{"id":1735,"date":"2019-12-20T14:50:00","date_gmt":"2019-12-20T20:50:00","guid":{"rendered":"https:\/\/uwm.edu\/yiddish-stage\/?p=1735"},"modified":"2023-05-22T14:59:05","modified_gmt":"2023-05-22T19:59:05","slug":"magic-and-melody-delight-in-a-yiddish-fairytale-reborn","status":"publish","type":"post","link":"https:\/\/uwm.edu\/yiddish-stage\/magic-and-melody-delight-in-a-yiddish-fairytale-reborn\/","title":{"rendered":"Magic and Melody Delight in a Yiddish Fairytale Reborn"},"content":{"rendered":"\n

An evil stepmother.\u00a0A brave heroine in danger. A handsome fianc\u00e9. A conniving sorceress. A plan foiled. A fairytale wedding.<\/p>\n\n\n\n

There\u2019s nothing in the plot of the\u00a0National Yiddish Theatre Folksbiene<\/a>\u2019s\u00a0The Sorceress<\/em>\u00a0that audiences haven\u2019t seen before\u2014it\u2019s a mashup of\u00a0Cinderella<\/em>\u00a0meets\u00a0Beauty and the Beast<\/em>\u00a0meets\u00a0The Little Mermaid,\u00a0<\/em>a veritable mashup of every Disney movie ever made and the best of nineteenth century melodrama. We may have seen a story like this before, but\u2014at least for most audiences\u2014never in Yiddish, or with Jewish characters, or against the backdrop of shtetl life.<\/p>\n\n\n

\n
\"\"
A scene from\u00a0The Sorceress.\u00a0<\/em>From left to right: Dani Apple, Lorin Zackular, and Lexi Rabadi. Photo: \u00a9Victor Nechay –\u00a0Properpix.com<\/a>.<\/figcaption><\/figure>\n<\/div>\n\n\n

The story may be nothing new, but The Sorceress<\/em> is sheer delight. It\u2019s not just the fact that this fairytale is in Yiddish, or that the costumes are extravagantly perfect, or that Motl Didner<\/a>\u2019s direction is so exquisite, though all of that is true. In 1877, The Sorceress<\/em> stunned Jewish audiences with its full-throated theatricality, its high production value, and the scope of author and director Avrom Goldfaden<\/a>\u2019s vision for a big, bold, evocative Yiddish theatre. One hundred and forty two years later, The Sorceress<\/em> is still a stunner. Theatre audiences may have grown more sophisticated in the intervening century and a half, but\u2014to a remarkable degree\u2014Goldfaden\u2019s recipe for delighting audiences still works like a charm. It\u2019s hard to imagine any theatregoer\u2014Yiddish-speaking or not\u2014who could leave the The Sorceress<\/em> without being swept up in its delightful musical fantasia.<\/p>\n\n\n\n

The Sorceress<\/em> is the first fully restored production of the Folksbiene\u2019s new Global Restoration Initiative<\/a> to identify and present the essential operettas, plays, and musicals of the Yiddish theatre. If this jewel of a show is representative of what we can look forward to from this project, the Folksbiene\u2019s future is very bright indeed.<\/p>\n\n\n\n

This production both is\u2014and isn\u2019t\u2014your great-great-grandmother\u2019s Sorceress<\/em>. The plot and music are more or less the same as The Sorceress<\/em> that I read in graduate school. But this version has been not only \u201crestored\u201d but also \u201creconceived\u201d by Zalmen Mlotek<\/a>, Motl Didner, and Dmitri Zisl Slepovitch<\/a>.<\/p>\n\n\n\n

In addition to reconstructing the score from largely archival materials, and adding additional illustrations when necessary to fill in the gaps, Mlotek, Didner, and Slepovitch also added a prologue and an epilogue to The Sorceress<\/em>. The prologue is a welcome addition that concisely and clearly introduces the main characters and their relationships to one another and to the sorceress (played with hilarity by a magnetic Mikhl Yashinsky<\/a>). Like Jacob Gordin<\/a>\u2019s old adage that he \u201ctranslated and improved\u201d Shakespeare, Mlotek, Didner, and Slepovitch\u2019s \u201crestored and reconceived\u201d approach to The Sorceress<\/em> adds new and delightful angles to a beloved classic.<\/p>\n\n\n\n

