‘The Labor of Living’ 370.
(photo credit: Courtesy Beit Lessin)
Hanoch Levin’s 1980 comedy The Labor of Living might have been called “The
Burden of Living” because that’s what his life seems to Yona Popoch (Sasson
Gabai), waking suddenly in the middle of the night. And not just his life; it’s
his entire existence he bewails – that he’s done nothing with it, that life has
passed him by, that he hasn’t managed to grab even a thread of its
Is it Yona’s fault? Of course not.
He blames Leviva
(Liora Rivlin), his wife of 30-odd years, peacefully sleeping beside him in
their double bed. Unceremoniously he tips Leviva onto the floor, announcing to
his sleep and shock befuddled helpmeet that he’s going to leave her.
Levin (1943-99), a poet and most meticulous master of language, called his play
The Labor of Living because it demonstrates, via laughter, the very serious
effort it takes just to slog on day by day. We can all identify with that, even
if some of us manage better than poor Yona.
Yona and Leviva go at each
other hammer and tongs. Their existential furor is exacerbated when their even
lonelier and more despairing neighbor Gunkel (Yitzhak Hiskiya) insinuates
himself into the fray.
When Hiskiya, a veteran Levin actor, makes his
entrance, the comedy leaps suddenly to life. He wonderfully milks Gunkel’s
futile aggressions, his lanky curving tallness expressing the servile hostility
that pervades his cameo. He also brings into sharp relief the compassion Levin
has for his characters. The applause Hiskiya gets at his exit is well
Gabai and Rivlin are superb actors, but here they seem a little
adrift. Their Yona and Leviva are earnest, involved, suitably anguished,
certainly funny, but that’s not enough. What they lack is the sense of
self-irony and the certain distance so essential to a Levin actor. Without
these, their comedy hasn’t enough bite.
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For all that, it’s an enjoyable
evening of theater. And for those unfamiliar with Israel’s most Israeli
playwright, The Labor of Living
is a good way to make his acquaintance.
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