Theater J’s workshop presentation of The Admission came to a close on April 6th. It played to 4000 people. It sold out its final 12 performances, playing throughout that time to Standing Room Only audiences. An average of 140 people a night stayed for the post-show discussions. The Theater J staff is still editing video, transcribing notes, and otherwise overwhelmed with the extraordinary response from the show and from the panels and the salon discussions and so we’re so slow to document the extraordinary success of every phase of the presentation. We had scholars returning multiple times to document the evolving discussions. We’ll be sharing those notes as time allows. There will be news of plans to continue performances of The Admission at other venues, whether in DC, New York, Chicago, or beyond. The biggest news is a commitment that’s been made to have the play fully produced in Israel in 2015. Details to be made public shortly.
CHECK OUT VIDEO CLIPS FROM THE WORKSHOP PRESENTATION HERE.
The important aspect to note from Theater J and the DCJCC’s perspective is that The Admission kicked off part 1 of Theater J’s Voices From a Changing Middle East Festival, this season devoted to presenting to “Narratives of Nation Building.” Parts 2 and 3 will be discussed in a next posting; our readings of 1948 and Hand in Hand Together.
Part 4 is with us right now, opening tonight, and it’s occupied our every waking hour since The Admission came to a close, and that’s the unstoppable, breath-taking performance at the heart of Golda’s Balcony. We’ll be posting about Tovah Feldshuh’s more-than-merely-powerful performance momentarily. It’s a thing to behold. So that’s where our energies have been. But the fulfillment on The Admission is real and (well, forgive the repetition) full. The art spoke. The audience came. We all discussed. We all listened and absorbed. And were changed.