NEW YORK, NY.- With the war between Israel and Hamas keeping much of the world on tenterhooks, and the tide of antisemitism evidently rising, now is either a perfect time, or far too painful a time, for “Amid Falling Walls,” a new Yiddish-language musical set during the Holocaust.
Onstage at the Museum of Jewish Heritage in Lower Manhattan, it is a theatrical act of remembrance and defiance stitched together from Yiddish songs written and performed in the ghettos, cabarets and concentration camps of Eastern Europe in the 1930s and ’40s.
Directed by Motl Didner for the National Yiddish Theater Folksbiene, “Amid Falling Walls” deftly acclimates the audience before the performance even starts. On banks of monitors hanging on either side of Edmond J. Safra Hall, and on two other screens built into the set, we see black-and-white films and photos of ordinary Jewish life in Eastern Europe before the war.
It isn’t idyllic, just placidly quotidian — parents, children, babies, friends, in the city and the countryside. A gaggle of girls hold hands and dance in a circle; a group of men throw their arms around one another, smiling. Families, so many families, pose for the camera; so do little kids, milling around outside. Then, menacingly, the presence of Nazis intrudes.
Underscored by music, the montage of images has a visceral impact; we don’t need language to understand it, or to think and feel in response. (Projections are by Brad Peterson, sound design by Dan Moses Schreier.) “Amid Falling Walls,” though, relies heavily on lyrics and spoken text, almost all of it in Yiddish; non-Yiddish speakers, like me, will spend the performance reading supertitles, which are in English and Russian.
The placement of those titles, far above the actors’ heads on a set by Jessica Alexandra Cancino, fundamentally thwarts this fast-paced pageant, whose arc takes it from the Vilna Ghetto, in what is now Lithuania, to a displaced persons camp in Germany. It becomes a fragmented experience: Take our eyes off the titles and we’re lost for meaning, but read only the titles and we miss the show. Either way, the fullness of the production’s emotion and artistry remains out of reach.
Curated by Avram Mlotek, who wrote the libretto, and his father, Zalmen Mlotek, who is the show’s music director and arranger as well as the company’s artistic director, “Amid Falling Walls” sounds gorgeous. Its 28 musical numbers — folk music and cabaret, elegies and anthems — are played by a nine-piece orchestra tucked away upstage. And the show has an ace in its fine eight-person ensemble: Steven Skybell, who starred as Tevye in the National Yiddish Theater Folksbiene’s excellent Yiddish-language production of “Fiddler on the Roof.”
One of Skybell’s songs here, Reuven Lipshitz’s “Motele From the Warsaw Ghetto,” is the rare number in the show with a tempo slow enough to allow both reading the titles and watching the performance, which in its restraint is absolutely searing: the story of a boy, not yet 13, doing his part to resist the Nazis — sneaking in and out of the ghetto — and dying for it.
“Humanity’s most true history is written only in blood,” Skybell says in English near the top of the show, and it is an arresting line. But before bloodshed comes the process of dehumanization that features in all ethnic hatred, and “Amid Falling Walls” delineates that vividly.
The stripping away of rights, one by one. Global passivity in the face of mass suffering and slaughter.
It’s an old story. Timeless, too.
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Amid Falling Walls (Tvishn Falndike Vent)Through Dec. 10 at the Museum of Jewish Heritage, Manhattan; nytf.org. Running time: 1 hour 20 minutes.
This article originally appeared in
The New York Times.
