(photo credit: Courtesy)
Maor Zagorri’s 25 is a coming-of-age story told through three youngsters’
memories of the deaths that occurred in the moshav where they are growing
In words, games, song and movement, with wit and passion, on a bare
black oblong with three boxes as furniture and props, Noga Shachar, Lior Hasson
and Daniel Sabag recreate memories of those past deaths as they struggle with
their own lives, thoughts and feelings in the real world.
it, Zagorri eviscerates to public scrutiny our obsession with death. The three
young actors richly deserved the standing ovation they got. When the awards were
handed out at the festival, Zagorri received a prize for the play and for his
direction of it.
“Two never dream again, and one to dream of the two,”
sings, in English, the middle sister, the only survivor.
honestly, quietly, The House on the Lakeshore
by Yael Rassouli tells the story
of three Jewish sisters whose mother attempts to save their lives by hiding them
in an attic. They study ballet, dream of Mama and of Prince Charming, practice
their languages and their music – until the music stops. Rinat Sternberg, Edna
Balilius and Rassouli herself use dolls, their bodies and objects to create a
powerful and moving parable.
The judges gave them an honorable mention
for their use of light, costumes and props.
Tahel Ran wrote, directed and
acts in Mme Borochov, together with Anat Zonnenfeld, who plays the title
Both actresses received a welldeserved honorable mention for their
Mme B. is a Holocaust survivor, locked in the
prison of her memories, which she recites (presumably again and again) in an
expressionless monotone. Ran, equally immured in memory – the memory of an
abused childhood and mental breakdown – whispers, shrieks, weeps, confronts the
audience and tries to escape. What has one to do with the other?
And yet they are joined because present and past intersect on
the stage as they do here every day.
This year, five plays were slotted
into what the organizers called Acre Two – plays that they felt deserved
production but were not in competition.
The Israeli-German collaboration
(A Minute’s Silence), directed by Hila Golan, won Best Play in
this category. An actual minute’s silence interrupts the flow four times in this
fairly unflinching look at the uneasy relationship between Germany and Israel
even after all these years. Each of the four actors passionately “does his
thing,” but that thing doesn’t really communicate. A bit too much navel-gazing