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Last Build Date: Wed, 21 Mar 2018 05:28:06 PST

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BWW Review: Carrie St. Louis and Isaac Sutton Kick Off Their Israel Tour of BROADWAY-ISRAEL

Sat, 17 Mar 2018 19:08:12 PST

In celebration of Israel's 70th Anniversary, Isaac (Tzahi) Sutton and Broadway's Carrie St. Louis, who is currently playing Off-Broadway as Annette in Le Poisson Rouge's production of Cruel Intentions: The Musical, opened their Israel tour of their show Broadway-Israel at the Kiryat Motzkin Theatre Hall. The show began with a short overture compiled of a few songs from musicals and others, played by a three piece band that includes Ram Erez on the Bass, Henry Vered on the Drums, and the show's musical director, Giora Linenberg, on the electric piano. Following the overture, Isaac Sutton entered the stage in a smooth transition with the song "Willkommen" from Cabaret, greeting the audience hello while adding "Welcome to an evening which is entirely- A Musical", then continued with the song "Life is a Cabaret". Sutton then told the audience about the TV show Smash, leading to the song "Let Me Be Your Star", during which he introduced Carrie who joined him in the duet. They then continued with the song "Hello Dolly" from the musical under the same name, while changing each mention of the name Dolly to either Carrie or Isaac, depending on who sang the verse, and Isaac even invited Carrie to a small dance on stage, which hopefully gave her the warm Israeli welcome she definitely deserves. Afterwards, they started talking about Carrie's arrival in Israel, and she said: "Thank you so much for having me here! I cannot believe I'm in Israel, this is my first time in Israel and I absolutely love it". Sutton then asked her if perhaps, with all her Broadway experience, she could share with him any tips, which led to her singing to him "Popular", from one of her roles on Broadway as Glinda in Wicked. Now that the audience was introduced to St. Louis's exceptional talent it was the perfect time to sing the duet "Anything You Can Do" from Annie Get Your Gun, and then continue to sing from other classic musicals songs such as "I Feel Pretty" from West Side Story, with Carrie's stunning and tender high notes, a breathtaking medley from The Sound of Music, the song "Stars", a refreshing choice for Sutton to sing from Les Misérables followed with Carrie singing "I Dreamed a Dream" also from that musical, and a Fiddler on the Roof medley, during which drummer Henry Vered added some remarkable inputs which sadly were hardly heard because of the poor sound quality where especially the bass sounds covered his playing. Carrie then sang the song "Memory" from Cats with a voice so soft and pleasant that the audience couldn't wait to applaud even before the song truly ended. She continued with telling about her audition for the musical Rock of Ages in Las Vegas where she got to play the leading role of Sherrie and after a year performing there she was invited to play the role in New York in what became her Broadway debut. This led to her and Sutton singing "I Wanna Know What Love Is" from the internationally acclaimed show. At this point the Israel part of the show began, as Carrie sang from the musical My Fair Lady both the Hebrew version of the song "The Rain in Spain" (called "Barad Yarad Bidrom Sfarad Haerev", translation- Hail fell in southern Spain this evening), followed with "I Could've Danced All Night" where she sang an entire segment in what could easily be believed as fluent Hebrew. After Carrie told the story of how she got to be on the national tour of Wicked and was later on invited to reprise the role on Broadway, Sutton returned to the stage for them to sing "For Good" from the musical. They then had a short Q&A segment which led to Isaac singing "Ah Ya Rab" from the Israeli musical Salah Shabati and afterwards a medley from the musical Kazablan. To finish the evening strong, Carrie then sang "Don't Rain on My Parade" from Funny Girl and finally they both sang "Climb Every Mou[...]

BWW Review: CAIN at Tmu-na Theater

Thu, 15 Mar 2018 16:02:59 PST

Let me begin with the question: What is the meaning of the word "theater"? Unfortunately, it seems that some have forgotten. Or maybe, never knew what is the meaning. The meaning of the word "theater" is the audience. YES! US! And theatre was not intended for the rich and the educated audience, but rather for the ignorant people - people who could not even read or write! That is why the theater, of all the arts, should be the most communicative with the audience. Without the audience, the theater loses its meaning. You understand the equation. Many plays fail there - many plays that do not communicate with the audience."I am not a marketer, I am an artist! I create for myself, if the audience comes, excellent! But I do not even like my audience." These are sentences I've heard from endless artists. And each time I wonder to myself - when will they get a wake-up call?! So, to my artist friends I say - NO. If your play does not communicate with the audience, your play will not succeed. I saw the play Cain in Tmu-na Theater, And that's fantastic. My review will focus on the solo actor in the play- Eyal Shechter. Solo plays tend to fail for lack of energy. There are a lot of reasons for this - none of them particularly justifiable. So I was surprised by Cain - for a long time I had not seen a Solo play so convincing, so unique, so real. The play consists of two parts. The first part is supposed to bring us, the audience, closer to the actor. Shechter introduces us to a realistic character and tells us why he is here, what he will talk about tonight, as he plays music from his childhood, and event gives us beers. He gives us the feeling that we have always known him... The show is interactive, so the audience goes onstage, and Shechter asks them questions, opening up a discussion about the subjects he talks about. After some dialogue about Eve and Adam, Shechter brings us to a conversation about Cain - a man who was blinded by jealousy, jealousy that lead him to murder his brother. I will not detail the end of the play, because I don't want to spoil it for you, but the reality surpasses the story of the Bible, and matters become complicated. Shechter is an actor who makes us shudder every time we see him perform. I've seen dozens of solo play in Israel, and so far, Shechter is the best actor I've ever seen in such a performance. This was a fascinating, unique, and brave play. WOW. In conclusion- do not let any artist in any "special" theater, to tell you that the theater is not yours. The theatre is firstly all yours. The play Cain shows us what a magical performance occurs when the actor shows us the true meaning of the theater. MY RECOMMENDATION - RUN TO BUY TICKETS! THIS SHOW IS AMAZING! Photo Credit: David Kaplan For tickets and further information, visit Tmu-na Theate[...]

Regional Roundup: Top New Features This Week Around Our BroadwayWorld 3/16 - IN THE HEIGHTS, GUYS AND DOLLS, MOTOWN and More!

Fri, 16 Mar 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature IN THE HEIGHTS, GUYS AND DOLLS, MOTOWN and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Louisville: Contributor Keith Waits reviews DO YOU FEEL ANGER at Actors Theatre of Louisville. He writes "By the end of the show, I found that I was a little disappointed - not with any of the performances, production value or even writing, as all of that was at a level befitting the Festival's history. I wanted to have answers. I was angry with what happened to the characters I had fallen in love with. I was as powerless to help them as they were to help themselves. I think that was precisely the point, but it didn't make the play an easy watch by the end. I'll put it another way by borrowing the play's title and one of Sofia's empathy exercises:" Indianapolis: Contributors Dylan and Celeste Caraker review LES MIS at the Old National Centre. They write "The costuming, wonderfully designed by Adreane Neofitou and Christine Rowland were expertly crafted and Matt Kinley's incredible set and images (literally based on images by Victor Hugo) provide a topnotch backdrop for the action. As a techie, if any part of the production design could really be the star of the show last night, it would have to be the intense lighting design by Paule Constable, which perfectly recreated the world of Hugo's France with admirable skill. The lighting was absolutely breathtaking and gorgeous, and it really helped focus the attention of the audience with ease and created a sense of wonderment as the story unfolded." Raleigh: Contributor Jeffrey Kare reviews THE WIZARD OF OZ at North Carolina Theatre. He writes "Though under the direction of Dean Sobon, there is a wonderful cast of performers that should keep audiences invested. Kalie Kaimann as Dorothy Gale gives a performance that really makes you care for her throughout the show. Her three companions in Oz are perfectly portrayed in this production with Chris Duir as the brainless Scarecrow, Christopher Russell as the heartless Tinman, and Victor Legarret as the Cowardly Lion. As the story's classic antagonist, Emily Perzan is wickedly spunky as The Wicked Witch of the West." Palm Springs: Contributor Stan Jenson reviews SISTER ACT at Palm Canyon Theatre. He writes "The energy throughout the evening is spectacular, especially in the numbers where Tillman is leading the sisters in enthusiastic sacred production numbers. Tillman hails from Asbury, New Jersey where she is the Worship Leader of the Shore Christian Church, so her role indeed finds art imitating life. From her first number in the nightclub, "Take Me to Heaven," we know that she is a very special talent, and it is obvious why PCT was willing to transport her across the country to take on this role. There doesn't seem to be a moment in the show when she sits back and takes a breath." Jacksonville: Contributor Jordan Higginbotham reviews Motown at the Times Union Center. She writes "Berry Gordon, played by Kenneth Mosley, was spectacular. My first thought to Mosley's performance was he portrayed Gordon as a voice behind the iconic voices, but Mosely's voice was just as memorable. Mosley performed with such strength and stamina through the entire production. His "Can I Close the Door (On Love)?" was breathtaking and pulled the entire show together. Not only were his singing abilities phenomenal, but Mosley's stage presence was astounding. The moment he walked on stage, the audience knew Berry Gordon was the boss and would do anything to make Motown Records a success. Mosley also had an incredible sense of wit. He made his witty comebacks so natural, such as the scene in the B[...]

