{"id":8,"date":"2014-11-03T21:49:00","date_gmt":"2014-11-03T21:49:00","guid":{"rendered":"http:\/\/wyvern.ctl.columbia.edu\/?p=8"},"modified":"2021-08-02T10:37:35","modified_gmt":"2021-08-02T10:37:35","slug":"leibowitz","status":"publish","type":"post","link":"https:\/\/jewishstudiescolumbia.com\/myny\/theater\/leibowitz\/","title":{"rendered":"Leibowitz’s Production of The Dybbuk (2011)"},"content":{"rendered":"\n

By Rachel Taratuta-Titus<\/em><\/p>\n\n\n

In 2011, Lenny Leibowitz directed an Off-Broadway production of Joseph C. Landis\u2019 translation of\u00a0The Dybbuk<\/em> at the Marvell Repertory Theater Company’s\u00a0Abingdon Theater<\/a>. Leibowitz, a graduate of Columbia University, served as founding artistic director alongside managing director Amy Estes of the Marvell Repertory Theatre.<\/span>1<\/sup><\/a><\/span> Their mission in founding this theater\u00a0company\u00a0in 2010 was to give \u201cNYC area theatre actors and audiences the kind of full-immersion theatre experience that a rotating rep can provide\u2026 the development of new plays and musicals and the advancement of the art form.\u201d<\/span>2<\/sup><\/a><\/span> The Marvel Repertory Theatre is distinguished as being New York\u2019s \u201conly professional theater company producing new and classic plays in rotating repertory.\u201d<\/span>3<\/sup><\/a><\/span> In addition to the The Dybbuk<\/em>, Leibowitz has directed such plays as Professor Bernhardi<\/em> (by Arthur Schnitzler), Spring\u2019s Awakening<\/em> (Wedekind) and Blood Wedding <\/em>(Lorca).<\/span>4<\/sup><\/a><\/span><\/p>\n

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Figure 1. Headshot of director Lenny Leibowitz.<\/figcaption><\/figure>\n

In his review for Backstage<\/em>,<\/span>5<\/sup><\/a><\/span> Ron Cohen praises Leibowitz\u2019s adaptation of The Dybbuk<\/em>, saying \u201cthe ambition is impressive and the results are equally so in Marvell Rep\u2019s mounting of The Dybbuk<\/em>, a seminal work of classic Yiddish theater.\u201d Even critics, such as Oscar E Moore, who do\u00a0not appreciate the original written play and view\u00a0it as little more than shund<\/em> theatre, say,\u00a0\u201cnever has so much been done with so little\u201d and regard\u00a0this adaptation as \u201can amazing accomplishment.\u201d<\/span>6<\/sup><\/a><\/span> Ron Cohen comments on the \u201cartful use of basic stagecraft,\u201d the ability of the actors to set the mood without the need for over-the-top special effects such as \u201cspooky videos to announce a ghost.”<\/span>7<\/sup><\/a><\/span>\u00a0The production additionally connected with the audience through the use of live musicians, Tareq Abuissa on cello and Alex Spangher on bass, who performed to an original score by Adam Knauss.<\/span>8<\/sup><\/a><\/span> Tijana Bjelajac created the set, a simple backdrop with chairs, tables, and a Torah ark.<\/p>\n

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Figure 2. A Simple backdrop and contrast between the black and white costumes and the red Torah cover.<\/figcaption><\/figure>\n

An image from the production (shown below) indicates that Bjelajac incorporated candlelight into the set design (much like the set designer of the 1937 film adaptation), to emphasize the distinction between light and dark, where light could represent the eternal bond between Khonnen and Leah and dark could represent prevalent social limitations. The costume choices similarly reveal this light-dark symbolism, since costume designer Susan Nester dressed the actors primarily in black, white, and grey costumes.<\/p>\n

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Figure 3. A scene of Possession of Leah and candlelight in the background, set design by Tijana Bjelajac.<\/figcaption><\/figure>\n
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Figure 4. Costume design choices (black, white, and grey) by Susan Nester in a scene between Khonnen and Leah.<\/figcaption><\/figure>\n

