Amazing how Israel recedes into the bank of memory and past experience, such a distant place of intensity and drama than the clamor, chaos, and commotion that is our life of commerce and connection here in the States. The mind gets occupied by ten thousand new things. So to do due diligence, i share two of the last “Spotlight” presentations from the IsraDrama Festival. The panel on the Israeli family is fascinating and full of range and disparate topics. It’s an area that I know we must pursue — our theater’s interest in Israel is necessarily an engagement with more than just The Conflict All The Time. So you’ll that reflected in this Spotlight on the Family and Society.
And the second, final Spotlight I’m sharing with you is on Fringe Theatre. And this will give you only a mere sampling of what was then on display during the International Exposure Festival that overlapped and then overtook IsraDrama for the final days of my stay. I participated fully in only one day of the Exposure Festival, but it was a riot of a small company based work involving puppetry, dance, tents in the shape of large bosoms, dumb shows with sex on the brain, dance pieces with terror and loss in the womb, in the belly. So many cascading pieces of alternative art; it was liberating, wildly uneven, fun, and all too much to digest! Like the Akko Festival itself, it was a gorgeous grab bag and a potpourri. So I share with you, only a piece of that programming. And then we’ll have to wait for another year to get all comprehensive and diligent about the alternative performance art scene.For now, the two Spotlight, first on the family, and then on the Fringe.
Spotlight on Family and Society in Contemporary Drama
Saturday, 01/12/07, 10:00-14:00, Beit Lessin Theatre
amily dramas staged in Israel’s theatres present a colorful mosaic of family and society in Israel. In these plays the ‘state of emergency’ wherein society (from the small family unit to the extended family of the collective Israeli ‘us’) drifts like a rudderless ship on the stormy waters of everyday life in Israel. The plays examine the fate of the family and of each and every family member – husband and wife, parents and children, brothers and sisters, Holocaust survivors and native-born Israelis, travelers and visitors – as well as the ability to contend with the problems arising from this ‘state of emergency’, which is universal in part and in part unique to a society perpetually living in it. Examining love, understanding, cooperation and the power of survival makes it possible to ultimately define whether the ship makes it to a safe haven, shatters on the rocks, or is lost in the stormy seas.
The presentation will include video excerpts from the following plays
His Life’s Work by Shulamit Lapid
A social drama that gives voice to the working class, which is being increasingly eroded in the wake of globalization, market forces and the apathy of the middle class.The Shemtov family lives in the town of Eshet in the south of Israel. Three members of the family work in Kela, a munitions plant that provides livelihoods for most of the town’s residents. The plant falls on hard times and is forced to lay off many of its employees, including Ya’akov Shemtov and his youngest daughter Orit. His son, Moshe, is kept on due to his membership in the worker’s committee and because the plant manager is his father-in-law. Jealousy and love, guilt and despair, as well as hope, all gain expression in the reactions of the family members to the layoffs. The daughter rebels against the world order, and the special compassion-love-guilt relationship prevailing between the father of the family and his sick wife undergo change. The layoffs also lead to changes in the various relationships of the family members with their friends.
Employment and unemployment determine the identities and status of the protagonists, affect their financial, social and psychological security when they are laid off and are compelled to redefine their aspirations and aims, for better or worse.The CharactersYaakov ShemtovMiriam Shemtob, his wifeHerzel Ouziel, Yaakov’s friendMoshe Shemtov, the eldest sonKobi Livne, the second sonChen Asherov, their sisterJanet, Moshe’s wifeShulamit Lapid is an author and playwright. She writes in a variety of genres – short stories, novels, thrillers, novellas, children’s books, and poetry. Her plays, The Legacy, Abandoned Property, His Life’s Work, Surrogate Mother, and Sailing, present a clear position on issues of morality and society and have gained great audience acclaim.
Alma and Ruth by Goren Agmon
Ruth, a young ultra-Orthodox woman who has written a fiery debut novel, contacts Alma, who owns a publishing house. Alma is excited with the new discovery, recognizing promising talent in the unknown author, and wants to adopt her and look after so that she can continue to write and develop. But this relationship forces Ruth to live a ‘double life’, and the new arrangement quickly runs aground when Ruth’s occupation is discovered by her family. She is victim to a series of threats and discrimination when it transpires that a dark affair from the past described in her novel is based on actual events. Ruth’s loyalty to Alma is also shaken against the backdrop of the charged relationship Alma has with her daughter, a rebellious young woman who has recently found religion. A moving and realistic drama about mothers and daughters, loyalty, and painful rifts in Israeli society.
