[The Acco Festival of Alternative Israeli Theatre,
the annual Israeli fringe festival, took place this year between 1 and 4
October 2012. This year was the 33rd
anniversary of the Acco Festival, which began in 1980 in one of the Knights’
Halls in the Old City in the town of Acco (also called Acre or Akko), one of
the oldest continuously inhabited places on earth. The site dates back to biblical times, but
the current city, with a population of around 47,000, is based on a medieval
town. The annual four-day festival features a competition for original plays premiering at the Festival,
along with offerings of local and foreign theater troupes, street theater and
open-air performances, a concert stage, artisans' displays, workshops,
projects, and a conference. Most of the Festival
offerings are from outside the mainstream of the performing arts and when Helen
wrote me about seeing the festival, she said “many of [the] plays had a
distinctly apocalyptic frisson.”
[As I’ve noted before, Helen writes short reviews
for the Jerusalem Post (I amended my 20 October report on Harper Regan with Helen’s JP review of the Tel Aviv production of the play) and her coverage of the
Acco Festival below appeared in the paper starting on 11 October. (The dates on each capsule review below are
the dates on which Helen wrote her notices, not their date of publication.)]
We're Building a Port Here
Kigler: His Life and DeathPoisoned Hyssop
Dawns
Acre Festival 2/10/12
“One day we won't need so many
words to be Jews,” says one of the three high-octane actors in the very
political We're
Building a Port Here, the idea being perhaps that we won't need to
apologize, boast, make excuses for or otherwise explain who and what we are,
unless, of course, we manage to destroy ourselves first.
Yonatan Kunda, Neta and Raz
Weiner use Spoken Word to create a text that is an effervescent, often
hilarious riff on language just as their costumes by Michal Kapluto are equally
an exuberant riff on shtetl garb.
Nothing escapes. From excessive
name-dropping to security-with-a-capital S, authors Anna Cohen-Yanai,
Kunda and Neta Weiner expertly flay our every fear, pretension, and sacred
cow. It's a bit overlong, a
preachy moment here and there, but oh boy, it's fun.
Despite the presence of a
sterling cast giving it their all, David Kigler in the title role, Florence
Bloch as his adoring secretary, Rachel Dobson as the archtypical Jewish Mother,
Dina Bley as the doctor, Yossi Toledo as brother John and Albert Cohen totally
wasted as a clownish messenger from the Next World, Kigler, written and directed by Oded
Lifschitz, is a banal and predictable play within a play about emotional
identity. Kigler, a
frustrated and unhappy insurance salesman, is called to the deathbed of his
younger, but always more successful brother John. Things go awry though,
because John not only recovers but takes over his bro's girl. A rather long 75
minutes.
Poisoned Hyssop (Haralat Za'atar in Hebrew) by Ala Halihal combines traditional
and allegorical Arab puppet theater with the Western tradition. Za'atar
seller Yussuf (Misreh Masri) contends his product is one of those miracle herbs that
does everything from curing stomach upsets to aiding co-existence. Always
amiable, some might say fawning, he creates little shows to that effect for his
Jewish customers with the aid of
his puppet, Sesame (Henry Andreus). But not tonight. Sesame forces Yussuf to acknowledge
the true misery of his condition, and it kills him. The show tells rather than shows and
Masri overdoes it a bit.
As Sesame, Andreus is polished as Fred Astaire
and dances a bit like him too.
Where Shmuel Hasfari uses
symbols and allusions to get something of the same point across, new
playwright Daniel Zehavi utters a
scream of pure anguish, and his Dawns suffers thereby. It shrieks that not
only has Israel betrayed every single principle that buttressed its founding,
but it has become a vicious and brutal tyranny.
Dawns means a 1000 sunrises, and at each sunrise
another enemy is executed at this isolated killing ground where each soldier
must remain for a 1000 days before he is relieved. Except that this time
there's a new medic whose humanity is still pretty intact, who unconsciously
violates the 'norms', which, as they're revealed, move from surrealistic to a
mind-numbing routine.
Daniel Shapira produces a
stunningly sensitive portrayal of a desensitized automaton for whom a final
killing is just too much, complemented by Yinon Shazo as the condemned, Elad
Rotem as the medic and Shahar Zakai as the Officer.
A
Donkey Eats an Orange
PolioMarathon
A Family Meal
Acre Festival, 3/10/12
Usually
the Acre Festival plays express a variety of takes on life in contemporary
Israel, but many of this
year's offerings seem to have a common theme – the decay of Israeli society if
not Israel itself; its transformation from a community animated by high ideals
and a common goal into splintered groups motivated by self-interest in its
least attractive manifestations.
Did
artistic directors Moni Yosef and Smadar Ya'aron subconsciously pick precisely
those groups that shared what may be their own chilly apprehension of Israel
today? Perhaps. Yet it is more likely that being artists, the groups' antennae
are attuned to that perception, and respond to its threat.