Acco Theatre Center Presents EVERY MOTHER at Teatroneto Festival 2018

Wed, 14 Mar 2018 16:22:45 PST


Every Mother, a play about motherhood, sacrifice and abandonment.

Monday, April 2 at 18:00 and at 20:00 - Hasimta Theater.
Tuesday, April 3 at 22:00 - Hasimta Theater

Production: Acco Theatre Center.
Written and Directed: Corin Walach.
Artistic Support: Osnat Shenk Yosef.
Assistant Director: Matar Walach.
Musical Editing: ‏‎ Ronen Brandeis.
Costumes Design: Aviah Bash.
Lighting Design: Alon Bar.

The play "Every Mother" deals with a the trials of parenting: an experience composed of satisfying and happy moments alongside challenges, fatigue and exhaustion.

There are two main characters in the play. One of them is a realistic career woman, in the midst of trying to find a tenant who will rent the apartment with all its contents - along with the children.

The second character is the mother, who is coping with raising her children. The conflict between them creates tension and some surprising humor, but also finds moments of unification and acceptance.

At the center of the play is the "apartment" and the story of a mother who is sick of her role and responsibility for her children. She is just counting down the seconds until she leaves the house.

When she emerges from the doorway of said house she is a meticulous career woman, but what happens inside the house cuts deep inside her soul. What are the hidden dreams, the passions, the demons that threaten to destroy her world? Slowly we watch as the mother figure peels, and find her no longer trying so hard to present as the perfect parent - she just wants to hold on and accept herself as a mother, as a daughter, and as a woman.

Corin Walach: a movement therapist, Ms. Walach studied in Thelma Yellin High School Theater; was a student of dance at the Ba'abivit workshop in Ga'aton; studied acting and improvisation in workshops at Yoram Levinstein School of Acting; graduated from "Seminar Hakibbutzim" Dance, and studied the Boto in Japan with the masters Ushito Ohno and Min Tanaka. She has participated as a producer and performer in the "Other Dance" in Suzanne Dellal and in the "Hazira Arena" in Jerusalem in independent performances: "Mimi" and "The Rolling."

Every Mother
Hasimta Theater, Mazal Dagim 8, Yafo.

For tickets and further information visit Teatroneto or call 03-6812126 (Israel).
Photo: Zvi Shani


BWW Review: HAPPY DAYS at Tmu-na Theater

Wed, 14 Mar 2018 09:15:50 PST

I am part of the Y generation and the Z generation. i'm the person who sticks to his smartphone, who sits in coffee shops without end, the vegetarian, who has ADHD. Not ashamed to admit it - this is my generation. Despite all of all this technological wealth - and, perhaps, because of it - I'm in love with the theater. Something alive is going on in front of me! Something honest. People - actual flesh and blood - stand before me, playing different people. They try to bring me closer to different situations. That's what fascinates me, especially nowadays, in this time of social detachment. The theaters need a wake-up call. They need to understand that the days when only the play could keep the audience awake and intrigued in what is happening on stage has passed. Gone are the days where the beautifully flowing words of Samuel Beckett or William Shakespeare, for example, can hold an hour and a half of play. The theater is not what it used to be! Stop thinking we're still in the nineteen hundreds! These days it's hard to enjoy a play in which there is stagnant lighting, no music, no video art, and no movement on stage throughout the performance. The play Happy Days, written by Samuel Beckett and presented in Tmu-na Theater, tells the story of Winnie, buried to her waist and unable to move. Behind her is Willi, her husband, who spends his days crawling on all fours and reading "wanted" ads. Winnie finds comfort in a daily routine of gestures, prayer and poetry quotations, and in an endless monologue through which she "passes the day." She is still worried about her husband, but all she wants is for him to change. She believes that, with that, her life will also change. I must to write that the acting of Ricki Hayut and Avrom Horowitz was charmingly excellent. Hayut conveys an interesting truth and honesty on stage, and playing her role wonderfully. My problem with the play is perhaps the problem of an entire generation- a generation that is fed up with a theater that is not innovative, a theater that does not break through. A theater that will not use a video-art element to look at past memories. One that fails to use special lighting that will illuminate the actors in a personality-personifying light, or will not use music to magnify their actions and emotions. I believe that if this play was not so static, it might have attracted hundreds of excited spectators. Innovation is not a dirty word. And little secret - innovation will not destroy this wonderful play of Beckett's. The play will always remain true to its core, the words themselves will not change - it's a question of where the director will choose to sail in his or her imagination. Photo Credit: Dan Ben Ari For tickets and further information, visit Tmu-na Theater[...]

Photo Coverage: First Look at the New Israeli Production of AVENUE Q

Tue, 13 Mar 2018 17:23:09 PST

Next week the new Israeli production of the boundaries breaking musical Avenue Q, funded by a Jumpstarter campaign that was initiated by cast members Orit Lahav, Uri Elkayam and Boaz Nachum, will premiere on March 20 at Rozin Auditorium in Tel Aviv.

Uri Elkayam- Rod, Princeton

Orit Lahav- Kate Monster, Lucy

Boaz Nachum- Trekkie Monster, Nicky

Ofri Laski- Mrs. Thistletwat, Nicky, The Bad Idea Bears

Mazal Pikado- Gary Coleman

Maya Livni- Christmas Eve

Yoran Davidi- Brian

Director: Eidan Lipper

Music director: Arnon Ziv

AVENUE Q is a Tony award winning musical that tells the timeless story of a recent college grad named Princeton who moves into a shabby New York apartment all the way out on Avenue Q. There, he meets Kate, Rod, Trekkie, Lucy, and other colourful characters who help him finally discover his purpose in life.

For tickets, visit Pashbar.

Photo Credit: Ronit Suzan


Orit Lahav, Maya Livni, Uri Elkayam

Mazal Pikado

Ofri Laski, Boaz Nachum

Orit Lahav

Trekkie Monster (Boaz Nachum)

Ofri Laski, Boaz Nachum, Mazal Pikado

Maya Livni, Orit Lahav

Uri Elkayam

Orit Lahav, Maya Livni

The Cast of Avenue Q


BWW Exclusive: ROD, KATE, TREKKIE, NICKY, MRS. THISTLETWAT, of AVENUE Q play a game of Never Have I ever!

Tue, 13 Mar 2018 16:08:31 PST


It had been a long day hanging out with the cast of Avenue Q Israel. After a puppeteering workshop with Uri Elkayam - a special prize offered by the production to some of the supporters of of the production on kikstarter, we were invited to a sneak preview of some of the songs, as well as a fun Q&A with the cast.

Fortunately for me, however, I managed to convince the cast members to stay a little longer after everyone left and play "Never Have I Ever" as their characters, which ended up being the cherry on top of that fun-day pie.

The game started pretty civil. Rod (Uri Elkayam) said he's never spent the night with a man, and Mrs. Thistletwat (Ofri Laski) said she hasn't had one in a long time. Trekkie (Boaz Nachum) found it insulting, but kept his cool.

Trekkie revealed he'd never gone 10 whole minutes without watching porn. The other characters doubted this at first, but came to believe him. I decided to keep this in mind and time him when he's on stage next week. Kate (Orit Lahav) said he's disgusting and Rod agreed.

All hell broke loose when Nicky (Boaz Nachum) admitted he'd never paid a bill. Clearly, this was a matter close to Rod's heart, as he could not seem to control his outburst.

To save us from having to pull the two apart, Mrs. Thistletwat chimed in to tell Nicky he should date Kate because they'd be perfect for each other - two lazy bums, but this did not go over well. Kate was very upset and said some very nasty things to Mrs. Thistletwat.

Mrs. Thistletwat became enraged, but fortunately at this moment a phone rang and the group tried to figure out whose phone it was and how they could answer it with puppets on their hands...

It was a couple of magical minutes that proved how much can happen in such a short time, and I feel very fortunate to have been present for it.

Clearly, rehearsals are a lot of fun on top of being very hard work for this group, and I'm sure they will do a fabulous job next week when they open the show. I can't wait.

The show's premiere is set for March 20, 2018, at 20:30 at Rozin Auditorium in Tel Aviv. For tickets, visit Pashbar.


MYSTORIN Theatre Ensemble and Beit Ha'ir Museum Present WHO KILLED ARLOZOROFF - THE MUSICAL

Tue, 13 Mar 2018 15:27:55 PST


Haim Arlozoroff - a successful statesman was murdered on the beach in Tel Aviv 85 years ago, and although there were multiple suspects for the crime - the mystery was never solved.

With a new artistic approach and a collaboration with Beit Ha'ir Museum, Mystorin Theatre Ensemble opens the gates to the archives and invites the audience to wander, watch, roam and even act.

The four floor museum becomes a film set for a musical movie about the murder of Arlozoroff.

Every space is a set where a different part of the puzzle is filmed - the hospital, the interrogation room, the cafe at the beach, the courthouse, and many others.

12 actors, dancers and singers lead the plot, and the spectators - playing the part of stand ins in a movie - participate in the scenes and influence them, as the documentary mingles with famtasy and reality, in a one of a kind musical-theatrical-cinematic experience.

