Isaac Bashevis Singer’s classic short story, “Yentl The
Yeshiva Boy,” is subject to many interpretations. On a politically correct feminist level, it
is the story of Yentl, a strong-willed young Jewish girl whose love of learning
is so great that she rebels against the strictures of her male-dominated
society, posing as a boy in order to enter a yeshiva and study Talmud (something
that only Jewish men and not Jewish women were permitted to do in Poland in the
1800s). A deeper alternative interpretation, however, focuses on Yentl’s
transgender issues: as she saw herself, she was “neither one sex nor the other”
and she had “the soul of a man in the body of a woman.”
Singer and Leah Napolin adapted Singer’s story for the stage
and in 1975 Yentl premiered on
Broadway starring Tovah Feldshuh. Less
than a decade later, the play was adapted for the screen and starred Barbra
Streisand. The play remained true to the
original short story but the motion picture did not: in the play, Yentl, even
after being found out, opts to live out her life as Anshel, her male alter ego,
despite her obvious strong emotional attachment to Avigdor, her male yeshiva
study partner; in the movie, on the other hand, she expresses her true feelings
for Avigdor and re-assumes her female personae.
The Beautiful Soup Theater Collective is currently staging a
revival of Yentl at the Gene Frankel
Theatre on Bond Street in lower Manhattan and, to its credit, it is the play,
not the movie, that is being revived.
And to its further credit, Beautiful Soup has managed to blend both the
politically correct and the psycho-sexual interpretations into one seamless
whole.
The principal actors in this revival are Mallory Berlin as
Yentl/Anshel; Peter Oliver as Avigdor; and Kim Sweet as Hadass, Avigdor’s first
love. All three are excellent in their
respective roles but Ms Berlin is truly outstanding , exhibiting both her
sexual ambivalences and her religio-socio-political rebellion.
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