Okay, it’s officially too much homework to summarize the richness of every session and do a rundown of every play. If someone were paying me for an article – or yes, if it were homework and I were being graded, like I’m grading my students, maybe just maybe I could slavishly do the run-down. But it’s really hard to find the time, you know? Especially when you go out dancing till 3 in the morning. Me? 46 years old, a bald spot, and dancing? Who’s grossed out already (besides the three on my staff whom I can identify before even bothering to ask)?
Yes, I danced in the funky neighborbood of Gan Chashmal (the Electric Park, since the apartments lie in the shadow of a utility station) and that came after a Friday night when I actually skipped two shows to have a wonderful meeting with Pangs director, Sinai Peter – where we talked mostly about new production he’s soon to begin rehearsing at the Cameri; Boaz Gaon’s adaptation of the incendiary Palestinian novel written in 1969 by Ghassan Kanafani called Return To Haifa.A great meeting of contemplating future projects. Before Sinai, I had lunch with Motti Lerner for two hours in the AbuLafia Restaurant in Jaffa overlooking the sea. We talked about girls and plays, wives and rewrites, children and new collaborations. What can be said about best friends catching up? We kissed, okay, how’s that?
We were feeling good about ourselves because we’d kicked ass on the panel discussing political theater. Does that sounds really full of ourselves? Okay, yeah. It went well. It was forceful. The play was presented on video – David Goldenberg’s half hour of shooting throughout an entire performance of Pangs left us able to tell the story in moving image like no other production we’ve ever produced where video archiving is either cost prohibitive or AEA union restrictions make it impossible to obtain any additional copies of the single reel to be deposited at the U of MD/WAPAVA library archive. Okay, enough digressions. I’m running out of time. I can’t do this. So much. We’re getting so much material here. Wonderfully condensed synopses and bios and breakdowns that I’d love to share with you, if only they were digitized. Actually, I’m gonna as the organizers to send me the digitized digests of all we’re seeing. It’ll save me a lotta frickin work! Yes? Do I get a reprieve? Bottom line: THE MASTER OF THE HOUSE by Shmuel Hasfari? Pretty good Boulevard comedy with serious overtones.DENUDED – Powerful solo performance piece by the formidable beauty Micky Peleg Rothchild about a young child being sexually abused by a step father and a final act of revenge. Much to say about this performance and the young audience that watched it with us.SPITTING DISTANCE and REQUIEM? Ill get to this. The bus is leaving now for Herzliyah. There’s more more more to tell. Spotlights on Hanoch Levine (superb, a festival highlight so far) and Family Dramas (in two parts, a kind of Greatest Hits of work done over the last decade and a half — what a bounty of work to choose from!). Beautifully organized. It’s a superior line-up. I’m keeping up. Occasionally falling asleep in video clips. So sue me. At least I’m not at the Shakespeare Theatre. I shouldn’t have said that before, should I? Who cares? Who’s reading.No dancing tonight. Karaoke, anyone?