Yentl might be most famous for Barbra Streisand’s iconic portrayal in the 1983 movie, but this new production at Marylebone Theatre is no musical. Directed by Gary Abrahams, who shares a writing credit with Elise Esther Hearst and Galit Klas, this is a completely new adaptation of the source material, Isaac Bashevis Singer’s 1962 short story. Affecting and intelligent, this Yentl delves deeply into ideas of sexuality, gender and faith, exploring how they overlap and coexist to shape identity.
Yentl is set in 19th‑century Poland, in a strict Jewish Orthodox community where Torah study is forbidden for women. Harbouring a burning desire to study and learn, the young girl Yentl must don the clothes of a boy and reinvents themself as ‘Anshel’. Seeking a fresh start in a new city, Anshel quickly befriends fellow student Avigdor, the two bonding over their keen interest in lively religious debate. As Yentl/Anshel’s feelings towards Avigdor deepen, so too does their inner turmoil over their true identity. Matters only become more complicated when Avigdor’s ex‑fiancée Hodes starts to show an interest in Anshel, and a strange love triangle begins to form.
In Abrahams’ version of the story, Yentl’s transformation into Anshel isn’t merely a façade to evade Orthodox gender norms. It marks the start of a fundamental identity shift, and the play brilliantly charts Yentl/Anshel’s arc as they come to understand who they truly are. It’s intelligently and sensitively portrayed. Yentl/Anshel’s relationships with Avigdor and Hodes are complex and nuanced, not neatly defined but no less meaningful because of it. Each character feels fully rounded, including in the depiction of their faith. Yentl/Anshel sees their gender identity not in opposition to their faith, but as an extension of it, explaining to Avigdor that God made them as they are.
Amy Hack turns in a wonderful performance in the lead role, but it’s Evelyn Krape who stands out as The Figure. A mysterious, giggling, demon‑like character who seems both inside the story and outside it, The Figure speaks directly to the audience while also appearing to be an inner voice of Yentl/Anshel. Krape is brilliant, all crooked limbs and cackling voice, and her all‑knowing narration lends Yentl the aura of a fable or parable.
This atmosphere is also created through a beautiful set (the credits recognise both Dann Barber for the Australian production and Isabella Van Braeckell in the UK). A towering, angular wooden wall and leaf‑littered floor suggest we’re in a barn or cottage, the sort of rural setting often found in allegorical tales.
This production of Yentl is an international affair, brought to London by the Melbourne‑based Kadimah Yiddish Theatre. The play is bilingual, with Yiddish sections subtitled via projection – another inspired touch. It’s right that this play should be seen far and wide, because it’s beautiful and clever enough to deserve a large audience.
Listings and ticket information can be found here