Alma, 50, Widow, mother of Amir and Maya, manages a successful publishing houseAmir, 24, her sonMaya, 22, her daughter
Ruth, an Orthodox young womanRivka, 45, Ruth’s mother
Shmuel, Ruth’s uncle
Arava Café by Goren Agmon
Against the backdrop of the disintegration and privatization of kibbutzim in the past thirty years, the play addresses the struggle of individuals to live their lives within a group and the (foretold) failure of this attempt. The play takes place in two points in time: in the mid-1970s and in the mid-1990s. Avner, a war hero and a disabled IDF veteran, has returned to his kibbutz and wants to live with his physiotherapist and lover, Gili. His marriage, with the daughter of one of the founding families of the kibbutz, was apparently on the rocks even before he was wounded, and his wife left when he returned to the kibbutz. Miriam, his wife’s mother, refuses to acknowledge the change, denies it and especially fears it. The lovers are threatened by the collective, and in turn the collective is threatened by the alternative lifestyle they are trying to live. Avner’s daughter, Gaia, too, is drawn into the cycle of fear of change, self-righteousness, pretense and inflexibility, and has to endure the barbs of mockery and malice directed at her by the kibbutz children and members. The play demonstrates the collapse of the nuclear family, and the subsequent exposure of the unsound mechanisms of existence of the metaphoric kibbutz family, result in her running away. When she eventually returns, she discovers that not only has she changed, so has what she left behind.
Nadav, a war hero
Gaya, his daughter, appears as a child and as a grown up woman
Avner, Nadav’s friend
Gili, Nadav’s physiotherapist and lover
Diana, Avner’s girl friend
Miriam, Nadav’s mother in Law and one of the founders of the Kibbutz
Goren Agmon is a playwright and director. She was born in Kvutzat Schiller and is a graduate of the Department of Theatre Arts at Tel Aviv University.
Plays: Like a Lonely Bird on a Roof (Habima National Theatre), Pregnancy (Cameri Theatre), The Heiress (Beit Lessin Theatre), The Concert (Beit Lessin Theatre), News Bulletin (Beit Lessin Theatre), A Letter to Noa (Beit Lessin Theatre, Playwright of the Year Award), Street Cat (Habima National Theatre), Weekend in Caesarea (Beit Lessin Theatre), Arava Café (Beit Lessin). Plays written and directed by Goren Agmon: A Woman as a Giraffe (Tzavta Theatre), Your Honor (Tzavta Theatre), Shper (Tzavta Theatre), Artza (Haifa Municipal Theatre), The Gang (Haifa International Theatre Festival for Children, Best Play Award), Yehezkel’s Parrots (1988 Acco Festival).She has also written and directed some fifteen plays at the Orna Porat Theatre for Children and Youth, including Me and My Little Brother, The Gang and Amazing Adventure. She won the 2001 Playwright of the Year Award for A Letter to Noa.
A Child of My Own by Hagit Rehavi-Nikolayevsky
The play is based on interviews with four women in the New Family in Israel as presented in Women’s Code by Amia Lieblich. The play comprises four different stories, each presenting a different family model, and revealing the dramas in the lives of the protagonists and the issues and women they encounter. Shahar, a single woman of 42 and a world-renowned researcher, and Ilan, a married man who volunteers to give her a child; Buki, a 37-year-old lesbian who is trying to get pregnant with the help of a sperm bank, and her mother, Ruth, who is in the midst of a marriage crisis; Ariela, a gynecologist in her fifties and a single mother, and her adopted daughter, 15-year-old Neta; thirty-year-old Racheli, who cannot tolerate physical contact of any kind, and Oded, the homosexual father of her son with whom she has a parenting agreement. The plot unfolds in four chapters: Passover, Memorial Day and Independence Day, Lag BaOmer, the last day of school. The stories take place in the same apartment.
Shachar, 42, Internaional Health Researcher
Ilan, A friend of Shachar, Married with children
Bouki, 37, a lesbian.
Ruth, 65, bouki’s mother
Racheli, 30, a mother of a 5 year old son
Oded, 33, the father of Racheli’s son, a homosexual.