Beit Ha'ir, located in the old Town Hall building, is owned by the city of Tel Aviv and forms a part of the Bialik complex - a complex of Hebrew and Israeli culture which is one of UNESCO's world heritage sites.

The building was renovated in 2009, during Tel Aviv's centennial, and converted into a unique museum for Tel Aviv urban culture and a home for its visitors: artists, thinkers, tourists and guests who seek to know Tel Aviv and take part in its essence.

Mystorin Theatre Ensemble specializes in developing a new visual language wherein the audience is an active participant and helps to shape the plot, as it's exposed during the show to a variety of arts, crafts and techniques. This year is the 10th year of activity for the Mystorin Theatre Ensemble, and it has participated in international festivals in Asia, Europe and Africa.

During the show's run the museum will display the sets alongside video and still photography taken with the audience during the show, as well as selected archive materials curated especially and creatively for this exhibit.

The show premieres April 26th at 20:30

Website and tickets

Watch the trailer below:

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Director, creative manager, space and costume designer: Yulia Ginis

Playwright, dramaturgue and directore: Raz Wiener

Artistic producer: Ori Hirshler

Lyricists: Raz Wiener and Shahaf Yifhar

Composer: Allon Peretz

Vocal coaches: Rotem Cohen and Michal Cohen

Art and props: Tal Harel

Props: Daria Zhukova Alexandra

Costume designer: Olga Ross

Exhibit designers: Yulia Ginis and Noam Bar

Set designer and video art: studio Rama Video - Andrei, nelen Asya franz

Rehearsal Manager: Ofer Amram

Movement coach: Yiftach Mizrachi

Graphics: Matan Shalita

Research: Avrahami Yonatan , Sheizaf Ilan

Video: Dvir Ben Zvi

Tango instructor: Anka Kuhnel

The Cast:

Avshalom Lior

Burdman Sabastian Brain

Benayun Liat

Brusovani Dani

Haritu Stefani

Levanon Ori

Forer Dana

Kazanzev Yura

shnaiderman Maya

Sharon Barak


A CHORUS LINE - Presentation At The Cameri Theater!

Tue, 13 Mar 2018 17:35:02 PST

The musical A CHORUS LINE is coming to Israel in a huge production of the Cameri Theater with a cast of 20 actors, singers and dancers including Maya Dagan, Dana Frieder and Yehezkel Lazarov! 9 days before this production opens (22.3.18) the Cameri Theater held a presentation earlier today with some musical numbers from this musical. A Chorus Line tells the story of anonymous dancers and actors who strive to succeed in the showbiz industry, everyone and their own personal story. They audition for a part in the chorus line, hoping to get through each stage of the audition process. Throughout the day more and more people are eliminated and the competition gets harder. Eventually, about a dozen dancers must compete for a few spots, everyone hopes to impress the director with their dancing skills. But, is this really what the director is looking for? The wonderful choreography was created by Oz Morag, the musical direction by Amir Lakner, and the translation by Eli Bijaoui who has the amazing ability to translate any international play into Hebrew in a perfect and fluent way. The performance of the actors was charming. The singers, dancers and actors show their passion for the theater in every second. They're Amazing and captivating! Tsedi Sarfati, the director, told us that working on this musical was challenging. This musical is not easy and it's different from all the other musicals, he said. "You have 17 main actors that you have to work with individually. Everyone has a monologue, each one has to create his character. It was not easy, but the result was fantastic. There is a dominant ensemble here." Maya Dagan told us about her role and said that six months before the rehearsals began she took dance lessons to get into this role. "It's Broadway in Israel. There is no doubt that this musical is magical, unique and has everything in it". In conclusion - the musical A Chorus Line is going to be a huge hit! There is no doubt that the Cameri Theatre and the wonderful director Tsedi Sarfati did a great job. My advice - buy tickets now! Photo credit: Eli Katz [...]

Orto-Da Theatre Group Presents TERMINAL 1 at Haifa International Children's Theater Festival

Sat, 10 Mar 2018 17:48:32 PST


Orto-Da Theatre Group, which is the artistic director of the international open air theatre performances as part of Haifa International Children's Theater Festival, presents "Terminal 1".

"Terminal 1" describes a day in the lives of the airport terminal workers, which find themselves in the middle of a pilots strike.

Their soul, thirsty for a different place after spending every day in the same place, awakes and exploits the temporary remission to discover that "the whole world is a narrow terminal", and the most important part is not to be afraid to fulfill their hidden dreams.

Orto-Da Theatre was established in Israel in 1996 at the initiative of Artistic Director Yinon Tzafrir. Since its establishment, Orto-Da won many international theatre prizes. The group's purpose is to create and perform unique theatre events. The group focuses on studying and performing through the use of an original international language, based on the research of human and physical behavior. The Orto-Da name expresses the tension between the desires to save old ways of thinking and the ambition to create new ones. The first half of the word is cut from the orthodox, which expresses the cultural memory and roots. The second half of the word is cut from the word Dada, the cultural movement that explored new territories of art. Combining the two words together creates an artistic harmony. In Hebrew, the word 'Orto-Da' divides into two different words: Or means "Light" and Toda means "Thank You".

Sunday-Tuesday, April 1-3, 2018 at 12:05, 14:25 and 16:40.
All performances will take place on the grounds of the large complex adjacent to Haifa Theatre.

For further information call 08-6466657 (Israel) or visit

Photo Credit: Yael Kligler


BWW Review: VISITING MR. GREEN at Beit Lessin Theatre

Sat, 10 Mar 2018 11:12:53 PST

For over twenty years the award winning play Visiting Mr. Green has been presented around the world and been receiving great reviews, including in Israel where it won the 2001 Israeli Theatre Awards in the Best Play category. Last week Beit Lessin Theatre premiered its new production of the play, directed by Nathan Datner. Visiting Mr. Green is a modern, touching comedy, written by Jeff Baron in 1996, that takes place in New York and tells about an 86 years old Jewish widower, Mr. Green, played by Gadi Yagil, who after he almost got ran over by a car starts receiving weekly court ordered visits from the young man who drove that car, 29 years old Ross Gardiner, played by Ido Rozenberg. Mr. Green's unwillingness to receive Gardiner's forced visits softens as time goes by and as more details about each other are revealed and shared between the two. With a simple beginning for this story it surprises as it becomes smart, complex and emotional, and touches many topics that every viewer can find at least something to connect with, including family, agedness, the history of the Jewish people, the preservation of Judaism, sexual orientations, faith and more, while they all somehow have a connection between them in this play. All this was made into an even richer production with director Nathan Datner's wonderful work, from natural placements of the actors on stage to small gestures like Mr. Green holding Ross Gardiner's scarf after they hug, which whether it was intentional and by Datner's instructions or not it still shows how he managed to bring all those who are involved in this production to bring this story to life in the best possible way. This is a play that must have strong leading actors in order for it to truly reach its potential and pass on its messages. Gadi Yagil and Ido Rozenberg answer this requirement perfectly with great chemistry together on stage and while being both funny and moving, Yagil doing so with a heartfelt performance ranging between helpless, stubborn and charming, and Rozenberg skillfully and professionally portraying Gardiner with presenting profound honesty and vulnerability with his character. While giving thanks to the well deserved creative team during the curtain call of the play's premiere, Ido Rozenberg introduced costume designer Oren Dar as the artist behind what he believes is the special effects of this production, as indeed both he and Gadi Yagil have many costume changes, including some quite quick changes. Also worth mentioning is the fitting set designed by Alessandra Nardi, complementing lighting designed by Adi Shimrony and both natural and relatable translation by Ido Riklin. The only thing that didn't connect with all the other elements in this play was the music, by Lior Ronen, which not only interrupted the flow of events and at times even gave a not required unpleasant feeling, but also the music recordings themselves were deficient and had a very artificial sound. Thankfully, this didn't seem to prevent the audience from enjoying the show, as the theatre was filled with laughter and even emotional tears in different moments throughout the evening. With one masterpiece after another, Beit Lessin continues to bring meaningful and beautiful productions such as this into our lives, and as the Israeli theatre is under the risk of being neglected by younger audiences, especially in regions outside of Tel-Aviv, such a play that can easily resonate with audiences of all ages is very much needed in this country. For tickets and further information visit or call 03-7255333 (Israel).[...]

Regional Roundup: Top New Features This Week Around Our BroadwayWorld 3/9 - WAITRESS, RAGTIME, CHICAGO, and More!

