Review of ‘Yentl’ (2026, Marylebone Theatre): “Oblivious adaptation is no wonder or piece of sky”

Following its acclaimed original run at the Sydney Opera House, the production lands on the London stage for a limited engagement until mid-April. Guillermo Nazara shares his views on the show to let us know if this English-Yiddish retelling of Isaac Bashevis Singer’s classic is worth rushing for tomorrow night.

Papa shall hear about this. And most likely, he won’t be happy. Neither will be the fans of the film. For the record, this is no adaptation of Barbra Streisand’s timeless cinematic endeavour. And to some extent, we should be grateful for it. Some of the most interesting themes of Isaac Bashevis Singer’s original short story pervade this version on a much deeper level.

This is no tragic romance about a woman pretending to be a man and accidentally falling for one of her peers, only to realise that a life together is impossible if she wishes to continue her study of the Torah. Instead, Yentl’s unconformity with gender roles covers a wider spectrum of ideas regarding individual identity. And despite the plot’s ambiguity, the character’s reading becomes more complex, and it could be interpreted as a nod to non-binarism.

Yentl’s defiance of societal norms, combined with her struggle to live authentically, presents a premise that teems with pathos and introspection. She fights for her own idea of a rewarding existence, filled with the happiness that stems from knowledge and truth — but for that, she must endure sacrifice, suffering, and deception.

It’s a powerful arc that should effortlessly lead to an equally stirring recount. Unfortunately, that’s not the case. Beyond a rough conceptual outline, there’s not much substance to grasp from what otherwise comes across as a shallow script, where the personages’ motives and difficulties are introduced, but they are not understood or explained profoundly enough.

The main issue might reside in the show’s unnecessary metaphysical framework. An androgynous, ethereal figure takes on the role of the narrative’s Greek chorus, commenting on Yentl’s journey through grinning cynicism. It could have helped to delve into the protagonist’s psyche — and ultimately, into her spirit. Instead, it furthers the distance between character and audience, resulting in a vacuous device brought for no other reason than stylistic preference, where content serves the form and not the other way around.

Consequently, the play fails to resonate both topically and emotionally. None of its subjects is handled in a manner that feels remotely compelling, as the text tiptoes on each of them through empty lines and an overall vapid approach. At no moment can we sympathise with Yentl’s plight despite the many hardships she faces. Inevitably, her impact gets blurrier as the performance advances. And by the end, it’s completely dissipated.

Dann Barber’s staging effectively transports audiences into the story’s universe while accentuating its dramatism. A mixture of naturalistic and abstract elements constructs a bleak, whimsical atmosphere with a slightly guignolesque undertone, which is underpinned by the company’s use of white-powdered faces in the style of a Pierrot performance.

Its metaphorical exegesis, which probably stands for Yentl’s double life, as well as a social critique of how different communities force their members to hide their true selves, is a shining touch. It might not brim with originality, but there’s a decent level of subtlety by alluding to classical theatrical techniques.

The same can’t be said about its general functionality, which often comes off clunky. A mottled, greyish curtain slides in and out to create different settings. On very specific moments, its execution overflows with theatrical prowess  — but for the most part, it’s a repetitive, unimaginative move that displays no variety whatsoever.

Evelyn Krape gives the most laudable rendition as The Figure, displaying exceptional presence and vigour through her portrayal of the subjugating character. Nonetheless, Amy Hack’s take on Yentl is disappointingly flat, unable to convey any credibility, depth, or nuance, and instead offering an overenunciated and hardly poignant act.

Modern audiences could have still bonded with a turn-of-the-century woman striving to find her place where her own kind isn’t welcomed. Its potential exploration of genderless identities across history and religion could have led to a most galvanising experience. Unfortunately, this new adaptation of Yentl has produced the opposite outcome, leaving us with a hasty, superfluous iteration, where no light illuminates the night, the way, or the soul.

All pictures credit to Manuel Harlan.

Yentl plays at London’s Marylebone Theatre until 12 April. Tickets are available on the following link.

By Guillermo Nazara