Ariela, 50, Gynecologist, single mother to an adopted child
Neta, 15, the adopted daughter of Ariela
Kibbutz L.A. by Hagit Rehavi-Nikolayevsky
An Israeli family drama that takes place in Los Angeles and addresses exile from Israel, but especially exile within the family. Michal, the protagonist, is a kibbutznik of about 50 who has been unwillingly living in Los Angeles for many years. Her kibbutznik brother, Omri, comes to visit, accompanied by two members of the Jezreel Valley singing group, of which he is a longstanding member, to perform at an annual fundraising event held by Aviva, chair of the Kibbutz L.A. Society for IDF Disabled Veterans. Michal, who throughout her life has been torn between her commitment to the family she has raised and the family she left behind in the kibbutz, is thrown into turmoil as a result of Omri’s visit.
Nahum, her husband
Omer, her brother, a kibbutznik
Dr. Msalha, an Arab-Israeli Dermatologist
David, a friend of Michal and Nahum
Aviva, his wife
Alon (Lonny) Michal and Nahum’s son
Raya, a singer, a kibbutznik
Nitza, a singer, a kibbutznik
Hagit Rehavi-Nikolayevsky is a playwright and director, and a graduate of the Department of Theatre Arts at Tel Aviv University. She served as managing director of the Orna Porat Theatre for Children and Youth (1997-2003), and as artistic director of the Haifa International Theatre Festival for Children (1996). She is chair of ASSITEJ Israel and a committee member of ASSITEJ International (International Association of Theatre for Children and Young People). She is the 2003 prizewinner of the Municipality of Tel-Aviv Rosenbloom Award for Performing Arts. She has written and directed numerous plays, including: Zohara’s Shmulik, The Hannaleh Method, and The Girl I Love at the Haifa Municipal Theatre, Yona Yona at Habima National Theatre, Uri, The Love of Itamar and Leah, A Kiss In a Pocket, and Eliezer The Dreamer. Aliphim (Freshmen), which she adapted and directed, was named Play of the Year at the 2005 Youth Theatre Awards. She wrote and directed A Child of My Own and Kibbutz L.A. at the Beer Sheva Municipal Theatre.
The Big Sea by Yosef Bar-Yosef
Israel of 1950, a nascent state, a new way of life, new plans, new dreams. Tel Aviv, too, is still young, and multitudes throng to it from old worlds. Passion for renewal, power, success and love is in the air.Noah and Pnina, a young couple, come to Tel Aviv from Jerusalem’s ultra-Orthodox Mea Shearim quarter. Noah passionately seizes the freedom, the possibilities of success, pleasure and love, even forbidden love, while Pnina still holds onto her old world. He hungers for love, and she loves him. Contrasting them is another young couple, Misha and Rita, who have come from the partisan forests of the World War. The couples clash, mix, and with them other influencing and influenced characters, and in all of them rages the struggle between old and new, between yearning and passion. And there is the Great Sea, toward which all cast their eyes and it in turn casts its spell on them all, even when there’s no lifeguard.
Noah, an Orthodox Jew from Mea Shearim
Pnina, his wife
Misha, a new immigrant from Russia
Rita, his wifeJumper, a juggler
Esther, Pnina’s sister
Ephraim, a matchmaker
Jacky, a waiter at the hotel
Aliza, a neighbor
Rabbi Yona, Pnina’s father
A Man and a Woman walking on the beach
Yosef Bar-Yosef was born in Jerusalem in 1933, a sixth-generation Israeli on his late father’s side, the author Yehoshua Bar-Yosef, who lived in Safed and in the Old City of Jerusalem, and at least eighth-generation on his late mother’s side, Tsipora, who lived in Hebron and in the Old City of Jerusalem.He earned a BA in Hebrew philosophy, Kabala, and English literature from the Hebrew University of Jerusalem. He began by writing prose, but since 1963 when the Cameri Theatre staged his first play, Tura, he has written only plays. He has written 14 plays, which have been performed at all the repertory theatres in Israel, and some of which have been performed to great acclaim overseas, especially in Russia, as well as Ukraine, Latvia, Poland, Czechoslovakia, Brazil, Scotland, and recently in India. His play Difficult People has been running successfully for the past fourteen years at the Sovremennik Theatre in Moscow, the Akimov Comedy Theatre and the Satire Theatre in St. Petersburg, and in other major theatres in the former Soviet Union, where his plays The Citrus Grove and Elka’s Gold have also been running successfully. Several creative artists have won first prizes for acting in and directing Difficult People. The Big Sea world-premiered at the Left-Bank Theatre in Kiev and has been running there for the past five years. The play gained great acclaim in various theatre Festivals.