Fri, 09 Mar 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature Waitress, Ragtime, Chicago, and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Pittsburgh: Contributor Greg Kerestan reviews WAITRESS at the Benedum. He writes " Sassy waitress Becky (Charity Angel Dawson) loves her invalid husband, but is having an affair with the more vital Cal (Ryan G\. Dunkin), the diner's grouchy manager. Dawson has an amazing voice, and Dunkin finds the meat in a one-dimensional role without any singing, but both of them are saddled with the most sitcom-generic of characters. Lenne Klingaman fares better as buttoned-up waitress Dawn, who learns to open up and love life with the help of her persistent, quirky suitor Ogie, as played by Jim Hogan. Hats off to Hogan, handling one of the most difficult comedic roles in contemporary musical theatre, charming the audience and winning over Dawn at the same time. We have every reason to see Ogie as a loser, a creep, or even a stalker- in his very first scene, he must bring enough joy and innocence to his persistence that we see why Dawn comes to fall for him quickly. Finally, Larry Marshall (who played a manic Simon Zealotes in the first Jesus Christ Superstar film) brings both warmth and crustiness to the role of Old Joe, the diner's owner and chief patron. At first, I was a little uneasy with seeing a black man in the role- there's a certain touch of the outdated "Magic Negro" trope around a lovably raunchy old black man who is always handing out sage advice and solving white people's problems with handy deus ex machina moments. (It's not an inherently offensive trope so much as a trite one- the Magic Negro cliché dates all the way back to Uncle Remus.) Nonetheless, Marshall overcomes this slight cultural baggage to make Old Joe more than just a Morgan Freeman wananbe." Los Angeles: Contributor Ellen Dostal reviews JACKIE UNVEILED at the Wallis. She writes "Burrows delivers the herculean task of presenting a two hour solo play with finesse but is also undermined by Jackie's accent. Though carefully studied and phonetically perfected, it is centered around one pitch and never varies much from it. The limited vocal range combined with a downward emphasis at the end of every sentence becomes monotonous with its predictable rhythm. And while she is working very hard to connect with the audience, it never feels like we truly get to see behind the veil. Something in the eyes still keeps us at a distance and that is a missed opportunity." Sioux Falls: Contributor Katie Becker reviews CHICAGO at The Washington Pavillion. She writes "Several cast members return to roles in this production of Chicago, including leads Dylis Croman (Roxie Hart) and Terra C\. MacLeod (Velma Kelly), bringing with them a familiarity and excitement for their characters. Throughout the show, MacLeod expertly conveys the desperation of Velma Kelly as she watches Roxie go from media revival to finally convincing her to become the other half of her double act. One of MacLeod's strongest scenes is during the Act 2 duet, Class, between her and Jennifer Fouché's Matron Mama Mortan; beautifully capturing the strong on stage chemistry between the two." Tampa: Contributor Deborah Bostock-Kelley reviews FOREVER PLAID at the Straz Center. She writes "The men are funny and engaging. Before performing their opening number Three Coins in a Fountain, there's a quiet warning of "it's time to start the s[...]

BWW Review: THE DEEP BLUE SEA at Beit Lessin Theater

Fri, 02 Mar 2018 21:31:59 PST

Nowadays, money buys everything. Happiness increases in the driver's seat of a Ferrari or with a glass of champagne in your hand during a first-class flight. You can even fly to third world countries and buy "love". But there is still one thing you can not buy with any currency in the world: TIME. Time- the most important thing in the world. It turns out that at Beit Lessin Theater, though, time is not that important. When I come to watch a play, I ask my When I come to watch a play, I ask myself what the theatre wanted to leave me with in the time allotted for the play. When I can't determine the answer, I find myself becoming irritable. Why did I have to watch this one hour and 40 minutes play if there was no reason? Did you seriously have nothing to tell me? And why on earth did you spend a hundred thousand shekels on this production? Enter the play The Deep Blue Sea, written by Terence Rattigan. The play begins with the discovery of Hester Collyer in her flat by her neighbors, immediately after Hester has tried, but failed, to commit suicide. In flashback, some time before, Hester left her husband, a respectable High Court judge, for a semi-alcoholic former RAF pilot, Freddie Page. Their relationship was passionate, but his fervor has since diminished, leaving Hester emotionally stranded and desperate. The aftershocks of her attempted suicide ruin any chance this relationship might have had. By the end of the day, Hester is brought to a difficult decision - to live - in large part through the intercession of another resident of the tenement house, Mr\. Miller, a former doctor. These two outcasts, socially ostracized by others, find a connection within one another. Maybe I could have forgiven Beit Lessin for the fact that the play is not particularly new and interesting enough for the Israeli audience, but unfortunately, many other things in the play did not work: the actors played in a largely unreliable fashion (which I will expand on later); the lighting was almost non-existent (unfortunately, many directors seem to not understand how much lighting can help the play - how it emphasizes the characters and the situations more); and the low-resolution video art didn't bring me closer to the story, only serving to distance me further. Dramatic play that makes the walls of the house invisible, opening our eyes to the problems that arise within it, is largely built off of, and based on, realistic acting. Such a play, when done right, will bring down the wall of shame we have when we see such things happen in this home on the stage - we get to see how "other houses" would behave and, sometimes, get to see that neighbor's grass is not as green as it might appear. The acting that the performance I attended did not accomplish this. The lead actress Limor Goldstein, seemed mostly to recite the text. Naama Shapura, playing Mrs. Elton, performed at such a high volume that it made it impossible to concentrate on her acting as an actress. The best gauge of a show's success is to poll for a response from the audience - several of whom I could see appeared to fall asleep during certain segments. At the end of the play I asked some their opinions, and was not particularly surprised to find that I did not hear a single positive opinion. In conclusion, while I'm sure is not by chance that the phrase "Beit-Lessinit play" exists - they have established their status as creating a certain kind of theater, play that have a significant imprint in the Israeli theater scene. Having said that, skip this one - I'm sure the other shows in their repertoire are much better! Photo Credit: Kfir Bolotin For tickets and further information, vi[...]

Regional Roundup: Top New Features This Week Around Our BroadwayWorld 3/2 - ALLEGIANCE, RAGTIME, GHOST, and More!

Fri, 02 Mar 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature Allegiance, Ragtime, Ghost, and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Los Angeles: Contributor Don Grigware reviews ALLEGIANCE at the JACC. He writes "As I mentioned above the entire 15 member cast do splendid work with their acting, singing and dancing. As a chorus, they sound terrific. Choreographer Rumi Oyama does nice work putting the cast through some fast and furious moves. Se Hyun Oh's scenic design is adequate, as are Halei Parker's costumes. Nice projection work from Adam Flemming, who puts his projections in several places across the stage. One very strange element is the use of box-like shapes that float down consistently. One side of each is used for projections, but why these curious shapes? Do they symbolize something in the Japanese culture? Very disconcerting!" Philadelphia: Contributor Pati Beuhler reviews SOMETHING ROTTEN at the Kimmel Center. She writes "Did I mention that the theatrical competition at that time is none other than William Shakespeare? Broadway legend Adam Pascal plays the strutting peacock "I am the Will with the skill/ To thrill you with the quill". Pascal is obnoxiously talented in his role. But Nostradamus assures Nick that one day he will dazzle the whole world with his immortal work - a musical called "Omelet". Well, that's almost all the plot you need, because there's entirely too much insanely crazy gobbledygook in Act Two." Madison: Contributor Scott Rawson reviews AN AMERICAN IN PARIS at the Overture Center. He writes "This combination ballet/musical has cleaned up most of the sexism and misogyny of the original film, as it should, we are, after all, living in a different age. The dancing was fabulous, if not excessive. The set and multi-media were breathtaking. The actors, for the most part, believable." Seattle: Contributor Jay Irwin reviews Seattle Rep's HERSSEY FELDER AS Irving Berlin. He writes "Felder's talent on the piano is only matched by his talent as a storyteller. He locks you into the ride from the beginning and never lets go. You need someone with presence to be able to carry a one-man show such as this and Felder has that presence in spades but it's an unassuming presence, so you feel like you're just listening to a friend and not a performance. He draws you in with heart and humor and delightfully with a couple of sing-a-longs into which the audience gleefully joined. And adding to the storytelling is a magnificent set from Felder that looks like a living room but then doubles as a backdrop for amazing lighting and projections from Richard Norwood and Christopher Ash & Lawrence Siefert." Los Angeles: Contributor Michael Quintos reviews THE KING AND I at the Segerstrom Center. He writes "From the moment the curtain rises to reveal the show's first "wow" moment---which finds a stunningly imposing ship Chow Phya slowly docking into Bangkok carrying widowed British school teacher Anna Leonowens (played by the spectacular Laura Michelle Kelly) and her young son Louis (Rhyees Stump)---the production will have you instantly mesmerized. Michael Yeargan's eye-popping sets and Catherine Zuber's Tony Award-winning costumes convincingly transport the audience to 19th Century Siam, where we find the country caught at the crossroads between many centuries' worth of traditional, old-world [...]

