Exit the King theater 370.
(photo credit: Gadi Dagon)
We are born. We live. We die.
And that’s that! What matters to us as
human beings, or what should matter, is what we do with the bit between birth
and death. Theater of the Absurd, a genre that exploded after the chaos and
destruction of World War II, said that because there are no certainties, because
we don’t really live our lives, those lives are absurd. Human existence is
absurd, and what Theater of the Absurd tried to do was confront those
Human life is a jumble declares the start of Yerushalmi’s
Exit the King
which has all the set's components stacked higgledy-piggledy
center stage. The cast then moves them to their appointed places. Also present
is the bisected horse from Itim’s Romeo and Juliet. Life may be ridiculous, but
it continues.Exit the King
deals with the impending death of King
Berenger I (Doron Tavori) and his efforts to avoid the inevitable end, the same
Berenger we first met in Rhinoceros, now elevated to monarch. Here he wears
high-waisted white pants and a long beige coat with a train that makes an
effective shroud. For all of his 400 year reign Berenger has sown death and
destruction so that now his once mighty kingdom is a potholed kernel with 45
Elegantly clad in black satin – Yehudit Aharon’s costumes
are original and apt – Queen Dowager Marguerite (Razia Israeli) is
unsentimentally the voice of grim reality. Fragile in layers of grey/brown
chiffon, young and beautiful Queen Marie (Natalie Berman) projects hope and
love. The Royal Physician (Noam Ben-Azar) smoothly dispenses placebos and
platitudes while the Maid (the excellent Yarden Gilboa) runs errands and the
Soldier (Avi Golomb), looking like a green-clad hotel page, provides commentary
through a loud-hailer.
Unhappily the production plods where it should
skitter between idea and idea on life’s various idiocies. Even the luminous,
mischievous Doron Tavori cannot lift it.