Games in the Backyard by Edna Mazya
The play was written in the wake of the horrific gang rape incident in Kibbutz Shomrat that shocked the Israeli public. Seven boys aged 17 repeatedly raped a 14-year-old girl in the fields and homes of the kibbutz. At the center of the play is the story of the rape and the ensuing trial. The incident was tried in two courts and gained wide public attention. It all began in the summer of 1988 when a 14-year-old girl from Kibbutz Shomrat claimed that she had been raped by 11 boys. She filed a complaint with the police, but in 1990 the State Attorney decided to close the case because the girl’s mental state precluded her from testifying, and without her testimony the rapists could not be tried. Some time later, when the psychologist who examined the girl found her competent to testify, the case was reopened and six of the boys were indicted. The rape incident in Kibbutz Shomrat gained wide attention because the boys were students at a highly thought of kibbutz educational institution, all of them from ‘good homes’. In November 1992 Judge Micha Lindenstrauss acquitted the suspects in the Haifa District Court due to ‘insufficient evidence’. The acquittal provoked furious reactions, especially from women’s organizations, and the media, too, addressed the issue extensively. The State Attorney decided to file an appeal with the Supreme Court, and in December 1993 the Supreme Court convicted four of the defendants of rape and they were sentenced to prison.Oded Kotler, then director of the Haifa Municipal Theatre, approached playwright Edna Mazya and proposed that she write a play on the subject. The writing of the play began before the first verdict and was staged under the direction of Kotler about six months after the trial began in June 1993. The play was tremendously successful and ran for some 1000 performances. It has also been performed to great critical acclaim in Belgium, Germany, Austria, Romania, Russia and England (Royal Court Theatre, London).
Dvori Machnes: 15 years-old, daughter of a single-parent family whose father died when she was five, when she moved to Kibbutz Gan Veradim where the action takes place. She shifts between a kind of self-confidence and extreme individualism, to a sense of the total worthlessness of the outsider. She tries to turn her weakness, wretchedness and non-acceptance into power, and thus perceives herself as an anarchist.
Asaf Sacharov: 17 years-old, the leader of the pack, is a good-looking, quietly assured boy, with a non-aggressive style of leadership. He is aware of his own worth. Despite his social position he is not boastful. He is the ‘engine’ behind the rape and its initiator, and the only one who does not play an active role in it. He is acquitted on the grounds of insufficient evidence.
Shmulik Kooper: 17 years-old, unpopular socially, a nervous and aggressive boy with a staccato manner of speech and a tendency to swallow his words. He is asthmatic and uses an inhaler. He is the group’s weakest link, is secretly in love with Dvori and tries, in every possible way, to prevent the encounter between the group and the girl. When he fails, alone and defeated in the eyes of his friends, he decides to take an active part in the rape, thus getting the harshest sentence of the four: three years in jail.
Sela Borochov: 17 years-old, a tough, crewcut macho type who dreams of serving in the Marine Commandos. He is the first to attempt open contact with Dvori. From an intellectual standpoint he is the group’s weakest link: he inadvertently gives up his friend during his interrogation. He takes an active part in the rape and is sentenced to one year in jail.
Gidi Betser: 17 years-old, the group’s most labeled type, the “voice”. He has long hair and an earring, wears torn jeans, smokes heavily, drinks beer and has no interest in serving in the army. He is the light and humorous counterweight to Sela’s character. He takes an active part in the rape and is sentenced to one year in jail.
The Prosecutor: A woman of 30 who is an intelligent, adult and feminist version of Dvori. She is emotionally involved in the case and fights tenaciously for justice.
Defense Counsel: Men of 33 who present the cold, harsh side of the judicial system that is based on the law, not necessarily on justice. With their chauvinist leanings, they relate to this case purely as work, they are not emotionally involved and are determined to fulfill their mission at any price, even if the outcome is the invasion of a 14 year-old girl’s privacy and her public embarrassment.
Edna Mazya is a playwright, author, screenwriter and director. Born in Tel Aviv, she holds an MA in philosophy and theater studies from Tel Aviv University, where she taught dramatic writing. Writing for cinema: Screenplays for Amos Gutman films: Afflicted, Bar 51, and Himmo, King of Jerusalem.
