Standing on the floor stage left is an enormous, nearly cuboid, ceilingless glass box that periodically rotates. Hanging above the playing area stage right is a huge globe representing the moon, the heavenly body most referred to in the text. Pastukh’s set uses geometry symbolically. This gives the impression that we are in the same situation as are the main characters Hanan and Leah of being in one world and glancing into another. Designer Simon Pastukh covers the stage opening, the back wall and the legs in plastic curtains spatter-painted in grey. Whereas Soulpepper took a realist approach, Gesher’s is obviously symbolic. The difference between the Soulpepper production and Gesher Theater’s is apparent immediately from the set. Nevertheless, the result is a production with greater theatricality and far more impact. Chen’s adaptation is not as close to the source as was Anton Piatigorsky’s adaptation for Soulpepper seen here in 2015.
It also adds a chorus of comic ghosts who only help to make the scenes of possession more disturbing. Roee Chen’s adaptation radically cuts the play that premiered in Warsaw in 1920, streamlines the action and removes any taint of wrong-doing from the main male character. Ansky’s classic play The Dybbuk is visually arresting and impeccably acted and directed. Hanan: “If we are not together - the world will cease to exist” Ansky, adapted by Roee Chen, directed by Yevgeny Arye
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