(photo credit: Nathan Brusovany)
Since artistic and general directors Moshe Naor and
Dror Garber joined forces two years ago, the Haifa Municipal Theater’s future
has become distinctly more cheerful. This year there were some 10,000
subscribers versus a measly 3,500 for the 2007-8 season. Similarly, the NIS 23
million cumulative deficit has shrunk to NIS 15 million and the budget is
balanced, with even “a wee operating surplus,” says Garber proudly.
12 million of the theater’s NIS 18.5-million budget comes from public funding,
the rest is earned income.
A graphically handsome brochure describes the
2010-11 season, as well as presenting the last production of this one.
Stoppard’s 1977 Every Good Boy
(“Mi Doeg Layeled” in Hebrew), a
play for actors and orchestra. The title is a mnemonic for EGBDF, the
the five-line musical stave. The play, which opens July 15, is a
black comedy that concerns two prisoners in a Soviet psychiatric
of whom are named Ivanov. One is a dissident, the other a genuine
who believes he controls a symphony orchestra.
Andre Previn wrote the
music. Dori Parnes did the translation.
The director is Moshe Naor and
the Ra’anana Symphonette is conducted by David Zebba.
The five new
Israeli plays in the season lineup include Motti (Kastner, Pollard
new, and probably very political, drama about the disintegration of a
during the Second Lebanon War called At
the End of the Night
unproduced two-hander by Hanoch Levin starring Leah Kenig and Avi
(10/10). In it Kushnir is Morris, Levin’s staple loser, who’s such a
that even his aspirations are hopeless; and A Certain Man and Woman
compilation edited and directed by the always original Ofira Henig that
the evolution of the folk tale.
Arthur Miller’s All My Sons
Priestly’s An Inspector Calls
Moliere’s hilarious Le Bourgeois
with Yaakov Cohen as the wannabe gentleman, Brecht’s The Caucasion Chalk Circle
directed by the prize-winning Udi Ben Moshe, and David Hare’s elegiac Skylight
are among the rest of the season’s productions. See, it’s not all
in Tel Aviv.