Writing for theater: Vienna on the Sea, The Double (after Dostoyevsky), adaptation of Platonov, The Uncle From Capetown at the Haifa Municipal Theater, and Games in the Back Yard, also staged in Haifa, which has been translated into several languages and staged throughout Europe, including the Royal Court Theatre in London.At the Cameri Theatre of Tel Aviv: Awarded the Meir Margalit Award and the Leah Goldberg Award for A Family Story. Awarded the 1998/99 Playwright of the Year and the 1999 Margalit Award for The Rebels. She directed Best Friends, Lysistrata 2000, Via Dolorosa, Househusband, and Brighton Beach Memoirs (which she also translated) and wrote and directed Herod and Naughty Children. In 1997 her novel, An X-Ray Burst, was published by Sifriya Hadasha-Hakibbutz Hameuchad Publishing House. The book has been translated into several languages and published in Europe. In 2005 her novel The Unsatisfied was published by Keshet Publishing House.
Tea by Roni Pinkovich
Meir, a confirmed bachelor and professor of literature, is in need of help from his mother, Reizele. He has been diagnosed with a kidney disease and wants to sell her apartment. However, she reveals that they have mysterious relatives who may help him with a transplant. Meir, unaware that his mother, a Holocaust survivor, still has any relatives, is in for a big surprise at the meeting with his new family. A moving, humorous drama about a small family and an extended family, about a transaction of songs for a kidney, and about that steaming cup of tea, which always comes to the rescue when it seems that all hope is lost.
Meir, a young man
Reizale, Meir’s mother
Yaakov, her neighbor
Anya, a rusian relative of Reizale and Meir
Naum, her father
Roni Pinkovich is a playwright and director. He served as artistic director of the Haifa Municipal Theatre (1997-2000), and as resident director at the Habima National Theatre (1992-1994) and the Haifa Municipal Theatre. He has directed a variety of plays, including his own, and appeared in films and television series.
Househusband by Anat Gov
A senior pilot retires and discovers that life on the ground as a pensioner is considerably more complex than flying. His new and constant presence at home disrupts the daily household routines and leads to a series of confrontations with his wife and daughters. Much to his surprise he finds himself lacking the tools to contend with everyday problems. His attempts to gain some control of his home fail, and when he begins to feel that he is losing the ground from under his feet, he chooses an unconventional approach that surprises everyone and changes the balance of power within the family.
Zevik, an ex pilot
Galia, his wife
Yael, their eldest
Dana, her yunger sisiter
Dr. Regev, Zevk’s best friend
Marina, the cleaning lady
Anat Gov is a playwright. She was born in 1953 in Tiberias, and studied in the theatre track at the Thelma Yellin High School of the Arts and the Department of Theatre Arts at Tel Aviv University. She has written for humoristic and satirical television programs. Her first play, Ahavat Mavet (Love to Death), was produced in 1992 at the Jerusalem Khan Theatre. Best Friends and Lysistrata 2000 (after Aristophanes) were performed at the Cameri Theatre of Tel Aviv. She translated Via Dolorosa and Mother Courage for the Cameri Theatre of Tel Aviv. She is a columnist for the daily Yedioth Ahronoth, one of the founders of the Ezrat Nashim organization for victims of sexual assault, and a member of the voluntary group that operates the Soadim soup kitchen.
Cracks by Zadok Zemach
A captivating and stirring family drama about father-son relations. The action takes place in the town of Netivot in the south of Israel. Yisrael, a musical but problematic boy, runs away from boarding school and goes home to persuade his younger brother Amnon to move with him to the big city and set up the band they always dreamed of. Their father, Baruch, a severe, god-fearing man who wants his younger son to become a famous rabbi, finds it difficult to cope with the new changes in his home and tries to send his eldest son sway. Carmela, their mother, tries to mediate between the tormented father and his sons, and the entire household is thrown into turmoil – a desperate war between religion and music, between progress and tradition, and between the past and the future, a war from which all emerge losers. The play incorporates live music sequences.
sBaruch, aged 55-60
Carmela, his wife, 45
Yisrael, 17, their elder son
Amnon, 16, their younger son
Sa’ida, 75, Baruch’s mother
Zehava, 17, an Ethiopian girl
Zadok Zemach is a playwright and producer. He studied at the Hebrew University (BA in geology) and the Film and Television School in Jerusalem. Cracks participated in the Curtain-Up Festival organized by the Beit Lessin Theatre.