BWW Review: KING UBU at Tmu-na Theater

Sat, 24 Feb 2018 09:11:11 PST

In Israel, the theater has become an old people's home. Sorry for the honesty. Young people, it seems, have long ago abandoned the theater. And the reason is clear- they are afraid. They are afraid of seeing nothing but the same actors who play in all the theater plays. They are afraid of uninteresting content that fails to distinguish from the last performance they saw. And they are afraid to check what time it is, because hundreds of older faces around them will look at them with face full of contempt. A good play can make time stand still, keeping you fascinated, and even elevate your spirit as it raises questions inside your head. A bad play, though, can be a dreadful suffering, leaving you with just one wish - that it will finish already!!! Luckily, despite the almost total control of the repertory theater for viewers of the State in Israel, a rare point of light occasionally shines through. KING UBU in Tmu-na Theater is absolutely one of those. King Ubu is a play by Alfred Jarry. The play is wildly bizarre and comic, significant for the way it overturns cultural rules, social norms and conventions. Or in short - what may be the first perfect merger of modern surrealism and the theater of the absurd. The play tells the story of the father, Ubu, a commander in the Dragons, who is convinced by his wife, Mother Ubu, to murder the King of Poland and take over the kingdom. Enter Captain Tinofet and the servant Karkashta. With their help, the king will be murdered, and Ubu will rule the kingdom. From here we witness the results of the rise of two animalistic, childish and power-hungry types. The directors, Shmuel Wolf and Dovrat Asulin, did a great job, turning the stage into a crazy punk rock court where evil prevails. Their visual methods, on which I will not expand for fear of introducing a spoiler, are quite charming and beautiful. There is no doubt that Shmuel Wolf and Dovrat Asulin have worked hard to translate this complex play into a new and fascinating angle. The director's work with the actors was inspiring: it made me want to go up on the stage, undress, paint my nipple in black, and spit and swear, too. This is one of the things that distinguishes this play from so many others: this troupe of amazing actors makes the audience drift into it, disconnecting from everything else, with their focus on the show until they feel one with it. I must mention the excellent play of Nur Fibak and Eylon A. Crotch, the Ubues. They offer a fascinating, powerful glimpse into the mindsets of a pair who truly do not understand what is wrong with their corrupt and beastly behavior. In conclusion, there is good theater in Israel - theater that does not compromise, theater that is not afraid, and theater that might bring young people back into it. MY RECOMMENDATION: CHECK NOW FOR THE NEXT SHOWTIME, AND RUN TO BUY A TICKET. IT IS AMAZING! Photo Credit: Oleg Fstafive For tickets and further information, visit Tmu-na Theater.[...]

Regional Roundup: Top New Features This Week Around Our BroadwayWorld 2/23 - THE LION KING, FINDING NEVERLAND, and More!

Fri, 23 Feb 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature The Lion King, Finding Neverland, The Crucible, and more! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Orlando: Contributor McKenzie Lakey reviews THE LION KING at the Dr. Phillips Center. She writes "The Lion King" is the perfect introduction to Broadway musicals for audience members of all ages, but still maintains the pure talent, ingenuity and sheer power that only the best of Broadway can produce and maintain. No matter how well you know the story or how many times you have seen "The Lion King" (either animated or brought to life on stage), it always has a way of transporting viewers back to a period in their life filled with the awe and wonder of childhood that they may have long forgotten-and it's a trip definitely worth taking." Baltimore: Contributor Charles Shubow reviews THE GREAT SOCIETY at Arena Stage. He writes "This play should be required viewing for all high school students. No books or lectures could reveal how President Johnson was able to push through his "Great Society" legislation that included passage of the Civil Rights Act, Voting Rights Act, Clean Air Act, Medicare, Medicaid, Food Stamps, Head Start, Social Security, Public Broadcasting, National Public Radio, and the National Endowment for the Arts. Is there any doubt why this era was called "The Great Society"?" Jacksonville: Contributor Jordan Higginbotham reviews MADAMA BUTTERFLY at the Times Union Theatre. She writes "All parts were beautifully and poignantly portrayed in the opera. The cast was amazingly talented and dedicated to their characters. As someone who has listened to the Miss Saigon soundtrack, I could not help making the connections of each character to its inspired character, and the story in which it was based." Nashville: Contributor Jeffrey Ellis reviews SMART PEOPLE at Nashville Rep. He writes "Clearly, the four people who inhabit the world as presented in Smart People are indeed more intelligent than most of the people in your neighborhood (and certainly my neighborhood), they each represent some archetype in order to create a universal tale that is at once appealing, yet somehow troubling. In the manner of all compelling theater, Smart People makes you think, encourages you to consider your own thoughts and actions, and challenges the status quo in which we are all complicit. One thing you can be certain of - you'll have plenty to talk about after the curtain has rung down on Nashville Rep's articulate Smart People." Norfolk: Contributor Jeremy Bustin reviews A RAIN IN THE SUN at Virginia Rep. He writes "Jasmine Coles is perfectly cast as the eccentric and aspirational Beneatha, and has a show-stealing moment with a tribal chant and dance featuring an equally delightful Solomon. But it's Trezana Beverley as Lena 'Mama' Younger, who gradually inherits the reins of the production with a finely shaded performance. Audiences will hear the nuance in every word she speaks and absorbedly watch every move she makes." Milwaukee: Contributor Kelsey Lawler reviews FINDING NEVERLAND at Milwaukee's Marcus Center. She writes "But it can't be denied that there are shining moments aplenty in this Pan-themed spectacular. Again, the choreography is remarkably well-crafted and perfectly executed by a brilliant cast[...]

Beit Lessin Theatre Presents VISITING MR. GREEN

Wed, 21 Feb 2018 14:59:26 PST


A Moving and Touching Comedy by Jeff Baron, Directed by Nathan Datner

What begins as a forced meeting between a lonely, suspicious Jewish man (Gadi Yagil) and a young man who is doing for him community service (Ido Rozenberg) after he almost ran over him with his car, slowly becomes a surprising destined alliance between two lost souls. This encounter of two opposites is set in the middle of this humane, moving and clever comedy which each production of it became a huge hit.

Direction: Nathan Datner

Cast: Gadi Yagil, Ido Rozenberg.

Translation: Ido Ricklin.

Scenic design: Alexandra Nardi.

Costume design: Oren Dar.

Music: Lior Ronen.

Lighting Design: Adi Shimroni.

For tickets and further information visit or call 03-7255333 (Israel).



Tue, 20 Feb 2018 09:13:58 PST

Etgar Keret is amazing. Of all the Israeli authors this group could have chosen to base their play on, he's probably the best. This play, based on Keret's short novella "Kneller's Happy Campers", tells the story of a community of suicides from the point of view of Haim - a young man who begins the story shortly after he lands in the afterlife. As the story continues in that semi-abstract way Etgar Keret stories go, the audience is acquainted with a myriad of characters and takes a different angle to the issue. What we see as the most important things regarding suicide becomes an insignificant issue in this specific version of the afterlife, and the person watching the story unfold can only deduce the answers to the questions that would plague them had these suicides happened in real life. The story is one of love, loss, friendship and community. It's sweet and emotional but also funny and visceral. This talented group of young performers chose a perfect story to tell their audience, and the fact that they do it in the simplest way - with only cardboard boxes as props representing - anything they have or need or use - keeps the focus on the story itself and keeps the presentation simple. This small cast - Daniel Wertheim, Yechiam Berko, Hadar Dimand, Roey Bitan and Roni Ohana do an amazing job at creating complete and rounded characters, with tiny humorous mannerisms (such as Lihi's sneezes every time she goes near Ari). With that, I would have to point out the character of Ari was very prominent and verging on stealing the show with its barrage of funny lines throughout the first half of the show and wide emotional range. There were some minor issues with the show - the character of Haim is forced by the story to be the narrator as well as a main character, subsequently he was often rushing through his lines, not allowing the audience time to hear and process everything. This is probably due to the lack of time in this one-hour show, so perhaps the show could use 15 more minutes. Another issue was with the ending which due to the plot cuts made from the original story, left audience members who didn't know the story with questions, mainly about the character of the man in the white coat who entered the story toward the end and was not explained in the plot of the show. In spite of these minor issues, I'd still highly recommend this show as a great night, with its unusual concept of the matter of suicide. And also if you just want to see something very very funny. Due credits for the creators: Adapted to a play and directed by - Lina Snir- Naharin Music- G'dee Yaar Costume and Set design- Noa Dotan Movement- Yotam Calo Livne Lighting design- Roee Dvir[...]

BWW Review: SKIRT THIS IS KODKOD at Habima Theater

Sun, 18 Feb 2018 11:32:52 PST

Skirt This Is Kodkod is a show all of us need to see. And when I write all of us, I mean everyone! From boys who are going to join the army, to soldiers, and even old people too. Why such an endorsement, you may be wondering? Because Skirt This Is Kodkod is a show that discusses the chauvinistic nature of the army, and it does it in a very different way than you might ordinarily see. And it is certainly a message that deserves to be heard by everyone. Practically aligned with the timeframe of the #METOO campaign, three young girls stand on stage at the Habima National Theater, accompanied by a piano player (who I will write more about later), as they sing the songs of the army. Poems that were written by our greatest poets, and also by our soldiers. Songs that became the songs of national morale. Let's remember the song What To Do by the poet Nathan Alterman, a well-known song. Now, try to look at the following lines from a feminist perspective: "If I had a crooked mouth I did not miss anything If I had a big nose I could still suffer What to do? What to do? That I was so beautiful That I am almost comfortable Just for an exhibition?" The three girls who created the show - Keren Shefet, Chen Lugassi and Adi Drori - know how to do satire at its best. They took a complicated subject, which on its face is a hot-button issue - especially in these current days - and handled it masterfully! I want to write that it was a beautiful and lovely show, but after having seen the show I really cannot. Especially when I come to the realization that all the songs the girls sing are real, and that soldiers sing them now. The absurdity - the soldiers do not even notice how Chauvinist the songs are! And I believe I was likely just as oblivious before seeing this show. This show illuminates the eyes of hundreds of people, and forces the audience to actually delve into the meaning behind the lines of these songs. About the musical director Omri Dagan‎‏. Dagan is the piano player in the performance, as well as Wendy and Peter and King Saul; he also the arrangement. I must say that he is no less than a genius, likely the highest-level musical composer in Israel today. The power and energy he conveys to the audience with the help of a mere piano stuns me every time. I have no doubt that we will hear much more about Omri Dagan in the future. In conclusion, do yourself a favor: go see this interesting show! It's fascinating, and may open your eyes in a way you did not expect! Photo Credit: May Barnea For tickets and further information, visit Habima Theatre.[...]

