Yentl is synonymous with the 1983 musical featuring Barbara Streisand which told the story of a Jewish girl seeking an education, decides to disguise herself as a boy and enters an orthodox school where she falls in love with Avigdor her classmate. All is going well until Avigdor’s fiancée falls in love with Yentl. This matrix of deceit, lies and romance is crystallised in Abrahams, Hearst and Klas writingandproduction of Yentl.
This play forms part of the Kadimah Yiddish Theatre’s centenary celebration and their “commitment to sharing the richness of Yiddish language and Jewish culture”. Straight from the Sidney Opera House to its premier in London.
There are no surprises that this play’s hybrid dialogue is English and Yiddish which is aided by projected readable subtitles on the set wall. Act one introduces The Figure Evelyn Krape who’s cackling narration and verbal conscience of the troubled Yentl played by Amy Hack provides insight to the injustice and denied rights of women to study the Talmud in a Yeshiva.
Yentl defiant and determined continues her/his pursuit to follow this path until she/he must identify themselves. Her story challenges the complexity of Jewish cultural tradition, her own sexuality and the love she has for Avigdor Ashley Margolis, and Hodes Genevieve Kingsford.
This short story is acted out with clarity and authenticity and succeeds in its portrayal of the ‘real’ Yentl and her/his pursuit for autonomy. Convincing performances from all the cast and even though the staging is dark simplistic with a sense of mystery the scenes acted out were clearly visible. The Marylebone Theatre was an ideal venue due to its small intimate environment to really get submersed into this play. The Yiddish language could be seen as a challenge; however, it didn’t feel that way due to the timing of the subtitles. Often, when subtitles are used you feel the need to ‘keep up’ and it can detract away from the actor’s performance. Generally hard work. Not in this case, it beautifully complimented the scripted lines. From the staging lighting and production, it flows with ease and purpose. The changing scenes of playful intimacy and wedding preparation provides insight into Jewish tradition unfamiliar to some. Costume design paid attention to detail and Krape’s character was nothing short of a visionary in pantomime costume. It’s fair to say it would be prudent to research this play before you go as some audience members felt “it wasn’t what they were expecting”.
This play is based on authenticity; content warning there is nudity and explicit language around sexual arousal. Abrahams presented Yentl through a “quintessentially Yiddish lens” offering a necessary and radical view of “Jewish culture, language and spiritual imagination”. This play certainly hit that brief, where the devil is in the detail, and as the final curtain falls you appreciate the revelatory character of Yentl.
Based on the original short story by Isaac Bashevis Singer
Co-Writers Gary Abrahams, Elise Esther Hearst and Galit Klas
Directed by Gary Abrahams
This show commences at 7.30 pm – approximately 2hrs and 10mins including a 20minute interval. Runs 6th March – 12th April 2026. Booking Link https://www.marylebonetheatre.com
Reviewer: Michelle Knight
Reviewed: 18th March 2026
North West End UK Rating: