Theatre

My first and only exposure to the literature of Chaim Potok was at the end of ninth grade in my English class.  Many people say to me now that it is peculiar that a public school would teach Potok, for his work is very Jewish.  Though I agree with this statement – Asher Lev is filled with Jewish themes – it is clear that at least in this one book of his, there are stronger and more prevalent themes than Judaism.  There is a line in the play (and possibly in the book, but as it’s been four years, I cannot claim to remember any lines from the book) that likens Asher’s artwork to Chagall’s – “he’s a little Chagall!”  It’s funny, because when I read the book all those years back, I saw a slight Chagall-esque style to his artwork – bold colors with strong outlines.  Having had all of these years to learn more about Chagall (obvious example being my visit to the Chagall exhibit at the NCMA), I find it interesting that Chagall used the imagery of the crucifixion as did Asher, while both of them were Jewish.

Full disclosure: I was very tired by the time I went to Sunday’s matinee performance.  I had spent my morning walking up Riverside Drive in Manhattan with a bag of canned foods, delivering and visiting as a volunteer for DOROT, an organization that aids the elderly.  I only had a quick and hurried bite to eat, leaving me slightly undernourished by the 3:00 show.  Don’t get me wrong, I enjoyed my day, but I was a bit exhausted!  For this reason, and for this reason alone, I was a bit drowsy as I sat in the dark towards the back of the theatre.

The stage had no curtain, exposing a stagnant set, a room that closely resembled an artist’s studio, but could easily be used as a kitchen, a bedroom, or a yeshiva classroom.    Scene changes were accomplished through changes in the lighting. To convey different times of day, rooms, and to differentiate between Asher’s monologues and interactions, James F. Ingalls employed lighting changes in color, direction, and intensity. Ari Brand, the actor who played Asher, did a great job portraying his character at every stage of his life – from age six to young adulthood. He narrates the story in a way that is easy to follow, even though it jumps around in a non-chronological order.

For those of you who are unfamiliar with Potok’s story, Asher Lev (Ari Brand) is a young boy born into a Hasidic community.  The Hasids are a sect of the Jewish religion, also known for their close study of Jewish texts and the Kabbalah.  Probably the most religious Jews (in translation, hassid means “pious”), the community is very strict.  For this reason, when Asher’s father (Mark Nelson) realizes that his son is devoting more time to drawing than to his studies, he grows bitter.  According to Asher, he can’t help himself – he has to draw.  Not only does the act of drawing upset Aryeh (father), but Asher begins to draw impure subject matter – nudes.

Paraphrased:
Why must you draw naked women, Asher?
I’m not drawing naked women, Papa, I’m drawing nudes.

Conversations like these brought a smile to my face.  Not only is this a hot topic in the art world (when does drawing a nude figure become too explicit – are all nudes/naked figures art?), but it’s a hot topic at the Lev dinner table.  The audience can see Aryeh trying to understand where Asher is coming from, but there is an obvious disconnect.

This disconnect is central to the plot.  Potok’s story, reinterpreted by Aaron Posner, is not only about rebelling or acting against the Hasidic community, but is a universal story.  Anyone can rewrite the tale – a gay son coming out to his extremely conservative parents, an affluent daughter “throwing her life away” to attempt to make something of herself in the theatre world.  Potok’s message is that individuals should follow their own dreams and passions.  He doesn’t want us to limit ourselves due to the traditions of our parents or community.  He doesn’t condone rebelling for the sake of rebelling – this is obvious as he makes it clear that Asher can’t do anything but draw.  Asher has no desire to hurt his family, but must follow his own path.

Asher Lev – an artist, a painter, a religious Jew.  None of this, in his mind, conflicts or contradicts.  He can be a Jew while painting nudes and crucifixions, because that’s who he is.

My Name is Marina B. Nebro, and I’m still finding myself.  I may startle some on my journey, but I will always stay true to who I am.
This production of Asher Lev only serves to remind me of the importance of doing so.

My Name Is Asher Lev
Westside Theatre/Upstairs
January 13, 2013

Marina B. Nebro

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