Radio EPGB Bar Hosts 'New York in Musicals' Lecture

Sat, 17 Feb 2018 18:22:39 PST


As part of its 10th season, "HaChug", a Tel Aviv project led by Yashiv Cohen, Dana Kessler and Gil Aaronsohn, is hosting an all New York musicals lecture at Radio EPGB bar, in Tel Aviv, and will be presented by siblings Libby and Gil Ran on February 27, at 20:00.

Come on a tour by subway, buses and on foot around the streets and neighborhoods of New York City. In our different stops around the city we will focus on several topics that make this city the center of the world: Immigrants, LGBT (and AIDS), the World Trade Center, gentrification and social protest, Broadway, the American dream and other current and historic subjects.

Along with video clips, photos and other surprises, the many musicals that relate to these topics will surround our tour: Rent, Hamilton, If/Then, Hair, West Side Story, Avenue Q, Hedwig and the Angry Inch, In the Heights, On the Town, Chorus Line, In Transit, Little Shop of Horrors, The Producers, 42nd Street and more.
The tour is accompanied with landmarks on the map, inspired by the If/Then quote: "Put a sticker on the map where you landed that first day. Put a pin on the bridge, on the train, on J.F.K."

Tuesday, February 27 at 20:00, Radio EPGB, Tel Aviv.

For details about the event:


BWW Review: GULLIVER at Hazira Ba-Bait

Sat, 17 Feb 2018 17:17:15 PST

Let's examine the past: The field of dance has changed completely over the past hundred years. The field of movies has changed completely over the past hundred years. The field of visual arts has changed completely over the past hundred years. Only the theater stands still. Almost nothing has changed. The convention remained the same convention. Human beings playing a human being for human beings. Nothing beyond. Well, maybe smart flashlights. "Nu, Shoyn". The theater remains a place untouched by innovation, and if innovation does somehow find its way to the stage, it likely comes through by way of the text, or perhaps through the directing. But rarely by substantially altering the convention that is the theatre. To see an innovative, special and courageous play is a rare commodity in Israel. It costs a lot of money, no one is committed to the amount of audience, it requires a lot of repetition, and usually there is no one behind you - if you fall, you do not have a parachute. The establishment theaters typically do not want to make a mistake, preferring to continue down the safe path. The older audiences, who do not tend to favor innovation but do love cheap comedies, will continue to arrive, and the establishment theater will continue to make money. To my great joy, I discovered that there were still some brave and wise artists who remained in Israel, and are not afraid to create an innovative, challenging, special and fascinating work: Gulliver. The talented creator of this play is Zvi Sahar, who also plays the lead role. Sahar creates with a method called PuppetCinema. Using a cinematographic aesthetic, a documentarian's eye, and the tropes of cinema verity, PuppetCinema productions shape the audience's focus with a strong and steady hand. The audience has the feeling that the show is being created right in front of their eyes! The play is based on Jonathan Swift's novel Gulliver's Travels. After sixteen years at sea, Lemuel Gulliver returns home. Isolated in his room, he refuses to meet anyone, and talks only with two horses that he bought on his last trip and brought back with him. He is repulsed by everything and wonders about the fate of the human species. After five years of self-imposed isolation, he decides to tell his story for the first time to his wife. Today, he invites you - and only you - to listen. HaZira Performance Art Arena, a platform for new and innovative theatrical and performance arts, is unique in the local cultural landscape. HaZira's mandate is to promote interdisciplinary performance art, to initiate original productions, to encourage and nurture the unique vision of talented artists, to cultivate excellence in the disciplines it supports, and to be at the center of cultural and artistic discourse. You would certainly expect me to describe how this method is expressed in the play. But there is no way to express it in words. The show lasted about 50 minutes - 50 minutes of innovative art: new, biting, and brave. Gulliver - run to see it! This is the new theater, and Zvi Sahar is the master of it. Photo Cradit: Ilya Kreines. For tickets and further information, visit Hazira Theatre.[...]

DON CARLO Comes to The Israeli Opera

Fri, 16 Feb 2018 09:49:02 PST

151 years ago, on the 11th of March 1867, the monumental opera Don Carlo opened in a world premiere in Paris. Now, a new massive production takes the stage of the Israeli Opera house, conducted by Maestro Daniel Oren whose special relationship with Verdi's creations is well known, and directed by the famous and highly experienced director Giancarlo del Monaco who has directed operas in important opera houses around the world, chief among them the New York Met Opera, La Scala Theatre in Milano and the Wiener Staatsoper. Giancarlo del Monaco is also the son of the famous tenor Mario Del Monaco. This production combines large colourful scenes and remains true to the historic events described in Verdi's work. Most of Verdi's critics and researchers are in agreement that Don Carlo is Verdi's most sublime piece. It expresses Verdi's liberal-humanist views in a most revealing fashion and unites all his operatic devices - from his traditional aria bel cantos, through the types of duets and ensembles which he created specifically for this opera, to all the devices of the French Opera, and so watching this creation is a grand musical and human experience. The opera is based on Don Carlos - one of humanist Friedrich Schiller's famous plays, and Verdi has kept the play nearly entirely unchanged. Verdi used many of his works to discuss personal stories inside political and social value systems, and imbued his creations with criticisms. In Don Carlo, Verdi tackles the struggle between the Church and the ruling class in Italy in his time, and travels as far as Spain under King Philip II, discussing a dark chapter in 16th century Spain's history - the days of the Spanish Inquisition. Don Carlo is an opera that covers a set of conflicts, each with its own musical design: The struggle of Church and State - a historic struggle which originates in the Middle Ages - between the Church and the monarchy, with Verdi presenting both forces as cruel and destructive. The Church is represented by the intimidating character of the grand inquisitor: and elderly man devoid of human emotion. The monarchy is represented by the character of a cruel and paranoid tyrant king. The struggle for freedom and national liberation - a subject which occupied many of Verdi's works until 1861 and continued to resonate in his work later on. This struggle is represented in this piece by the struggle of the people of Flanders for liberation from the yoke of Spain's rule. Interpersonal conflicts - represented by relationships which are expressed by the multiple duets in the piece. The opera tells the story of Don Carlo - heir to the throne of Spain, whose fiance Elisabeth of Valois marries his father King Philip II as part of a peace treaty. The tension of this love triangle is enhanced by the schemes and actions of Princess Eboli who is in love with Don Carlo, as well as by the witty advice of the Marquis of Posa and the involvement of the cruel grand inquisitor. For tickets and further information visit The Israeli Opera or call 03-6927777. Organizers recommend arriving an hour prior to the start of the show as ticket holders are entitled to a free talk which will take place in the Opera lobby. On Saturday March 3rd at 11:00 The creators of this production and some of the soloists will meet to discuss this opera, the production, their career and opera in our times. This is an opportunity to hear as many details about the production as possible and to get [...]

Regional Roundup: Top New Features This Week Around Our BroadwayWorld 2/16 - HUNCHBACK, HAMILTON, FRANKENSTEIN, and More!

Fri, 16 Feb 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature HUNCHBACK, HAMILTON, FRANKENSTEIN, and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Salt Lake City: Contributor Tyler Hinton reviews HUNCHBACK at the Hale Center. He writes "Director/choreographer Dave Tinney and musical director Kelly Dehaan have shepherded the performances to be much more than just the individuals on their own. There is a unity and power that radiates from the large group of actors and singers, skillfully costumed by Peggy Willis, as they navigate through the ever-shifting multi-leveled set." Seattle: Contributor Jay Irwin reviews HAMILTON at the Paramount Theatre. He writes "And now I must mention four tracks that may be the most demanding in the show and were stunners. These four actors have to pull double duty all night long, each with two very different characters. Elijah Malcomb starts the night as one of Alexander's best friends John Laurens with tons of resolve and dedication and then moved onto play Hamilton's son Phillip whose bravado will break your heart. Fergie L. Phillipe was probably my favorite of the four with his braggadocious Hercules Mulligan and then going into the meeker and sickly James Madison. Kyle Scatliffe who Seattle audiences may remember from his amazing turn as Jud in "Oklahoma" a few years back was a stunner as the quick talking Lafayette and then the scheming Jefferson. And last but certainly not least Danielle Sostre as the notably overlooked Schuyler sister Peggy who turns around to completely kill it as the sultry Maria Reynolds." Omaha: Contributor Natalie McGovern reviews AN AMERICAN IN PARIS at the Orpheum Theatre. She writes "Jerry Mulligan (McGee Maddox) has the je ne sai quoi you'd expect from a worldly artist and American GI, as he glides through scenes effortlessly, polished and charismatic. Other standouts are Lise, talented Houston Ballet veteran Allison Walsh, with her perfected French accent that comes off as charmingly authentic and demure, and a brooding yet sentimental Jewish composer, Adam Hochberg (Matthew Scott) already resigned to the fact he may only get the girl in the form of a muse." Portland: Contributor Krista Garver reviews A GENTLEMAN'S GUIDE TO LOVE AND MURDER at the Keller Auditorium. She writes "Where things get really fun is the murders themselves. All of the D'Ysquiths ahead of Monty are played by James Taylor Odom. As such, he dies eight times during the show, from causes ranging from wind and ice to barbells and bees. Odom does this brilliantly. Bearing more than a passing resemblance to John Cleese, Odom also has a gift for physical comedy, ratcheting up the outrageousness with each death. The whole show feels at times like a Monty Python sketch." Dallas: Contributor Samuel Weber reviews FRANKENSTEIN at Dallas Theater Center. He writes "Mary Shelley's now timeless speculative fiction concerns itself with more than green monsters and mad scientists. Rather, Shelley's work is almost an exercise in understanding what lies at the edge of contemporary science, and more deeply, exploring the themes of those who wanted more - the Lucifer figure. This is an archet[...]


