★★★★

“Amy Hack’s Yentl is superb, expertly capturing the tension between self-determination and destruction, outwardly uncertain yet inwardly blazing”

Fresh from its award winning Sydney Opera House run, ‘Yentl’ lands in London with a bang. Worlds away from the Streisand musical, this new bilingual adaptation delivers a gritty, layered and fiercely human take on Isaac Bashevis Singer’s original story of identity, desire and moral conflict.

Yentl yearns to study the Torah, forbidden for Jewish women like her. Her father recognises her true soul and secretly teaches her. When he dies, Yentl can’t bear to give it up, choosing to live as a man (Anshl), joining a ‘yeshiva’ (school for men’s religious study) and bonding with study partner, Avigdor. But as the deceptions compound, how long can Yentl protect her authentic self – and who will she hurt along the way?

Co writers Gary Abrahams, Elise Hearst and Galit Klas craft a powerful story about the age-old tension between freedom and destruction, embracing the morally ambiguous mire Singer originally intended. Steeped in Jewish culture yet asking universal questions about identity, queerness, learning and belonging, the text brims with biblical allusions, vivid imagery and fraught choices mirroring inner struggle. Kadimah Yiddish Theatre’s extended Yiddish passages, surtitled in English, give the piece the pulse of Singer’s language, while well judged humour cuts through the intensity. Focusing the drama on Yentl/Anshel, Avigdor and Hodes, with a shape shifting fourth role, sharpens the emotional stakes and deepens the commentary. That said, the overly long prologue stalls momentum, and the epilogue’s initial reinvention of Yentl risks confusion, but overall this is a strong, compelling adaptation.

Gary Abrahams’ direction digs straight into the grit and dualism of Singer’s world, inviting us to confront our own hidden selves. The mischievous Figure cleverly embodies shifting dualities, though the role could push further – clearer character transitions and a bolder presence would drive the narrative and heighten the otherworldliness. There’s striking physicality throughout, from Yentl/Anshl’s awkwardness to Hodes’ shy earnestness. The pace is spot on, crackling in the climactic confrontation between Yentl, Avigdor and Hodes. The ever present Torah becomes a fifth character, with a Hebrew inscribed curtain framing key moments (though I would love to know what it says). Overall, the direction is sharp and considered.

UK and original set designers Isabella Van Braeckel and Dann Barber create an evocative, brooding world shaped by flickering candlelight and rustic furniture. The imposing wall feels ancient and unyielding; the shredded rubber floor earthy and primal. Costumes stay muted, with Hodes’ yellow dress a rare flash of hope. Lighting designers Tom Turner and Rachel Burke craft a restrained visual palette, expertly using shadows to underscore the story’s darker elements. Sound designer Julian Starr, with designer and composer Max Lyandvert, subtly build tension through abstract strings, distant voices and electronic pulses. Mask like makeup nods to Purim’s hidden identities, with Yentl the most naturalistic yet still unmistakably masked.

Overall, the cast is brilliant. Amy Hack’s Yentl is superb, expertly capturing the tension between self-determination and destruction, outwardly uncertain yet inwardly blazing. Hack feels fully human, with sharp humour and moving singing. Ashley Margolis’ Avigdor is a knot of contradictions, desperately trying to outrun destiny while giving in to his basest desires. Margolis’ brooding worldliness plays beautifully against Yentl’s raw naivety, deepening both characters. Genevieve Kingsford gives Hodes an endearing, somewhat tragic edge while maintaining a flicker of grit and agency. Evelyn Krape brings a deliciously mischievous darkness to the Figure – part tormentor, part temptation – though the character shifts could be clearer and the timing a little punchier.

‘Yentl’ is a strikingly accessible, compelling look at the clash between self determination and social constraint, resonating well beyond its Jewish roots. It fittingly honours Singer’s original story while asserting its own identity – a powerful, thought-provoking watch.