This production had a twenty-two person ensemble, with Rachel Claire cast as Leye, Perri Yaniv as Khonnen, Marc Geller as Reb Sender, and William Metzo as Reb Azrielke. Interestingly, a female actress, Loni Ackerman, plays the role of the messenger in this production. In the original written play, as well as in the 1937 film adaptation, a male actor performs the role of the messenger. Oscar E. Moore praises Leibowitz for his conscious decision to a cast a woman in this role, arguing that \u201cempowering a woman in this world where men dominate is a daring choice that pays off\u201d while also praising Ackerman for her powerful stage presence, \u201cas if in a trance, as if channeling the messages that she is delivering Ms. Ackerman is stoic and in control as she delivers the words- almost omens of things to come- appearing as an other worldly figure that never intrudes but whose presence is always felt.”<\/span>9<\/sup><\/a><\/span> In a less enthusiastic but largely positive review of the female messenger, Ron Cohen argues, \u201cLoni Ackerman acquits herself well as a mysterious messenger\u201d in \u201cthe most problematic role.”<\/span>10<\/sup><\/a><\/span> Ackerman<\/span>11<\/sup><\/a><\/span> herself spoke about the role (and her costumes)\u00a0in a joking way: \u201cI was probably the only Messenger ever dressed by Anthropologie and Neiman\u2019s.”<\/span>12<\/sup><\/a><\/span>\u00a0By incorporating a consistently strong, clairvoyant female messenger in his adaptation of\u00a0The Dybbuk<\/em>, Leibowitz provides an alternative female perspective to supplement the role of Leah, a victim of male oppression (her father forces her into an undesirable marriage) who eventually exerts free will in her final decision to join Khonnen\u00a0in death.<\/p>\n

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Figure 5. Perri Yaniv as Khonnen and Loni Ackerman as the messenger in\u00a0“The Dybbuk,” 2011.<\/figcaption><\/figure>\n

While Leibowitz was directing The Dybbuk<\/em> in 2011, the Marvell Repertory Theater was simultaneously presenting three other plays, Frederico Garcia Lorca\u2019s Blood Wedding<\/em>, Ingmar Bergman\u2019s Nora<\/em>, and John Millington Synge\u2019s In the Shadow of the Glen<\/em>, all four of which feature strong female leads.<\/span>13<\/sup><\/a><\/span>\u00a0Lora\u2019s Blood Wedding<\/em>, which debuted alongside\u00a0The Dybbuk<\/em>, bears remarkable resemblance to The Dybbuk <\/em>in terms of its focus on the female experience in a (potentially) repressive society:<\/p>\n

Her blood is hot for a man she used to know but life has thwarted their affair. He has a wife and child. She is torn between her duty and her desire and it is driving her mad. What makes the story so compelling is the fact that there are no real villains here. There are human beings caught up in a whirlwind of passions they can neither control nor understand.<\/span>14<\/sup><\/a><\/span><\/p>\n

This review<\/span>15<\/sup><\/a><\/span> of Blood Wedding <\/em>describes the plight\u00a0of a young bride that mirrors the story of Leah in the The Dybbuk <\/em>in several ways. Much like the protagonist of Blood Wedding<\/em>,\u00a0Leah is stuck between \u201cduty and desire” in her respect for her father and her love for Khonnen.\u00a0Additionally, there are no “real villains”\u00a0in The Dybbuk<\/em> (it can be argued that Sender only wants what\u2019s best for his daughter and the dybbuk himself is in love with Leah). Lastly, Leah\u2019s demon possession could be viewed as a form of \u201cmadness” akin to that of the young bride in\u00a0Blood Wedding<\/em>.\u00a0The fact that Leibowitz chose to direct both plays simultaneously indicates his interest in showing how females find love\u00a0in the face of social limitations. Through Leibowitz\u2019s directorial choices, it also becomes apparent that the themes presented in The Dybbuk<\/em>, such as the tension between passion and duty and the all-consuming, \u201cpossessive\u201d nature of love, transcend Yiddish Theatre and apply to many cultural traditions.<\/p>\n