The plot is deceptively simple. In classic melodrama fashion, the world of the play is divided between those who are good and those who are evil. On Team Good: there\u2019s Mirele (played by the effervescent\u00a0<\/strong>Jazmin Gorsline<\/a>, a Cinderella-like character who is forced to live with her evil stepmother and stepsister after her father is arrested on false characters; her loving father Avromtsye, and her earnest Prince Charming, Markus (played by\u00a0Josh Kohane<\/a>, who brings a captivating vocal performance to the character). On Team Evil, we have Basye, the stereotypical evil stepmother (a wonderfully evil\u00a0Rachel Botchan<\/a>), and the eponymous sorceress herself, Bobe Yakhne (in a big, bold performance by Mikhl Yashinsky that is equal parts entertaining and terrifying) who orchestrates a plan to get rid of Mirele for good. And then there\u2019s Hotsmakh, played by Steve Sterner. Hotsmakh is a simple peddler who always seems to wind up in the wrong place at the wrong time. In Sterner\u2019s captivating performance, Hotsmakh often steals the show. He\u2019s\u00a0The Sorceress<\/em>\u2019s Everyman, a stand in for all of us ordinary people who aren\u2019t fully good or evil, but something all-too-human and in between. Melodramas do not often include likable characters with flaws. Hotsmakh is the exception to this rule, and in Didner\u2019s capable direction and Sterner\u2019s captivating performance, he reminds us that how far the world of melodrama is from real life.<\/p>\n\n\n

\n
\"\"
A scene from\u00a0The Sorceress\u00a0<\/em>featuring\u00a0<\/strong>the Company.\u00a0<\/em>Photo: \u00a9Victor Nechay –\u00a0Properpix.com<\/a>.<\/figcaption><\/figure>\n<\/div>\n\n\n

I won\u2019t spoil the ending except to say that, like all melodramas, it\u2019s a happy one\u2014far happier in Mlotek, Didner, and Slepovitch\u2019s reconception than in Goldfaden\u2019s original Sorceress<\/a> script, which features one of the more disturbing examples of melodrama\u2019s penchant for punishing villains cruelly, even at the expense of closure for protagonists (the original ending included a joyful song sung by the protagonists as the villains burn to death).<\/p>\n\n\n\n

The Sorceress<\/em> is a classic of the nineteenth century Yiddish stage, and was the first Yiddish show performed in America. Dara Wishingrad<\/a>\u2019s exquisite nineteenth century picture frame set offers a constant visual reminder of the play\u2019s historical frame and context. The frame is never broken, always subtly reminding us that we\u2019re watching an important part of history.<\/p>\n\n\n\n

This operetta may be nearly 150 years old, but it takes up themes that are still relevant today: libelous accusations, false imprisonment, human trafficking, forced servitude, and family separation, amongst others. These themes are underscored by Didner\u2019s direction. The Sorceress<\/em> offers us a vision of a world where despite all these societal ills, those who are good and moral do truly win in the end, while \u201cthose who dig a grave for someone else, fall in it themselves\u201d\u2014a moral that feels both quaint and a necessary reminder in the trying times we live in today. The overall effect is of a play that feels both old and not-so-old at the same time. Any good revival of a classic needs to make an implicit argument for why the play is still relevant. In this, the Folksbiene\u2019s Sorceress<\/em> succeeds.<\/p>\n\n\n\n

On the heels of its wildly successful\u00a0Fidler afn Dakh<\/a>\u00a0\/\u00a0Fiddler on the Roof in Yiddish<\/a><\/em>, the Folksbiene has done it again\u2014another glorious musical production that leaves audiences singing as they exit, whether they know Yiddish or not. \u201cKim, kim, kim tsi mir<\/em>,\u201d croons Bobe Yakhne to Mirele. Listen to Bobe Yakhne. This\u00a0Sorceress<\/em>\u00a0is not to be missed.<\/p>\n","protected":false},"excerpt":{"rendered":"

An evil stepmother.\u00a0A brave heroine in danger. A handsome fianc\u00e9. A conniving sorceress. A plan foiled. A fairytale wedding.<\/p>\n","protected":false},"author":32,"featured_media":1738,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","uwm_wg_additional_authors":[]},"categories":[49,15,19,40],"tags":[],"class_list":["post-1735","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-21st-century","category-critics","category-north-america","category-theatre-troupes"],"yoast_head":"\nMagic and Melody Delight in a Yiddish Fairytale Reborn - Digital Yiddish Theatre Project<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uwm.edu\/yiddish-stage\/magic-and-melody-delight-in-a-yiddish-fairytale-reborn\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Magic and Melody Delight in a Yiddish Fairytale Reborn\" \/>\n<meta property=\"og:description\" content=\"An evil stepmother.\u00a0A brave heroine in danger. 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