Mikveh by Hadar Galron
The play affords a peek into the innermost sanctum in the lives of ultra-Orthodox Jewish women – the mikveh (ritual bath). The mikveh is where all religious women go to purify themselves after menstruation, allowing them to resume intimate relations with their husbands. The play presents the stories of eight women who come to the mikveh in an ultra-Orthodox neighborhood: an older woman who comes to the mikveh devoutly, knows everything about everyone who goes there, and constantly criticizes the behavior of the young women; a young, newlywed woman; a battered woman; a woman whose husband is well-known and well-respected in the community and her mute daughter; a secular singer who comes at her boyfriend’s insistence; and the bath attendant’s new assistant, Shira.Shira comes to work in a mikveh in an ultra-Orthodox neighborhood, and from the women hears stories and secrets that are not spoken of beyond the mikveh walls. One such story is that the previous attendant drowned in the mikveh. When she begins to investigate she discovers that the attendant committed suicide, but a conspiracy of silence shrouds the truth for fear of upsetting the social order. Shira cannot accept the silence, and when she hears that Hedva, whose husband is a respected member of the community, is in fact a battered woman, she wants to help her and prevent another tragedy.Shoshana, the conservative veteran attendant, fears change. She considers it her duty to stop Shira from upsetting the social order that is determined by the men in the community. But the women, discovering the possibility of choosing to tell and expose rather than maintaining the silence and surrendering to their fate, are not prepared to remain silent any longer – they prefer to acknowledge their problems and deal with them.To protect Hedva they unite and rebel against the male establishment and discover their inner strength. It is only when they reach the point of no return that they discover that truth comes at a price.
Shoshana-Dvora, 55, a senior Mikveh attendant
Shira, 35, the new Mikveh attendant
Hindi-Rochel, 60, Shoshana’s best friend
Thila, a bride coming to the Mikveh for the first time the night before her wedding
Chedva, a battered wife
Elisheva, chedva’s daughter, mute
Miki, a non religious singer
Esti, the Mikveh gossiper
Hadar Galron is a playwright and actress. She was born in England and in 1970, when she was 13, she immigrated to Israel with her family. She grew up in a religious home and continues to maintain a religious way of life. She graduated from the Department of Theatre Arts at Tel Aviv University. She began her theatrical career with Noya and Nurit, a satirical standup performance she wrote. Pulsa de Nurit, in which she addresses the position of the religious woman, gained great critical acclaim. The Common Denominator, which she co-authored with Irit Bashan, deals with the dialog between religious and secular Jews.Mikveh is her first play and first prize-winner in the Young Playwrights Competition – Curtain-Up, organized by the Beit Lessin Theatre.
Family by Ravid Davara
A sad comedy about family relationships. The family gathers for a festive meal in honor of the eldest daughter’s partner, a well-known and well-respected author. The introduction of someone new into the family exacerbates the volatile relationships between the family members and exposes cracks in the facades behind which they hide.
Crumbs by Ravid Davara
A story about two sisters, Carmela and Frida, who have drifted apart because of an old, dark family secret. Carmela, a widow and bakery manager, tries to get close to Frida, but the latter does not reciprocate, being solely focused on hopes of seeing her son return from his long trip to South America. Frida’s husband is concerned for his wife, but also for Carmela, and wishes to revive the connection between the sisters. Frida continues to wait for her son’s return, while the mystery surrounding his disappearance is gradually revealed. Carmela, whose husband’s death is also shrouded in mystery, is collapsing under the weight of her guilt, trying to get closer to her sister and begging for forgiveness.
Frida, her sister
Elico, Frida’s husband
Aharon, Carmela’s dead husband
Gabriel, the neighbor’s son
Ravid Davara is a playwright and director. She is a graduate of the directing track at the Kibbutzim College of Education and H.B. Studio in New York under the direction of Uta Hagen. Her plays include VeAchshav LaNerot (named Best Play at the 1996 Acco Festival), Josephine (named Best Play at the 1997 Teatronetto Festival), The Neighbor’s Nettle (playwright and director, Habima National Theatre, 1999), Bath.Bed.Park (director, Habima National Theatre, 2001), Mud (playwright and director, Curtain-Up, 2002), Family (playwright and director, Habima National Theatre, 2002), Stray Cat (director, Habima National Theatre, 2004), Crumbs (playwright and director, Habima National Theatre, 2006).
Still to come: Fringe!