Lolita/Jeanne d’Arc Gesher Theater

In Jeanne d’Arc, faith and innocence meet realpolitik.

December 15, 2018 22:05
3 minute read.
ISRAEL SASHA DEMIDOV plays Humbert Humbert in ‘Lolita.’

ISRAEL SASHA DEMIDOV plays Humbert Humbert in ‘Lolita.’ . (photo credit: YISHAYAHU FEINBERG)


Dear Reader,
As you can imagine, more people are reading The Jerusalem Post than ever before. Nevertheless, traditional business models are no longer sustainable and high-quality publications, like ours, are being forced to look for new ways to keep going. Unlike many other news organizations, we have not put up a paywall. We want to keep our journalism open and accessible and be able to keep providing you with news and analysis from the frontlines of Israel, the Middle East and the Jewish World.

As one of our loyal readers, we ask you to be our partner.

For $5 a month you will receive access to the following:

  • A user experience almost completely free of ads
  • Access to our Premium Section
  • Content from the award-winning Jerusalem Report and our monthly magazine to learn Hebrew - Ivrit
  • A brand new ePaper featuring the daily newspaper as it appears in print in Israel

Help us grow and continue telling Israel’s story to the world.

Thank you,

Ronit Hasin-Hochman, CEO, Jerusalem Post Group
Yaakov Katz, Editor-in-Chief


First of all, congratulations are in order to Gesher, Yekezkel Lazarov, Israel Sasha Demidov and Doron Tavori. To Gesher, which since its first performances in the early ‘90s, has never been afraid to stick its neck out; to Lazarov for, on the face of it, a most unlikely combination of heroines; and to actors Demidov and Tavori for bravura performances.

Lolita follows the iconic book by Vladimir Nabokov about Humbert Humbert, an aging and mentally unstable pedophile (Demidov), and his obsession for the 12-year-old daughter of his landlady, who he nicknames Lolita (the voice of Alona Tzimberg). Like the book, the play follows the uneven, exploitive, and ultimately fatal sexual and emotional relationship between the two, and between Humbert and the other men (Tavori) in Lolita’s life, from a dogged detective to a famous playwright who Humbert murders in a jealous rage, thereby leading to his own downfall.

Jeanne d’Arc deals with the 1431 heresy trial of Joan of Arc (Kiki, a robot with Tzimberg’s voice), who was canonized by the Roman Catholic Church in 1920. The Inquisitor (Tavori) tries every trick in the book to get Joan to incriminate herself, but she eludes him to the end.

To say that this pairing is unusual is to put it mildly. On one hand we have Lolita, a not-so-innocent, conniving, perhaps even amoral teenager. On the other we have Joan, an illiterate 15th-century peasant girl who was burned at the stake for heresy, and whose (blatantly political) conviction was overturned in 1456, her innocence legally and morally confirmed.

Does it work? Yes and no.

Yes, because of its daring, its staging, its two actors, and because the juxtaposition of its characters is not a gimmick but a means, shockingly, to communicate ideas that we, the audience, need to acknowledge.

No, because at its worst, specifically in Lolita, it got a little self-indulgent, which is to say, what was needed was more ruthlessness and less dazzle, which Jeanne provided.

And dazzle there is. A group of girls dressed in white practices ballet at the barre. Those same girls bear witness in Jeanne. A white Cadillac convertible _ here also the symbol of impermanence – dominates the stage in Lolita. Kiki (Jeanne) is white. White is the color of purity and of innocence.

In Jeanne d’Arc, faith and innocence meet realpolitik. Neither side has a chance. In Lolita, innocence never has a chance either, because there isn’t any. Both the girl and the man are damaged goods. One exploits the other. In the program, Lazarov talks about morality. The key to both plays is actually innocence, also known as virtue in its most literal sense, something that World War I took care of in the previous century. When last did we hear of someone being deemed virtuous? The word itself arouses only a snigger these days.

Lolita also put a strain on the actors in terms of text. There is so much of it that both Demidov and Tavori gabbled, and to such an extent, that a lot of the text was simply unintelligible, with the brunt borne by Demidov.

That said, Demidov’s Humbert is a chronically restless, pathetic, uncoordinated and self-justifying; by turns craven, by turns bravado-filled creature – all of which makes for a towering performance, a characterization that is utterly believable. The same may be said of Tavori, whose various characters emanate slyness and corruption.

As the Inquisitor in Jeanne d’Arc, he is wonderfully intense and focused, so much so that one almost forgets – as one is supposed to – that his antagonist is a robot. Let us not forget the voice of Tzimberg that powers both Lolita (who we never see) and Joan, both females, both abused by the male world, and both in their way indomitable.

So, Lolita is a little bit flawed and prolix. Jeanne d’Arc is terse and powerful. And both are worth seeing.

Related Content

Naomi Levov, Danna Stern and Niv Majar of 'On The Spectrum' with their awards Tuesday night.
June 19, 2019
Israel's 'On The Spectrum' takes top prizes at Monte Carlo TV Festival


Cookie Settings