|Alex Weisman as Asher Lev|
Sunday, September 14, 2014
THE HEART THAT YEARNS: REVIEW OF MY NAME IS ASHER LEV AT STAGE 773
REVIEW: MY NAME IS ASHER LEV
By Aaron Posner
Adapted from the novel by Chaim Potok
Directed by Kimberly Senior
Produced by TimeLine Theatre in Chicago
At Stage 773 through October 18, 2014
When I was 12 years old I read a book that changed my life. It was The Chosen by Chaim Potok. I marveled at how Potok was able to capture the beauty of Judaism and at the same time depict a secular world with exciting baseball games, the joys of literature and the ideas of Western thought. Then The Promise and My Name Is Asher Lev came out and I was hooked.
Potok’s book My Name Is Asher Lev struck home for me personally, since Asher was an artist and I was in theatre and a singer. For me the creative impulses of being an artist and a Jew came from the same spiritual place. I found a Judaism which lived and breathed through storytelling, humor, song, dance, performance and textualities coming from Judaism’s ‘thousands of years’ dialectic with Torah and Talmud. Also the Judaism I followed had experiences in chavurot or small fervent communities with ecstatic prayer, meditative practices, and creative experiences. It is no wonder that Chaim Potok was one of the leading lights for the Chavurah Movement of young Jews, starting in the 60s and 70s.
The play of Asher Lev is set against the landscape of a world where it is dangerous to be a Jew, where the wonder of life cries out to be explored through creative expression, and about the intense passion from a Chasidic way of life that. Showing the pressures on Asher and his Chasidic family in a 1950s household in Brooklyn after the Holocaust and during the reign of Stalin in the Soviet Union, the play takes place when Jewish communities were rebuilding their lives. The parents, who are emissaries – shluchim – for the Rebbe the spiritual leader of their community, have to deal with an inquisitive and creative son who is passionate about “idolatrous” art, which is anathema to their world. While doing the Rebbe’s work, Asher’s mother suffers the loss of her brother and she goes into a deep depression.
Asher, in the play as our narrator, looks back in time and describes his predicament living with a depressed mother and his yearning to create art. As we the audience hear his tale, we long for him to leave his home and find himself. Eventually he goes on to study art (through a recommendation by the Rebbe) and he grows up to become the thing that his parents do not want, a famous artist.
But as Asher narrates, he speaks as though disembodied, without much connection to his parents, to Judaism or himself. It is telling that in the talkback discussion after the show, Alex Weisman the actor who played Asher, responded to a question by saying that he believed the play is more about the parents than it is about Asher Lev. This basic misconception of Potok’s intent was apparent from the performance and this production.
Purposely, Potok uses Chasidism because it is a branch of Judaism known for emphasizing the awe in the universe that can be found in every human action, from the trivial to the portentous. It is a Judaism that leads the person in prayer to the celestial heights. It is filled with music, dance, storytelling and intellectual discourse, and even, at times, through drink and wild merriment.
Sadly, director Kimberly Senior gives no emphasis to how Asher’s artistic passion is related to his Chasidic roots. A fine director (great work in Northlight’s The Whipping Man), I am sorry to say that this play gets away from her. Its deep themes of spiritual and Jewish content are not evident in her work with the actors or in the staging.
An example, Asher is supposed to have payos (side hair curls) that Chasidic boys and men grow out. They are continually referred to as a major part of his identity. Yet he doesn’t have them and looks quite “reformed Jewish” (Weisman words describing his own Jewish upbringing, in the talkback).
A missed historical detail is in the costume choice for the Rebbe. Astonishingly he comes out in a modern synagogue-style tallit (prayer shawl), rather than, either, a traditional Polish-style coat and shtreiml (fur hat) or a large fedora typically worn by the Lubavitcher Rebbe -- the sect Potok used as the inspiration for this fictionalized sect, as the Ladover.
A more important scene is when Asher, who is now taking classes in an artist’s studio, is going to paint a live nude model for the first time. This scene entirely loses its world shattering impact for Asher, because the female model partially disrobes for only a second and Asher barely registers it. Yet this moment should have been a telling one for him. Afterwards he tries to explain it to his parents, about why drawing nudes is so important for an artist. Clearly, in the script he is affected and brought to some sense of the mystery of the female body, as a transcendent and revelatory moment. But on stage it seemed rushed and embarrassed.
A bizarre production choice is the fact that Asher, who is constantly drawing, shows his pictures to his parents, yet nothing is on the page. He then posts them on a large wall and before us are a lot of blank pieces of paper looking like a lot of ‘post-its’. It is emblematic of this production, that where we look for the art from the page, we can’t find it conceptually on the stage.
Most importantly, a major theme of the play is the question of Jewish identity and the need for healing the world and the Jewish people after the trauma and losses of the Holocaust. Yet in this production the Jewish specificity is a mundane story of generational conflict, creating a blandness throughout.
Asher’s parents go to his gallery opening and see his painting “Brooklyn Crucifixion,” a painting of his mother on a cross at his gallery show. Potok’s point, and what makes his work so interesting, is that Asher appropriates and transforms this symbol into a Jewish one for a post-Holocaust era, bringing Chagall’s “White Crucifixion” to mind. Going back to his Chasidic roots to bring the Moshiach “now,” the Messiah who will redeem the Jewish people and the world, Asher paints what is deep in his soul and even within the soul of his people. Ironically, it is this painting that shakes his parents to their very core as Jews, yearning for their son to embody the values they believe in. Though we see shock in his parent’s faces when they see the piece, the lack of a performative Jewish concept in the production and the way the scene is played, leaves the moment colorless.