Image Sources<\/strong><\/p>\n

Figure 1. https:\/\/www.facebook.com\/lennyleibowitzactingcoach\/<\/a>. Accessed July 16, 2021.
Figure 2. http:\/\/lennyleibowitz.com\/wp-content<\/a>. Accessed November 3, 2014.
Figure 3. http:\/\/lennyleibowitz.com<\/a>. Accessed November 3, 2014.
Figure 4. http:\/\/marvelrep.org\/<\/a>. Accessed November 3, 2014.
Figure 5. http:\/\/www.perribazyaniv.com\/uploads\/5\/9\/8\/9\/5989685 \/7513891.jpg<\/a>. Accessed November 3, 2014.<\/p>\n

Works Cited<\/strong><\/p>\n

“A Blood Wedding: The Dybbuk”.<\/a> TalkEntertainment.com. <\/em>Accessed November 3, 2014.<\/p>\n

Cohen, Ron. \u201cThe Dybbuk.\u201d<\/a> Backstage.com.<\/i>\u00a0March 17, 2011. Accessed July 30, 2021.<\/p>\n

“Lenny Leibowitz.<\/a>”\u00a0lennyleibowitz.com. Accessed November 3, 2014.<\/p>\n

“Lori Ackerman: Theater to Her Toes.”<\/a>\u00a0Woman Around Town<\/em>. Accessed November 3, 2014.<\/p>\n

\u201cMarvel Rep to Present 22 Actors Over 6 Weeks in 4 Plays\/3 Productions.\u201d<\/a> The AndyGram.<\/i>\u00a0January 26, 2011. Accessed July 30, 2021.<\/p>\n

Nassour, Ellis. \u201cVeteran Actresses Loni Ackerman and Lorraine Serabian in Rep and with a Vengeance.\u201d<\/a> TotalTheater.com.<\/i>\u00a0March 2011. Accessed July 30, 2021.<\/p>\n

Siegel, Barbara, and Scott Siegel. \u201cBlood Wedding.\u201d<\/a> TheaterMania.<\/i>\u00a0March 11, 2011. Accessed July 30, 2021<\/p>\n

Footnotes<\/strong><\/p>","protected":false},"excerpt":{"rendered":"

By Rachel Taratuta-Titus In 2011, Lenny Leibowitz directed an Off-Broadway production of Joseph C. Landis\u2019 translation of\u00a0The Dybbuk at the Marvell Repertory Theater Company’s\u00a0Abingdon Theater. Leibowitz, a graduate of Columbia University, served as founding artistic director alongside managing director Amy Estes of the Marvell Repertory Theatre. Their mission in founding this theater\u00a0company\u00a0in 2010 was to […]<\/p>\n","protected":false},"author":128,"featured_media":2863,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[231,160],"tags":[176,19],"class_list":["post-8","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-dybbuk","category-theater","tag-dybbuk","tag-theater"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9teox-8","jetpack_featured_media_url":"https:\/\/jewishstudiescolumbia.com\/myny\/wp-content\/uploads\/lenny.portfolio.dybbuk3-880x496-1.png","_links":{"self":[{"href":"https:\/\/jewishstudiescolumbia.com\/myny\/wp-json\/wp\/v2\/posts\/8","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jewishstudiescolumbia.com\/myny\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jewishstudiescolumbia.com\/myny\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jewishstudiescolumbia.com\/myny\/wp-json\/wp\/v2\/users\/128"}],"replies":[{"embeddable":true,"href":"https:\/\/jewishstudiescolumbia.com\/myny\/wp-json\/wp\/v2\/comments?post=8"}],"version-history":[{"count":16,"href":"https:\/\/jewishstudiescolumbia.com\/myny\/wp-json\/wp\/v2\/posts\/8\/revisions"}],"predecessor-version":[{"id":3553,"href":"https:\/\/jewishstudiescolumbia.com\/myny\/wp-json\/wp\/v2\/posts\/8\/revisions\/3553"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/jewishstudiescolumbia.com\/myny\/wp-json\/wp\/v2\/media\/2863"}],"wp:attachment":[{"href":"https:\/\/jewishstudiescolumbia.com\/myny\/wp-json\/wp\/v2\/media?parent=8"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jewishstudiescolumbia.com\/myny\/wp-json\/wp\/v2\/categories?post=8"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jewishstudiescolumbia.com\/myny\/wp-json\/wp\/v2\/tags?post=8"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}