Theater Profile: Jewish Ensemble Theatre Company
New JET season to salute Yiddish theater and Jewish playwrights
It was a gamble that paid off well for the Jewish Ensemble Theatre Company.
The 2003/04 theater season started out slowly for JET, with good reviews not generating the kind of box office success artistic director Evelyn Orbach had hoped for. In fact, it was a phenomenon shared by several professional theaters across the state.
However, it was the troupe's final show of the season that would either make or break Orbach's budget – and it was a risky venture that fueled rumors of pending doom within the theater community.
"'Fiddler on the Roof' had a big, big cast for us," Orbach told BTL last week, "and everything seemed to cost more than we anticipated. We don't do musicals, and we suddenly realized why!"
But thoughts of sunsets gave way to a sunrise when the beloved musical became the highest grossing and best attended production in the West Bloomfield theater's 15-year history – in spite of several competing productions staged throughout the area.
"We didn't make money on it, but we did break even Рand breaking even was a miracle. I thought we'd go out in either a blaze of glory or that's the endÉbye-bye, everybody. Well, I'm not sure it was a blaze of glory, but it was pretty darned good," she chuckled.
Orbach chose "Fiddler on the Roof" specifically because of how well it fit into the theater's successful and much lauded Campaign Stop Hate.
"I only choose things I believe have some underlying substance, and I think 'Fiddler' has a lot [of substance]. That's what I was interested in. Sure, I wanted the music and the joy, but I also wanted people to hear the book, to see it and to identify with it."
Many of those who attended the production during its longer-than-usual eight-week run were first time patrons of JET, Orbach said. That, she hopes, will translate into new subscribers – or at the very least, occasional visitors – to her theater's upcoming season.
What's new for 2004/05
As JET's artistic director, Orbach is directly responsible for selecting the shows her company produces. Earlier this year, however, the company's board of directors came to her with two requests for the 2004/05 season.
One suggestion was to schedule shows that would give the upcoming season some name recognition. Although Orbach emphatically states that she is not willing to do plays simply because they are popular or would make money, the idea made sense – especially given last season's results.
The board's second request, however, was what intrigued Orbach the most.
It was in 1654 that the first Jews came to America – or, rather, to the Dutch colony of New Amsterdam. Initially denied permission to stay by Director-General Peter Stuyvesant, the group appealed to the investors of the Dutch West India Company – several of whom were Jews – and they were allowed to stay.
So why not dedicate an entire season to the 350th anniversary of the first Jewish settlers in America?
"We ARE the JEWISH Ensemble Theatre," Orbach said, "and the 350th anniversary has particular meaning to our Campaign Stop Hate."
But with no scripts available on the subject, Orbach decided to stretch the concept to include honoring America's Yiddish theater – which at one point had more plays running in New York than there were on Broadway – and its Jewish playwrights.
"So this season we have a play by Herb Gardner ['I'm Not Rappaport'], one by Arthur Miller ['The Last Yankee'], one by Murray Schisgal ['74 Georgia Avenue'] and one by Neil Simon ['Brighton Beach Memoirs']," Orbach said.
Also part of the season is "The Dybbuk for Two People," an adaptation of S. Ansky's "The Dybbuk" that has roots in classic Yiddish theater.
A fifth show, "From Door to Door" by James Sherman, is tentatively planned for January. ("The Last Yankee" and "74 Georgia Avenue" will appear on the same bill.)
Several special programs will be offered throughout the season, as well, including a lecture by Orbach on Yiddish theatre and, possibly, "From Tel Aviv to Ramallah: A Beatbox Journey" starring Yuri Lane.
JET at ground level
Orbach has nothing but praise for the space JET has occupied for the past 15 seasons at the Jewish Community Center, but plans are moving forward to expand her company's horizons.
"We are hoping to get either an additional or a whole new space," she said. "This place has been good to us. I think we've done reasonably well here. But I'd like to have a theater that's above ground and where people can see it's there."
Such a move would also bring to fruition a vision she's had for the company since the very start.
"I've always thought it would be important for us to have a theater that produces plays for children on a regular basis. And I don't mean just the stuff we send into the schools."
With a smile on her face, Orbach points out that this season is JET's "sweet sixteenth" birthday. "We're going to have a party, and everyone has to bring us big checks," she laughed. "Or anything that'll translate into a theater."
She pulled it off with "Fiddler." There's no doubt she can come up with a whole new building, too!
For information about JET's 2004/05 season, call 248-788-2900.
Tidbits: News from around town
What the devil does candy corn have to do with Christ?
Much to Antonio David Garcia's chagrin, I'm sure, Curtain Calls cannot officially review his "Candy Corn, Christ and the Convoluted Creation of Golf" at Flint's Buckham Alley Theatre. (It is not a fully professional production.) But since the income generated by Garcia's comedic re-imagination of the Jesus story supports some very worthwhile causes – Rowan Education Network and Triangle Foundation – I gladly attended the opening last Thursday night.
So what did I think – unofficially, of course?
"Candy Corn" puts a very human – and very funny – face on Jesus and his best friends – known collectively as his Apostles. Although religious fanatics might quibble with some of Garcia's "facts" – Simon Peter was married, for example, but he's a toga-chaser in Garcia's script – that's okay: If there's one thing that's obvious from start to finish, it's that "Candy Corn" is a labor of love for the writer. And although its story might not conform to established Christian dogma – and who among us was there to observe what REALLY happened 2,000 years ago? – its message comes across loudly and clearly – and through much laughter: Love one another, you rock heads!
Writer/director Garcia gives a dynamite performance as Simon Peter, while Bret Beaudry has a devil of a good time as the delightfully snarky Damion. And Michael James Allen almost steals the show as the not-so bright and oh-so odoriferous apostle, Thomas.
So if you're looking for a way to both support some worthy causes and enjoy an entertaining evening of live theater, head to Flint this weekend or next. Consult Theater Events for details!
