Yentl Review: gender fluidity and societal expectation transcend history
- Emma Knott
- 1 day ago
- 3 min read
11 March 2026 I 19:00 I Marylebone Theatre, London
⭐⭐⭐ I PR - Invite
Based on the original short story by Isaac Bashevis Singer, and made famous across the world by the musical film starring Barbra Streisand, Yentl transfers to London's Marylebone Theatre until 21st April. This marks the first significant production since the '83 film, following acclaimed seasons in Melbourne and Sydney.
Kadimah Yiddish Theatre' production arrives at a venue that houses one of the internationally liveliest centres of Jewish theatre. Yentl carries with it a message of self-discovery, yearning and queer exploration, offering insights for audiences unfamiliar with late 19th century European history, while resonating deeply with those who know it well.
This quietly radical play begins at a slow and unassuming pace, taking time to gather momentum as the story develops into the second act. Gary Abrahams' direction presents a thoughtful and emotionally resonant retelling of a cherished story, that holds faith at its heart.
Set within a strict Jewish community (shtetl) where women are forbidden from studying religious texts, the show follows Yentl, played by the phenomenal Amy Hack who originated the role in Australia. She portrays a determined young woman who disguises herself as a man, to enter a yeshiva and pursue the education she longs for. She becomes entangled in a love triangle with Hodes (Genevieve Kingsford) and Avigdor (Ashley Margolis), forcing her to confront questions regarding her sexuality and identity. Both supporting actors bring a striking vulnerability, both physically and emotionally, to their roles.
Act One's slow pacing may waver audience interest, however the adaptation ultimately succeeds in its reflective nature. A stage design by Isabella Van Braeckel is simplistic yet effective, allowing the focus to remain firmly on the characters and the story's moral complexity. A significant portion of the play is spoken in Yiddish, with English surtitles projected onto the back wall to guide us through the dialogue.
The costumes, originally designed by Dann Barber, also hold importance in shaping an atmosphere. Rooted in the traditions of an 1870s Polish shtetl, they help to establish the strict social structures that define their lives, notably the contrast between male and female dress. Yentl's transformation into a male student is conveyed not through elaborate costume change, but through careful, symbolic details.
We see quiet intimacy balanced with moments of humour and warmth, distinctly through 'The Figure', played by Evelyn Krape. This nameless entity follows Yentl, giving voice to her internal thoughts. The character further transforms into various figures, including Yentl's father and Hodes' mother, subtly grounding the concept of gender fluidity.
Its depiction of tensions between personal ambition and societal expectation raise questions about gender and belonging, that still feel strikingly relevant today. The story makes you want to learn more about the history, certainly the case for me, as I found myself delving into the traditions and cultural context of Yentl's world.
Fundamentally, this play feels both timeless and contemporary, where its themes of identity and courage to live authentically transcend the historical setting. In spite of a first act that struggles to find its footing, Abrahams' thoughtful direction and Hack's compelling central performance leaves audiences with much to reflect on after the curtain falls. Embrace curiosity and Yiddish tradition with Yentl, playing at the Marylebone Theatre for a strictly limited run:
Information & Tickets: https://www.marylebonetheatre.com/productions/yentl
