[NEohioPAL]Berko review: MODERN ORTHODOX (JCC/CCC)

[Roy Berko]

‘MODERN ORTHODOX’ pleases some, upsets others at JCC

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

Lorain County Times--Westlaker Times--Lakewood News
Times--Olmsted-Fairview Times	

When ‘MODERN ORTHODOX,’ the play now being produced by
the Jewish Community Center in association with
Cuyahoga Community College, opened in New York, it was
met with very mixed reviews.  Most theatre observers
forecast a short run.  In actuality it stayed open for
six-months.  This neither made it a hit nor a flop,
kind of in-between.

An on-line site surveyed people coming out of the Big
Apple production.  Their comments included:  “It’s
hysterical.”  “It's an awful, unfunny, sexist, overly
schticky, cliched, trite show.” “I loved it!” “I hated
it!” “It’s insulting.” Listening to reactions at the
opening night of the local production,  opinions were
about the same.  Thumbs up, thumbs down, and some
hands wiggled from side-to-side.

Daniel Goldfarb’s ‘MODERN ORTHODOX’ attempts to
examine love, relationships and sex from a Jewish
cultural stereotypic viewpoint.   The use of
stereotypes isn’t necessarily wrong, it’s just that
Goldfarb doesn’t have the writing ability to pull off
the comedy while making relevant points.  This doesn’t
mean there isn’t humor.  There are plenty of laughs. 
But at the end of the play the question arises as to
what was the author’s intent?  Comedies are intended
to have a message. Neil Simon, for example, wrote for
laughs, but his plays make a point.  What is Goldfarb
trying to tell us?   

Maybe from Goldfarb’s view, religion and relationships
are inextricably linked.  His two major characters,
Ben Jacobson and Hershel Klein, are at opposite ends
of the religious spectrum.  Ben is a "high holiday
Jew," while Hershel is Orthodox in dress, speech, and
behavior.  Ben wants to buy a diamond ring from
Hershel so he can propose to Hannah, his live-in
girlfriend of six years.  Hershel disapproves of the
live-in arrangement.  As they bicker, Ben's innate
distaste for Orthodox Jews becomes evident, even
taunting Hershel to remove his yarmulke in order to
seal the deal.  Hershel does so.   The question must
be raised as to the significance of that act.  Is this
a comment on the role of the Jew being more in love
with money than religion?  This is not the only
unanswered question in Goldfarb’s script.   He wanders
around making fun of orthodox sexual practices, Jewish
dietary concepts, wedding rituals, the guilt of those
who aren’t “true” believers, attitudes toward women. 
And, for what purpose?  For laughs?  To make a point? 
You got me...I’m not sure.  It’s always been my belief
that comedy writers use humor to make a point.  What’s
Goldfarb’s point?

Logical questions arise.  Why, when Herschel appears
at his doorstep doesn’t Ben toss him out on his tuchis
(Yiddish for rear-end). Is Herschel’s presence enough
to stimulate Ben and Hannah having a relationship
crisis?  Why is Rachel, a woman with a master’s degree
who Ben finds as a potential wife for Hershel on the
on-line Jewish dating service so shallow?  Is she so
desperate to have sex that she’ll marry anyone?  

The local production, under the direction of Fred
Sternfeld,  generally does a nice job with what they
have to work with.  Brian Zoldessy is hilarious as
Hershel.  Zoldessy, as is his classic trademark, flits
around with his feet hardly ever hitting the stage. 
He is appropriately a “cheleria” (nervous wreck) of
the highest order.   It’s worth going to the
production just to see him in action.  

Larry Nehring, is believable in his “nice guy” role,
often looking like a puppy dog whose purpose in life
is only to please.  Unfortunately, the script never
gives us a clue as to why he would act this way.

Lara Mielcarek makes Hannah as real as she can be with
the lines she’s been given.  The kissing scene with
Hershel, while hysterically funny, is again one of
those unexplainable Goldfarb moments.

Holly Facer, is off-key as Rachel, Hershel’s intended
wife.  Part of the problem is her inappropriate
costume.  No orthodox Jewish woman would be seen in
costume designer Aimee Kluiber’s ill designed garb. 
Long sleeves, long skirt are requirements, not low cut
revealing clothing.  Facer doesn’t seem to get the
underlying motives of the character to crave sexual
attention because she isn’t allowed to express natural
desires.  She is not a sex-pot as Facer seems to make
her.

Ben Needham has the difficult task of attempting to
design a supposedly small New York apartment in the
massive CCC theatre stage.  

Richard Ingraham’s musical interludes are appropriate
to the script.

CAPSULE JUDGEMENT:  Its difficult to predict any
audience member’s reaction to this production.  There
are lots of laughs, but for what purpose?  There is
the potential to offend many in the audience, yet
please others.  “All I can say is OY VEY.” 

‘MODERN ORTHODOX’ runs through November 5 in the
Performing Arts Auditorium at Cuyahoga County
Community College ‘s Eastern Campus .  For tickets
call 216-800 766-6048 or go on line to
www.tickets.com.



Roy Berko's web page can be found at www.royberko.info.  His theatre and dance reviews appear on NeOHIOpal, an on-line source.   To subscribe to this free service via the World Wide Web, visit http://lists.fredsternfeld.com/mailman/listinfo/neohiopal.

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