Fri, 16 Feb 2018 10:26:23 PST

Before I begin trying to describe the experience of SEVEN, I need to give the non Israeli reader some context regarding the space the piece takes place in. You don't have to spend more than a couple of weeks in Israel to know of the new Central Station building in Tel Aviv. It's named "new", but it was built in 1993 as a refuge from what is now referred to as the "old" central station - a couple of platforms out in the street with no cover from the rain or the blistering heat of summer. When the new building opened - a shining monster of 7 floors of pale marble and glass, it was filled with the hopes of the planners for a luxurious station which will serve people from all over the world in extreme modern comfort. The building was soon filled top to bottom with shops and businesses to serve the massive foot traffic and became a shining beacon of progress and modern life. But it didn't take long for the bottom 3 floors of this beacon to become derelict. Businesses moved to other locations, foot traffic dwindled, leaving its serpentine passages and winding hallways dim and broken, with a faint scent of urine floating through the air. It became what it is now - a place where people would be terrified to enter alone. With a reputation like that, one would be befuddled to learn that this group of 7 amazingly gorgeous young talents chose to place their show here. But where else could they place a masterpiece that takes the audience on a journey down to the bottom of hell? This space is the perfect home for this show, and it can't live anywhere else. The show begins at the top floor, and makes its way to the very bottom, through a series of amazing surreal moments which happen all around as well as through the audience. As the show progresses, the audience is moved through the top floors. At the time the show takes place, the top floors of the station are still operational, filled with people and music, and so the outside - people hurrying to catch a bus, music from shops, the sounds of conversations and shouts and vendors doing their jobs mingles in this inner secret world. The wonder is is created by the feeling of us being privy to something everyone else don't know or understand. It feels a little like being one of the characters in a Dr. Who episode - we've traveled to a world where significant characters move discretely among "ordinary" people and we alone see them and know their purpose. As the show lead us through the mazes of the station, I found myself so entranced by the performance and this hidden world, that the outside world didn't even register. It was background to what was now real - this strange and abstract world I had entered. The performers seemed slightly magical - appearing suddenly where they hadn't been a second ago, and I could have sworn I looked there! Glance away for an instant, and they're gone again, only to appear somewhere else to create another moment. The farther down we went, the fewer people we saw, the darker the corridors became, the quieter the sounds around us, until on the third floor it was only us and them - no people, no music, no conversation. Here I felt the performers felt more free to "let loose" and make even more surreal scenes, and interact more with the audience. Further down we went, and we reached corridors covered in broken pieces of station debris - deserted storefront win[...]

Photo Flash: The 28th Haifa International Children's Theater Festival

Wed, 14 Feb 2018 22:15:45 PST

As part of the 70 years for Israel celebrations, during Passover Holiday, on April 1-3, 2018, the 28th Haifa International Children's Theater Festival will take place at Haifa Theatre and various venues throughout Haifa. In addition to the previously announced opening musical fantasy, Balloona, participating in the festival this year are 6 other original plays that were produced especially for this festival, international street theatre and dozens of guest plays, with productions presented in Hebrew, Arabic and English. Throughout all three days of the festival there will also be guest shows performed by street theatres from around the world: Switzerland, France, Canada, Japan, Netherlands, Italy, Argentina, Lithuania, Spain and Mexico. The open-air shows are free and will take place all day long. The original children's plays that were produced especially for this festival and participating in the contest are: The Girl and the Crows A musical stage adaptation of "The Seven Ravens" by The Brothers Grimm, written by Tzruya Lahav, with music and lyrics by Daniel Salomon. Play duration: 50 minutes. Sunday, April 1, at 10:30, 12:30, 14:30, 17:00 Monday, April 2, at 10:30, 12:00, 14:30, 16:30 Kaitush Based on the loved children's novel by Janusz Korczak, "Kaytek the Wizard". Everyone complains about Kaitush, an only child who is special, brave, impatient and loves adventures. One day Kaitush finds out he's a wizard, but his magic powers go out of control and cause panic in the city of Warsaw. As he runs away to escape the police and avoid getting punished, the story of Kaitush is told- a story about imagination, unlimited power and the great responsibility that comes along with it. Play duration: 50 minutes. Sunday, April 1 and Monday, April 2, at 11:00, 12:30, 16:00, 17:30 Elik Belik A stage adaptation of the animated short film 'Alike' by Daniel Martínez Lara and Rafa Cano Méndez. A play without words that presents the delicate and moving relationship between a father and his son. Play duration: 50 minutes. Sunday, April 1, at 10:00, 12:00, 15:30, 17:30 Monday, April 2, at 10:30, 12:30, 15:00, 17:00 The Plasticine Prince A play by Raanan Paz based on the book "Jesse, ballewal-tsjí" by Harm de Jonge. The incredible story of Rogger and Jesse, two 9 years old children who live compltely different lives in different sides of a city, who meet during times of war and create a shared imaginary world for both of them. Play duration: 55 minutes. Sunday, April 1, at 10:30, 12:00, 16:00, 17:30 Monday, April 2, at 10:30, 12:30, 15:00, 17:00 Dot and the Kangaroo Little Dot insists on proving her parents that she's a big and independent girl. She leaves the farm where they live and goes to the Australian forest in order to gather food for her rabbits but she gets lost on the way. A kangaroo finds Dot and as it helps her get back to her parents, they go on a magical journey filled with adventures and interesting encounters, which becomes Dot's journey to maturity. A musical comedy combining actors and puppets. Play duration: One hour. Sunday, April 1 and Monday, April 2, at 10:30, 12:30, 15:00, 17:00 Shaming An intimate photo of Maya is spread around the web and her life is turned upside down. The remarks, the humiliations, the verbal and physical violence from her classmates tear her apa[...]

Swing Dance Orchestra to Bring SWING DANCE MADNESS to Israel

Tue, 13 Feb 2018 17:34:05 PST


You are invited to the "Retro Trip" with the Swing Dance Orchestra, which will take you to the swing of the 1930s in America.

The sound, the costumes, the microphones and the instruments - all perfectly authentic!

The Swing Dance Orchestra was founded by "swing king" Andrei Hermlin in 1987 and since then developed into the most successful swing band in Germany.

In addition to frequent concerts on radio and television programs, the orchestra played countless times in concert halls in Europe and the United States and also in private and glamorous events.

The orchestra has a large repertoire of many familiar songs, but it also includes Original American Standards from the 1930s that are rarely heard. The Swing Dance Orchestra will perform Benny Goodman, Jimmy and Tommy Dorsey, Duke Ellington, Glenn Miller and many other stars from the swing era.

14 musicians on stage! Big Band like a Big band should be!

Thursday, March 1, 2018
Jerusalem Theater, 21:00

Friday, March 2, 2018
Tel Aviv Opera House, 21:30

Tuesday, March 3, 2018
Zappa Herzeliya, 20:15 (show starts at 22:00)

Tickets at: 03-5733001

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The Swing Dance Orchestra from Berlin
Piano & Musical Direction
Andrej Hermlin

