Jeanette Friedman

The Brilliance of Chelm and IB Singer

Shlemiel the First on the West Bank of the Hudson

by Jeanette Friedman

Jerseyites don’t pull punches, and neither do New Yawkers. So when you hear that Robert Brustein’s fantastic adaptation of Shlemiel the First is playing at Montclair State, get in the car, rent a van for yourself and your buds, whatever, and just hie yourself over to the Kassner Theater, where this Yiddish-flavored musical is tripping the lights fantastic.You don’t yet need your passport to cross the Hudson, parking is just $3.45, and the theater, about 30 minutes from the George Washington Bridge, is gorgeous, the perfect setting for this gem of a play (in English) about the wise men of Chelm. It was written by Isaac Bashevis Singer, the Nobel Laureate for Literature and teller of Yiddish tales.

An exuberant multicultural cast danced and sang to a wonderful klezmery score (written by Hankus Netsky and Zalmen Mlotek) was conducted by Zalmen Mlotek, artistic director of The National Yiddish Theatre-Folksbiene, who also played the piano. The lively lyrics (by Arnold Weinstein) and choreography to match makes Shlemiel the First, a must-see, energetic romantic comedy with genius staging and choreography from David Gordon (Peak Performances@Montclair–producer Jill Dombrowski and artistic director Jedidiah Wheeler–in association with The National Yiddish Theatre-Folksbiene).

Everyone knows that tales of Chelm are morality tales, and this one is no exception. It’s a wry comment on the way family matters are handled by the long-bearded elders of the community, and the impact of their wise decisions on poor Shlemiel’s family—with a requisite happy ending. Shlemiel (in Yiddish a shlemiel is someone with no luck) is sweetly played by Michael Iannucci. His wife is the delightful and tiny Alice Pleyton, whose voice is delicious, and the wise men are led by the extremely self-important, extremely silly Gronam Ox played to perfection by Jeff Brooks. As erstwhile residents of Chelm, the cast was uncharacteristically brilliant, and in particular was the shape-shifting performance of Kristine Zbornek—who played three roles, each one funnier than the next.

The staging was unique—as props were added and removed and costume and character changes took place right before our eyes in a uniquely modern ballet. This is a play worth chasing, so if you find the run is sold out, contact The National Yiddish Theatre-Folksbiene at info@folksbiene.org and ask when and where you might be able to catch a performance! (No phone calls, please!)