. And at Sadler’s Wells last week, dancer/choreographer Yakira presented four talented performers falling and recovering again as they take what life throws at them. Supporting each other, their eyes and faces as important as the rest of their bodies as they look out for each other. In a beguiling add on, three more dance artists responded to Free Falling – including full audience participation on the studio floor, everyone linked in a joyful dance – a sort of Hora at Sadler’s Wells, which makes Israeli dance so welcome. Niv Petel and Hagit Yakira are certainly names to watch.
by Judi Herman
Clad simply in a white top and khaki trousers, to which he adds such details as a white apron, Petel bowls a blinder by playing the mother of his young conscript. He stacks the emotional stakes high – she’s a single mother and an army therapist, trained to tell bereaved parents the worst, to make that dreaded knock on the door, and to work with them through the grief and loss that will form part of the rest of their lives. For most of the show Petel talks intimately and affectionately to his son. The account of their intense relationship is beautifully paced, starting with Ilad as a babe in arms and then as a toddler; at kindergarten, then junior school; as stroppy teenager and, inevitably, at 18 preparing for the draft.