Ann Sophie

Vocals and drums
David Hermlin

Jörg von Nolting

Achim Rothe

Semjon Barlas

Lars Juling

Nils Marquardt

Clarinet/Alto Saxophone
Frank Bach

Clarinet/Alto Saxophone
Stefan Schätzke

Tenor Saxophone
Finn Wiesner

Tenor Saxophone
Raymond Merkel

Dirk Schelenz

Michael Waterstradt

Photo Credit: Uwe Hauth


BWW Review: FROM JOPLIN TO JOBIM IN 4 HANDS at Hot Jazz Series

Tue, 13 Feb 2018 17:35:10 PST

From The Charleston to The Great American Sognbook, with Scott Joplin, Marilyn Monroe and even Yidish, the brilliant piano duo Stephanie Trick (USA) and Paolo Alderighi (Italy) performed their arrangements of songs and tunes by all these and many more while performing on a tour around Israel as part of the Hot Jazz Series. Accompanied by Bass player Ram Erez and drummer Gasper Bertoncelj, both from Israel, the double trio (their definition of the band's composition, because you get two pianists in the "price" of one) opened with an exciting rendition of William Tyers' standard Panama. Afterwards Stephanie explained about the various music styles they play and told the story of how she and Paolo met eight years ago at a piano festival in Switzerland which led to them later on getting married. They then went back to the 1920's with an arrangement of James P. Johnson's "The Charleston". As the duo works beautifully in collaboration, it's the differences between the playing styles of each one of them as an individual that makes this collaboration work so well, as Trick excels in high speed and the stride style and Alderighi flows as one with the piano, connecting with it especially in swing and jazz styles. Paying tribute to Louis Armstrong, they then played the 1910 song Shine which he recorded for the film A Rhapsody in Black and Blue in 1931. Bass player Ram Erez had a great solo that contrary to many other bass solos didn't change the energy and speed of the piece and was simply superb. Later on Paolo addressed the audience, saying this is the couple's first time in Israel and while they tour a lot around the world he usually complains about the food in places they visit given that he's from Italy, but while visiting Israel he was surprised that for the first time the food he ate here was so great that it was even better than in Italy. From this moment on further great numbers kept coming, along with original arrangements, combinations of many music styles, incredible solos from all four musicians, and especially funny moments between the sharing-a-piano-duo. These numbers included The Entertainer (Scott Joplin), Tiger Rag, Always (Irving Berlin), Whispering (Vincent Rose), the very much crowd pleaser for an Israeli audience Bei Mir Bistu Shein, Mambo Carmel (Erroll Garner) and Some Like it Hot (Marilyn Monroe). Other than the exceptional talent presented by Stephanie and Paolo, adding as much excitement to the show as they did was drummer Gasper Bertoncelj. Whether it was by his rare controlled volume, remarkable solos, wide range of produced sounds, and quite a bit playful facial expressions, he stood out in this show almost as if he was in the center of it, but most certainly added great value to it in the best possible way. For the encore of the show the band performed an original composition by Trick, which starts as a rather light blues style played by Alderighi and continues with a boogie-woogie part from Stephanie, continuing with impressive solos by each of the musicians and original transitions between the solos and the different styles in the piece. The number sounded fantastic and felt as if it was just another classic from all the others that were played throughout the evening, providing a wonderful way to finish the entertaining evening while leaving[...]

BWW Review: LISELOTTE IN MAY at Habima Theater

Tue, 13 Feb 2018 12:29:12 PST

"Will I ever find love?" "May I be alone in the world?" "When will death come?" These are the questions that the play Liselotte in May by Zsolt Pozsgai and the director Alon Openhaim wrestles with in this comedy-drama about a young lady whose tragic efforts to find a partner reveal the absurdities in the process. There are two actors, with the male actor playing seven roles. A lonely woman in her thirties, Liselotte, realizes that the years are passing by without a partner, and desperately tries to get herself a man by various means. Through no fault of her own, each of her prospective partners dies on the first date. The play has an excellent premise: many in the audience will likely see themselves in the questions raised within. We all felt that love would never be found; we all do not know when death will come; and we all hope to never have to answer the question if we will be ready, in this moment, to die... I think Openhaim did a good job overall - and I might even daresay amazing with parts of this performance. His players' guidance was excellent, and the Hebrew version of the play (which I shall expand on later) was fantastic. My problem with the play was with the technical side. For example, during the show I was able to see the reactions of several people in the audience because the lighting designer appeared not to notice that four flashlights were projecting onto the audience. By the middle-end of the play he seemed to recognize the mistake and abruptly lowered the power. In general, the design of the lighting that Shai Skiba created was basic, and besides dazzling me with the intensity of the flashlights and lighting up people in the audience, I didn't understand what the lighting was trying to convey. I was accompanied to the performance with someone familiar with lighting design, and she also did not understand the decision-making process with regard to the lighting of this play. Yoav Donat plays all the male characters who visit Liselotte - seven characters in all during a show of about ninety minutes. Most of the characters Donat plays with a wonderful and fascinating effect; a few, however, I felt were approached with less energy. During some points of the performance the combination of several characters appeared to mesh together, which made it challenging to distinguish which specific figure was currently on the stage. In spite of this, Yoav Donat's range fascinated me. Liselotte is played by Tamar Hannah Shtaierman, who remains in one character throughout. This understandably makes her character less intriguing than those played by Donat. Even so, Liselotte is a difficult figure to crack. Until the middle of the show nothing new is revealed in her character. Finally, in the middle of the performance, it all opens up: the disappointment of death, the pain, and desire for love all come together to reveal her image in a different light. This makes her character become more interesting as a different side of her is shared. I felt that a few things were perfectly-done with this play, like the charming set design by Tut Herbet, and the flowing translated version of the play, handled expertly by Tamar Hannah Shtaierman. It is not easy to translate plays from other languages into Hebrew - their magic is often lost - but in Liselott[...]

A New Israeli Production of AVENUE Q will be Presented this March

Mon, 12 Feb 2018 22:10:48 PST

(image) The boundaries breaking musical that took Broadway by storm, in a unique and virtuoso concept of operating the beloved puppets that are inspired by the mythological Sesame Street in a wild, adult only, rendition.

How it all began?

As part of Hamaslul Musical Theatre Academy in Tel Aviv, at the end of each year the new graduates present a musical as their final assignment.

In 2017 the director of the academy, Eidan Lipper (Ordinary Days, The Last 5 Years), decided that this musical should be Avenue Q. The performance received such high praises from the audience, producers and directors that came to watch it that they all asked the same question: "When are you performing with this production again? There's no doubt we would want to see it again!"

Boaz Nachum, Uri Elkayam and Orit Lahav, three of the cast members fell head over heels with this musical and characters and only two days later addressed a request for the show's rights, hoping to make their dream a reality- and they succeeded. Taking a great financial risk, they built a cast that includes Yoran Davidi (from Tiras Sexual group) and Mazal Pikado (from Israel's "Idol" TV Show), added Lipper as their director, booked a venue and assure that the plot is loyal to the original Broadway musical and its characters.

They opened a Jumpstarter crowdfunding project in order to raise the money needed for such a production and these days are already in the exciting stage of rehearsals when the timing couldn't be better- 10 years after the first Israeli production of Avenue Q was presented by Beit Lessin Theatre, starring Talli Oren, Roy Bar-Natan, Niki Goldstein and more.

The show's premiere is set for March 20, 2018, at 20:30 at Rozin Auditorium in Tel Aviv.

To join the project and for further information about this production, visit the campaign's page on Jumpstarter and for sneak peeks visit their Facebook page.

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Kamea Dance Company Performs The Passion of Matthaus 2727

Sat, 10 Feb 2018 10:46:58 PST

Kamea Dance Company performs choreographer Tamir Ginz's new work to the sounds of J.S Bach's Matthaus Passion at the Suzanne Dellal Center. The show first opened in a massive production in Germany with over 100 musicians, dancers, opera singers and chorus members together on the same stage.The music was performed by the Wuppertal Kantorei Barmen-Gemark choir and the L'arte del Mondo orchestra. The production made great echos with the audience as well as the media and was very well received. The current performance will be accompanied by a score which was recorded specifically for Kamea Dance Company by the original ensemble. Ginz is the second choreographer in dance history to take on this piece. As a son of holocaust survivors he struggled to accept the message of the piece, but at the end of a 2 year work process during which he explored the New Testament and Bach's masterpiece, he found his own interpretation to be expressed in his choreography. Ginz's ballet occurs in the future, in the year 2727, 1000 years after Bach's mass. Ginz imagines broken people searching for a messiah to rescue them, longing for love and encouragement. "I'm happy to have been given the privilege to work on a piece which was the toughest challenge of my career and to find closure with my identity as a Jewish man and the son of holocaust survivors." Says Ginz. Ginz uses his work to build a bridge between the religions and peoples of the world, saying the Jesus is any-man, and he comes back to be one of the people. Bach's Jesuit myth becomes universal and timeless. The birth of this production is a story of closure for the son of a holocaust survivor - choreographer Tamir Ginz, and the son of a death train driver's son - choir chairman Arno Geralch, who found his closure by asking Ginz to choreograph the piece. Geralch's father told his son about the time he spent being forced to drive the Death Trains by the third Reich.He made his son swear that when the war was over he would devote his life to build a connection between the Jewish people and the German people and atone for the horrors of the holocaust. The production was born after Bayer pharmaceutical company accepted the request for financial aid in creating a large production to Bach's masterpiece from the Wuppertal Kantorei Barmen-Gemark choir. The company's orchestra was attached to the choir, and together they sought to create a path for peace between Christians and Jews by emphasizing the messages of love and peace in Christianity and the casting out of hate toward Jews which was inflamed by the story of the myth. This was the message with which Kamea Dance Company was requested to collaborate with. Kamea is one of the leading dance companies in Israel, based in Beer Sheva - the twin city of Wuppertal. Matthaus Passion is considered one of Bach's greatest masterpieces, as well as one of the most significant pieces in the Christian world. It tells the story of the Crucifixion and the betrayal of Judas Iscariot as described by Christian mythology, stories which intensified hatred toward the Jewish people for centuries. Kamea Executive Director: Merave Zimand Music: J.S Bach Matthaus Passion Conductor: Werner Ehrhardt Costume design: Limor[...]