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Yentl

 
Richard Beck Review by Richard Beck 4 Published: 17 Mar 2026 Marylebone Theatre Show Dates: 5 Mar 2026-11 Apr 2026

Yiddish writer Isaac Bashevis Singer, who gave us Yentl, said of the Streisand film that it had “nothing but a commercial value” and seriously questioned the “kitsch” ending. The current production by Melbourne’s Kadimah Yiddish Theatre, at Marylebone Theatre, is not that musical. Instead, we have a tragic play of enormous complexity that sees faith, longing, gender, desire and sacred learning intertwined in an emotional outpouring. 

A tragic play of enormous complexity, where faith, longing, gender and desire are painfully intertwined.

This international premiere reunites the acclaimed Australian creative team of co-writers Gary Abrahams (director) Galit Klas and Elise Hearst, with set and costume design by Dann Barber, lighting design by Rachel Burke, and original composition and sound design by Max Lyandvert. The Yiddish translation is by Professor Rivke Margolis. For this staging of the UK premiere, originals have been adapted. The stark simplicity of the set and traditional costumes by Isabella Van Braecke, ensuring that our attention is kept focused on the story, which is enhanced by the subtle tones of Julian Starr’s abstract soundscape, also saw drawing on Jewish tradition, and the rich, sultry mood lighting by Tom Turner.

Yentl is overwhelmed by her love of God, her adherence to her faith and her hunger for Torah – for the knowledge that will make her life complete. The only obstacle is being a woman and, as such, someone who has no access to the yeshiva and no opportunity to debate with rabbis. Her solution is to assume the guise of a man and, in so doing, challenge her conscience in order to follow her passion. She crosses boundaries not in an act of contempt for tradition but because she wants to be immersed in it and, in so doing, leads herself into agonising situations of dishonesty and betrayal, creating the classic dilemma of whether the end justifies the means.

Amy Hack is captivating in her multifaceted performance as Yentl. She oozes intelligence, is consumed by an inner fire of spiritual restlessness, wounded by emotional attachment and scarred by deceit. She carries us with her on every inch of her painful journey as she battles under the guise of her invented scholar, Anshel.

Much of the struggle whirling around in her head is highlighted in a remarkable performance of impish agility by Evelyn Krape, in a newly created character arising from the Yetzer Hara concept – the force of desire that, when left unchecked, can lead to destruction. Known simply as The Figure, she hovers as narrator, tempter, alter ego, provocateur and shadow self, with an Ariel-like presence, giving psychological depth and visibility to Yentl’s inner turmoil.

The interpersonal complexities of Yentl’s situation begin when she is adopted as a study partner by Avigdor. This academic arrangement is soon overwhelmed by intense feelings for each other, he believing her to be a woman. Now we see the queer undercurrent emerging that persists to the end and deserves an essay of its own. Ashley Margolis brings warmth, vitality and emotional energy to the role in a thoroughly masculine yet charming performance.

The love triangle is completed by Hadass, whose engagement to Avigdor falls victim to circumstances. Genevieve Kingsford’s beautifully understated portrayal is full of tenderness, innocence and openness of heart.

Both the breadth and depth of this play are quite remarkable, providing food for thought and reflection long after the curtain comes down. There is something of an imbalance between the energy of the two acts, but it will go down as a truly memorable production that is compelling, intelligent and often haunting.

Amir Nisi

Richard Beck

A graduate in theology and education, Richard acted and contributed to dance, drama and music productions throughout his teaching career. He joined Broadway Baby in 2014 and is now our Editor-in-Chief. He usually disappears to warmer climes for the winter to pursue his passion for travel.

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The Blurb:

Following a 5-star, sold-out triumph at  the Sydney Opera House, Kadimah Yiddish Theatre’s acclaimed production of  Yentl transfers to London’s Marylebone Theatre for a strictly limited  six-week engagement.

This thrilling new bilingual staging  reimagines Isaac Bashevis Singer’s revolutionary tale with urgency, intimacy  and a vibrant celebration of Yiddish culture. When a young woman dares to defy Orthodox law by disguising herself as a man to study Jewish scripture,  she steps into a world alive with possibility and conflict. As Yentl’s search for knowledge deepens, faith, gender, desire and tradition collide—propelling  her toward a destiny that challenges every boundary.

Bold, lyrical and unapologetically  contemporary, Yentl is a powerful story of courage, identity and the fight to  live your truth.

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