Donkey and We're Building a Port Here are alike in that they do not have a
plot – none of the plays do in the conventional sense – rather they are a
collage of iconic Israeli situations. But where Port manipulates language, Donkey employs a wicked and witty irony to
carry the bleak message that Israel is set to self-destruct. Moreover, in case
we miss the point, piles of burlap rags and objects ram it home as does
Grandma's non-recollection that ”it
was either 'am Israel chai' [Israel lives] or 'itbach el Yahud' [slaughter the
Jew], but it was against us.”
Actors
Tal, Nitzan Naor, Etal Radochinski, Na'ama Radler, and Neta Shpigelman
winningly and skillfully portray a variety of Israeli 'types', such as class
pet Nitzan, survivor Grandma Neta or über-macho Eyal.
The über-macho
Israeli male also features in Aharona Israel's challenging Marathon. It
is a movement theater piece during which actors Ilya Dumnov, Daniel Pikes and
Merav Dagan run most of the time. They are to be admired for sheer stamina if
nothing else, but there's more to them. In this one, being Israeli is
spoken/enacted through a series of buzzwords, such as 'Nachman' [of Bratslav],
'grenade', 'yizkor' [memorial]. Why are they running, why does it matter? Is it
a point of honor that they must finish what they started, heads held high? Or
is the marathon a treadmill from which they cannot alight, a portmanteau of
painful memories through which Israel's ongoing struggle for existence and
identity is reflected?
Where Donkey suggests
that from an early age our children are indoctrinated to certain values, Polio,
which has nothing to do with the disease, more or less states bluntly that our
children are more brainwashed than educated.
“Let's be careful what we put
into our children's heads,” suggests one of the characters.
Polio, an
allegory written and directed by Hila Golan, is set on two levels in an actual
school and children from the school, both Arab and Jewish, are also actors in
it. We are obsessed here with ceremonies, Polio says, a Memorial Culture
whose mental clutter is represented by tables and chairs that gradually fill
the space and by action that becomes increasingly chaotic. The very title
itself is a metaphor because the polio virus causes paralysis and affects
mainly children.
Ariel Bronze's A Family
Dinner is four gloriously vulgar sketches of dysfunctional families
performed with lip-smacking élan by Noa Biron, Daniel Bronfman, Azar Kalmovitch
and Uri Yaniv. Milquetoast husband Reuven maddened by the sterility of his
family life makes a Faustian bargain with a mysterious messenger that empowers
him first to abuse, then murder his wife and son. A gay couple objects
violently to the idea that their son is heterosexual. English aristocrats sip
afternoon tea as they get colder and colder and in the final sketch, the
parents from hell terminally embarrass their Nobel-prizewinning son at a
celebratory dinner in a fine restaurant.
Family Dinner
rambunctiously sends up racism, arrogance, prejudice and other unlovely
characteristics that unfortunately bedevil us.
The Peacock from Silwan
V'luAcre Festival, 4/10/12
“The writing is always on the
wall,” says Iman, one of the characters in the shattering The Peacock from
Silwan, and so it is. Written by Alma Ginehar, directed by Alon Chen and
Sinai Peter, Peacock has the awful inevitability of Greek tragedy. You
see it coming, but are powerless to avert it.
Peacock is what
happens not only when people are not listening but when they do not even hear,
when agenda, principle, ideology, egotism
and all the rest forget that it's human lives that are affected. And of
course, it's nobody's fault.
Peacock was
presented in a spacious and beautiful home in Acre's Old City, but Silwan is,
of course, in Jerusalem. The Peacock from Silwan is the name of the beauty
salon Iman (Samira Seraya) runs in the house. It belongs to her father, the
crippled Gemayel (George Iskandar), who also plays a mute lad living with his
mother Amal (Fabiana Meyuchas), also playing Efrat, an archeologist digging
under the house for evidence of David's City.
Gemayal has obtained an
injunction halting the dig and the tragedy is set in motion. Beautifully acted,
thoughtfully presented and - with a blip or two – excellently written, Peacock
is one of the best shows at Acre in years.
It's never a good beginning
when the author/director of a piece needs to explain his creation, and if
Martin Mogiliner's V'Lu seeks the interface between art and life it has
a long search ahead. It's a multi-disciplinary work employing live action,
video, and multiple stages with the audience moving among them as the scenes
demand.
As his proof of that interface,
the author proudly counts the real-life romance that blossomed between dancer
Bar Alteres and performer Ariel Bronze.
Unhappily the piece itself is
pretentious nonsense that seeks to impress through obscurity. The best evidence
for that is that the stagehands wear hooded robes and the performers don't
crack a smile throughout.
[The Acco Festival, supported by Israel’s
Ministry of Culture, the Old Acre Development Company, and international organizations,
has been produced by the city of Acre since 2000. Many of the performances are staged in restored
historic sites, such as the Crusader Citadel and Knights' Halls, in Acre’s Old
City. The festival’s become emblematic
of the coexistence between Acre's Jewish and Arab inhabitants and each season's
program includes performances by Arab artists, and presentations by theater
professionals provide training for local Arab and Jewish teens, including newly-arrived
immigrants. The event has been reduced or
postponed only twice because of ethnic disturbances: during the Second Intifada
uprising in October 2000, and in 2008 due to the Yom Kippur riots, after which
the festival was held during Hanukkah week.]
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