South Of Delancey
The inspiration behind this play is extremely interesting. Reel-to-reel recordings were salvaged from a dumpster outside the House of Sages. This was a place for retired rabbis to study, pray, and debate, and it was founded by Rabbi Rubin in the 1930’s. These were recordings of men and women perhaps new to this country or unfamiliar with the American justice system who sought elevated opinions and resolutions to the trials and tribulations they faced in their lives. This Jewish arbitration court on the Lower East Side, called the Jewish American Board of Peace and Justice, was comprised of famous lawyers, senators and Rabbi Rubin himself. Participants were asked beforehand if they agreed to abide by the judgments handed down. These sessions were recorded and broadcast over Yiddish radio stations WLTH and WEVD, and thus we had the very first ‘reality shows’ in America. The three actual stories upon which this play was developed can today be heard on www.yiddishradioproject.org.
Playwright Karen Sommers took these stories and through workshop and improvisation fleshed out the subtext, culture, and reality of lives that could only be surmised or hinted at in the radio program. The structure of her play uses the format of day time soap opera; one plot is followed by another story’s brief developments and then a smidget of a third plot. Although this may have been a successful approach on television, in the theatre it creates a very choppy story telling style. I found it difficult to get involved and feel deeply about any one set of characters. I did like that one scene ended on an emotional note, fully performed while new actors took their place to continue their story…the film fade out technique applied to stage.
But equally problematical to a choppy script was the acting. Some actors shouted. Others did not listen to the recorded questions and/or suggestions of the judges and Rabbi Rubin before continuing their own rants and defenses. Everything seemed very speeded up as if the actors didn’t have the faith that a simple rendition had enough merit to hold the attention of the audience. Casey Kramer, (Sadie) a formidable actress, needed time to settle down and slip into her role of mother and mother–in-law, (which she eventually did sincerely without over doing or caricature). Jordana Oberman (Helen) was compelling and promising, but slightly hyperkinetic, rushed, lacking center.
Sadly I must use the pejorative ‘c’ word in regard to this production; the ‘c’ word being, community theatre. It was very good community theatre which was probably on the same level and depth as the broadcasts themselves. A writer of greater depth with more seasoned actors might have painted the picture of the community of the Lower East Side when this court was on the air in a more rewarding manner.
Fremont Centre Theatre
1000 Fremont Ave. South Pasadena, Ca. 91030
Fri & Sat. at 8pm & Sun at 3pm
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www.fremontcentretheatre.com