THE WEYARD SISTERS at Riverside Studios

★★

“has its moments and intriguing ideas, but it struggles to find its footing”

“Life’s but a walking shadow, a poor player that struts and frets his hour upon the stage and then is heard no more.” This line from Shakespeare’s Macbeth captures the fleeting nature of stories. In The Weyard Sisters – The Definitive Sequel to Macbeth, writer/director Helen Alexander attempts to extend the tale, breathing new life into the characters who survived the blood-soaked battlefield of Dunsinane.

Ever wondered what happens next? Alexander offers a glimpse into the aftermath, where power struggles continue and Scottish royal titles remain up for grabs. The focus shifts from the fallen king to the women often side-lined — Lady Macbeth’s resourceful gentlewoman, Agatha (Claire Morrissey), who quickly becomes indispensable to the new ruler, Malcolm (Jonathon Campbell), who remains oddly detached from his role.

At the heart of the story are three women rumoured to be witches—the same ones whose prophecies led to the Macbeths’ tragic actions. Now, they’re front and centre. Portia (Jan Shepherd), the Porter’s daughter, leads the group, supported by Erlynn (Julia Munrow), the housekeeper, and Marlin (Pippa Caddick), the swineherd. Shepherd delivers a lengthy, fourth-wall-breaking comedic monologue that explores their driving purpose, while Caddick’s performance, full of nervous tics and twitches, shines in her interrogation scene. Despite Alexander’s intention to provide a female-centred perspective, the witches, though having some striking moments, feel more symbolic than impactful.

The more engaging parts of the play revolve around the battle-scarred warriors, both physically and emotionally, as they try to find their place in the new order. Bradley Benjamin stands out with a nuanced portrayal of Macduff, capturing the raw anger and emotional vulnerability of a man tormented by the loss of his family.

While billed as darkly funny, the play also incorporates broader humour, particularly through Gordon, Malcolm’s newly appointed and out-of-his-depth servant. Ciaran Corsar’s natural warmth and charm shine as he navigates his new responsibilities with endearing awkwardness.

On the production side, Dana Pinto’s minimalist design, featuring rustic props and white linen sheets to divide the front and backstage, is effective. The lighting design, equally simple, is used to good effect in a flashback sequence, with actors engaging in shadow play to depict past battles. There’s a punk aesthetic to the Celtic costumes, especially for the male characters. The soldiers’ distressed fatigues and kilts contrast with the more refined attire of Malcolm and Macduff, reflecting their higher status. The costumes also subtly explore themes of same-sex relationships, with two guards donning accessories associated with gay iconography, adding an extra layer to the narrative.

Helen Alexander’s ambition to create a definitive sequel to Macbeth is evident, and The Weyard Sisters is intended as the first in a planned trilogy that may eventually address some of the questions it raises. However, the execution in this initial instalment falls short. There’s a lot going on—questions raised but not resolved, themes introduced but not explored, and diversions that lead nowhere. While it’s refreshing to see a play that challenges the audience, this one often feels like it’s trying to do too much without delivering. It helps to brush up on Macbeth, as the play assumes familiarity with the original, and the nods to a broader Shakespearean universe don’t quite compensate for the lack of coherence.

In the end, The Weyard Sisters has its moments and intriguing ideas, but it struggles to find its footing. This ambitious project may have potential, but for now, it feels more like a work in progress than the definitive sequel it aims to be. Much like those fleeting shadows, it won’t linger in the mind.

Tag Archives: Claire Morrissey

YENTL

★★★★

Marylebone Theatre

YENTL

Marylebone Theatre

★★★★

“Amy Hack’s Yentl is superb, expertly capturing the tension between self-determination and destruction, outwardly uncertain yet inwardly blazing”

YENTL

Marylebone Theatre

Reviewed on 11th March 2026

by Hannah Bothelton

Photography by Manuel Harlan

YENTL

YENTL

YENTL

THE WEYARD SISTERS

★★

Riverside Studios

THE WEYARD SISTERS at Riverside Studios

★★

“has its moments and intriguing ideas, but it struggles to find its footing”