In 2029 in America, women aren’t allowed to go to college. Grace is said before lunch in public schools. Anyone ‘different’ is removed from this post-January 6 insurrection society. Welcome to the frightening world of The Last Yiddish Speaker by playwright Deborah Zoe Laufer, presented by the Jewish Repertory Theatre.
This is moving and powerful theatre. From Laufer’s expertly penned script, to Kyle LoConti’s exquisite direction, to the quartet of actors who give multi-leveled meaning to Laufer’s words, this is probably JRT’s most important production. It’s riveting…because in some ways, it’s all too close to reality.
In brief, “Mary” and her dad Paul are living in upstate New York. She’s a high school student. He works at Wal-Mart. “Mary’s” boyfriend John is smitten with her: she’s different from the other girls at school who often shun her out-spoken opinions and musings about her former life in New York City and her dreams of furthering her education at NYU. John has another reason for being in “Mary’s” life: he’s one of the investigators who visits her home regularly to check the house laptop’s search history and to make sure there are no surprises hiding in dark corners. So when a mysterious woman identified as Great-Aunt Chava knocks on the door one evening, Paul and “Mary” are at odds: do they ignore her or hide her? They agree to the latter, and Aunt Chava is now a Yiddish-speaking fugitive in this small home. She has a unique purpose: she’s re-igniting “Mary’s” passion for her life and re-kindling the depth of her Jewish soul.
This is an amazing JRT debut for Sam Prezioso as “Mary.” LoConti’s expert direction brings out this character’s fierce determination and vulnerability in missing a mom who was both nurturing and a dogged advocate for the America which disappeared. Prezioso plays this without the cliched teenage angst and rebellion. John the beau who could rat out this family in a heartbeat is well-played by Devin Klumpp in another JRT debut role. He’s conflicted, too, but hasn’t quite figured out why. These actors could do no better sharing the stage with veteran actors Christian Brandjes as Paul the Dad and Arin Lee Dandes as Aunt Chava. Chava’s first scene, as she peels off layers of clothing under her circa 1950 wool coat is adorably matter-of-fact and subtly hilarious. Each piece has a different purpose from another era. Chava, you see, admits to being more than a thousand years old with many spouses (“I married Goyim, but mostly Jews,” she explains) and to bearing dozens of children. If Paul and “Mary” are shocked, Chava takes this all in stride, as she teaches “Mary” Yiddish language and dance, and learns some English, too. Dandes is charming and witty and heartbreakingly wise and lavish in showing her love as she helps “Mary” grow and deepen in her desire for freedom from this regime.
The verbal exchanges throughout this 100-minute performance are incredibly heartfelt. Paul wants the best for his daughter, “Mary” wants a full life. Chava needs her messages to be heard. John believes the life he has lived is the ideal, but is it really? All of this is in dialogue, joined with some elegant stage craft. It will bore into your mind for hours after you leave. It’s that good.
JRT’s staging, as always, is spare and evocative in its simplicity. Dandes’ simple act of pulling back the (imaginary) curtain is vivid and so real you almost see the sunshine. Brandjes’ conflict in the closing scene as he prepares for what’s coming next, as he recites a Yiddish prayer, is palpable, even for this recovering Catholic who had no idea what he was saying. I felt his pain and his fear and his resolve.
This is remarkable theatre, presented by an outstanding troupe. Now more than ever, these stories are more than cautionary tales: they are real reminders of what our world could be. Make your reservations now at https://www.jccbuffalo.org/jewish-repertory-theatre/ (the show runs to November 22), and then, please vote, so girls like “Mary” can be the strong, stalwart Sarahs they are meant to be.
