God of Vengeance

for a previous production "The entire cast is superb, with passionate portrayals of the characters...From the first to the final scene, the acting strengths of the cast quickly ease any hesitations that the audience may have about seeing a play performed in Yiddish. The story, timeless themes, and searing sense of drama transcend language. At the shocking conclusion of 'God of Vengeance,' the concept of language will become somewhat irrelevant anyway: The audience will truly be left speechless." Full Review

for a previous production "Thanks to excellent English super-titles and the body language and facial expressions of the cast, the thoughts and feelings of the shtetl Jews become real, personal and present...This production is exceptional because of Eleanor Reissa’s skill as both actor and director...Her work is elegant, unique, honest, radiant, and authentic; and her profound, understated direction shields the actors from the vengeance of melodrama by helping the cast present the characters’ complex layers." Full Review

for a previous production "'God of Vengeance' holds the stage formidably in its own right, primarily for its forthright depiction of the love between Yankl’s teenage daughter and one of the women who work in the brothel....Deftly directed by Eleanor Reissa, who is terrific in the role of Yankl’s wife...The production is somewhat cramped on the small stage at LaMaMa and the contemporary setting adds nothing much to the play. But the cast’s commitment brings the work’s flashes of lyricism to powerful life." Full Review

for a previous production "While the tone of 'God of Vengeance' is over the top by today’s standards, it is fascinating from a historical and cultural perspective. While the kiss scene may no longer be shocking, much of the play is still provocative. In spite of an uneven ensemble and limited production values, the New Yiddish Rep’s production makes for heated and compelling theater." Full Review

for a previous production "Although there is quite a bit of repetition in parts, the play still works as high drama, and the cast does a first-rate job in bringing the characters and situations to life with plenty of turbulence. The New Yiddish Rep has performed a service in giving audiences who have heard of this iconic play but have never had a chance to see it staged the opportunity to view and evaluate it, as well as to see what the fuss was all about." Full Review

for a previous production "While their traits may not be soul-saving, the characters are multidimensional…It’s fascinating for anyone with an interest in Jewish history and culture. It’s vividly staged and costumed, and well acted. The English supertitles are adequate for the most part, although even with my very limited Yiddish I could tell when the written translation wasn’t capturing all that was spoken...Nonetheless it was a rewarding experience, and with plenty of humor it was also an enjoyable one." Full Review

for a previous production "Reissa, who also directs, has made marvelous use of the small stage…If Reissa is convincing as the practical and mostly amoral Soreh, Baker shines as the conflicted Yankl…The production tries too hard to give Rivkele and Manke a relationship not supported by the text…'God of Vengeance' is not about brothels or lesbians...It is about sin, hypocrisy and ultimately man's relationship to God. Surely that is enough to make this play a masterful study of the human soul." Full Review

for a previous production "Though Asch's characters tend to be one-dimensional, his intrepid takes on religion, societal mores, and the evil that men do, still resonate…Asch's story has a sensational quality to it that, when combined with melodramatic scenes, sometimes approaches the comical...Reissa gives a wonderfully nuanced performance…Reissa directs the play with some restraint, but the built-in histrionics can't help bursting into the open now and then." Full Review

for a previous production "A lively, impressive revival, anchored by a strong cast and steady direction...Asch’s play is decidedly ahead of its time, particularly in the relationship between Rifkele and Manke...Some of the lines are clunky and we don’t learn much about their interior lives...Still, New Yiddish Rep’s talented and diverse cast carries the show through some of the rougher patches in Asch’s script, and serves, along the way, as a testament to the viability of Yiddish theater in the 21st century." Full Review

for a previous production "Reissa’s interpretation of the play subverts the usual focus on social and religious hypocrisy to concentrate on the psychology of the tormented brothel owner...The acting in the performance I saw was uneven, but the leads were all strong. Baker and Reissa are convincing as a couple. Mandelbaum makes Reb Eli more than just a sleazy opportunist...Sholem Asch was a controversial writer throughout his life...His characters though always had vitality and energy." Full Review

for a previous production “Surprisingly, Eleanor Reissa's production for New Yiddish Rep has made some debatable choices which damage the power of the play. First of all and most obviously, although not a word has been updated, the characters wear contemporary clothing and use modern objects like headphones, a plastic umbrella and platform shoes. Since there are references to opening a horse stable and the sexual mores of 1907 have changed considerably, this is both distracting and confusing.” Full Review

for a previous production "Modest, uneven production...On the plus side, this earnest staging powerfully articulates themes such as the hypocrisy of religion...The supertitles are well done and the action is easy to follow. In addition, the dialogue has been wisely streamlined...Unfortunately, this endeavor fails to tamp down the artifice and melodrama inherent in the original text. Nor is it able to fully convey the poetic realism as intended...The time period is nebulous, but the mix of styles is jarring." Full Review

for a previous production "Asch's dramaturgy is more than a little old-fashioned...and the play doesn't always get the help it needs from Reissa's direction. A particular disappointment is the Yekel of Shane Baker...Much better are Reissa...and Mandelbaum...Reissa has chosen to stage the production in modern dress, which is surely a mistake...Whatever this production's shortcomings, New Yiddish Rep has done us a favor by producing 'God of Vengeance,' and anyone who has seen 'Indecent' will want to check it out." Full Review

for a previous production "There is much that is fascinating around, and underneath, this play, a glimpse at a different time, place and set of values...This is another way of saying that 'God of Vengeance' is full of historical, cultural, political, even anthropological interest, but has less to recommend it theatrically...There are some lovely moments, such as when the two women kiss; and several performers who stand out...But the cast is uneven, and the show has a healthy quota of beating of brow and of breast." Full Review

for a previous production "Even today, Asch's play is relevant and its core ideas are striking. This stage rendition loses some of Asch’s poetic, literary touches…I would like the moments between Rifkele and Manke to linger longer...The opening scene also does not capture the time and mood…Too many colors and styles in the costumes distract from the transportive power of the original text…I still think this is a play worth seeing and reviving, especially for its statement on religious hypocrisy." Full Review

for a previous production "If, like 'Mrs. Warren's Profession', 'God of Vengeance' feels a little stilted and didactic, it more than justifies its presence through a cast of game actors ... [A]ny company that works to revive this rich history-even when the appeal of the some of the texts is more academic than emotional-deserves nothing but applause." Full Review

for a previous production "There are two immediately pressing reasons to see ‘God of Vengeance.’ The first is historical curiosity…The second reason to rush out is that this is the controversial work serving as the inspiration for ‘Indecent’…There are a few reasons not to attend...'God of Vengeance' may have passed as dramaturgically strong over a century ago, but it registers as more than a little awkward now…Although a few of the actors are up to the requirements, a heap of the thesping leaves a lot to be desired." Full Review