Yentl, playing at the Sydney Opera House, is an emotional and thought-provoking journey into the complex world of gender, identity, and tradition. Based on Isaac Bashevis Singer’s short story, the play follows Yentl, a young woman in a Jewish village who defies societal norms by disguising herself as a man to pursue her thirst for Talmudic study—a privilege reserved for men in her community. The narrative deftly navigates themes of self-discovery, religious devotion, and the sacrifices one makes for freedom and knowledge.
Under Gary Abrahams’ masterful direction, Yentl captures the audience with a balance of tenderness and intensity. Abrahams brings out the emotional depth of each character, drawing the audience into Yentl’s internal struggle and the societal forces around her. The bilingual nature of the play—delivered in both English and Yiddish—further enriches this journey. The duality of languages creates a deeper connection to the cultural and historical context, adding layers of authenticity to the characters’ lives and struggles. Abrahams has ensured that the transitions between languages are seamless and natural, enhancing rather than distracting from the story.
The lighting design by Rachel Burke is perfect for the show. Burke expertly uses light to delineate different emotional landscapes, transforming the mood from hopeful to oppressive within seconds. Whether illuminating Yentl’s moments of triumph or casting shadows over her most vulnerable revelations, the lighting plays a crucial role in underscoring the emotional heartbeat of the production. Particularly stunning is how the lighting underscores the fluidity of Yentl’s identity, bathing her in warm and stark light as she traverses her path between two worlds.
Dann Barber’s set and costume design provide a breathtakingly minimal yet effective backdrop for the story. The sparse set allows the audience to focus on the characters and their relationships, with subtle shifts suggesting different locations. The costumes, true to the time period, further ground the play in its historical and cultural reality, with each outfit designed to reflect the characters’ inner lives. Barber’s use of traditional garments versus more gender-neutral costumes for Yentl is a quiet but powerful nod to the theme of identity, helping to visually convey the character’s internal and external transformations.
The cast of four is phenomenal. Genevieve Kingsford as Hodes and Nicholas Jaquinot as Avigdor are both brilliant, embodying their characters with a raw and genuine intensity. Their performances are laced with vulnerability and strength, creating a palpable emotional tension that resonates deeply. However, the duo of Evelyn Krape as The Figure and Amy Hack as Yentl truly steal the show. Krape’s enigmatic portrayal of The Figure adds an otherworldly dimension to the narrative, while Hack brings Yentl’s inner conflict to life with heart-wrenching authenticity. Together, they create a powerful and captivating dynamic, drawing the audience further into Yentl’s journey.
With tasteful nudity, this is certainly a production for adults, yet it never feels gratuitous—rather, it enhances the vulnerability and humanity of the characters. Yentl is a compelling and visually stunning show that explores gender and faith with grace and grit. The bilingual delivery, the powerful performances, and the remarkable design all combine to make this a truly unforgettable experience.
– The other Daniel Craig
Daniel Craig is an international performer and has established himself as a trusted theatre specialist on the Sydney Arts Scene. While he understands the technical side of theatre, Dan writes for the everyday theatregoer (unlike some of those more prominent publications). When not in the audience, he loves to travel the world trying new gin. Follow him on all the socials @talldancraig
Yentl runs for 2hrs 10 minutes (with 20 min interval) and plays at the Play House, Sydney Opera House through 10 November 2024. Tickets are available through the Sydney Opera House.
Disclosure: The Plus Ones were guests of Sydney Opera House.
Image credit: Jeff Busby
