What could be farther from contemporary Israeli experience than a bunch of guys separated by geography, ethnicity, class and outlook, bunking together in Biloxi, Mississippi as they train to join the allied forces fighting in World War II. What could be closer. The military is perhaps the quintessential Israeli experience, whether or not one serves, every Israeli is familiar with the set, costume, dialogue, action and characters of the IDF, and every Israeli knows how she or he feels about it.
It’s a rite of passage in Israeli life, a defining chapter in one’s life, replete with decisions, dilemmas, the glorious insouciance of youth, camaraderie, random cruelty and long stretches of boredom. Much has been said, written and filmed (see Shlomo Porath’s review of Kosashvili’s Infiltration ) about the pros and cons, successes and failures of the IDF’s role as a “melting pot” in Israeli society, turning denizens of Diaspora into Israelis, one platoon at a time. Without entering too deeply into the debate, I will say this: sharing close quarters with strangers does not necessarily lead to closer relationships, shared ideals and vision, but you do get to know one another really, really well.
The Beer Sheva Theatre production of Neil Simon’s Biloxi Blues, translated into Hebrew by Eli Bijaoui and directed by Miko Bozakov, evokes a wonderfully uncanny feeling of being “here” and “there” simultaneously, it’s all-American, and oh, so Israeli, all at once. Sitting in the theatre, the audience’s connection to the performance was almost palpable, and certainly audible, in the laughter, sighs, and the occasional sharp intake of breath. None of this is at all obvious, transplanting even the best and seemingly most universal play from one language and culture to another, is a far from easy task, many plays simply do not take root in a foreign tongue and fail to thrive.
Bijaoui’s translation has such a natural feel to it, as if Neil Simon had always intended the play to be performed in Israel someday. More than anything else, it’s a play about people and relationships, and the nuances of intelligence, personality, education and class have been very deftly incorporated into the translation. Bijaoui has targeted a Hebrew that is very accessible and youthful, without being too trendy. When Sgt. Toomey (Ron Bitterman) asks spectacularly unfit soldier Epstein (Tom Hagi) how he feels about running, the text makes use of the very contemporary “be’inyan” (בעניין ), which gives the dialogue the kind of flow that sounds right to the Israeli ear, and of course the infamous phrase “ma shelo horeg mechashel” (the Hebrew version of ‘what doesn’t kill you makes you stronger’) makes its appearance here too. All this goes a long way towards making the jokes work, and they do.
Great ensemble acting with Tom Avni taking the lead as Eugene Morris Jerome, the eager observer and budding journalist, very convincingly callow and innocent. Tom Hagi does a great turn as Arnold B. Epstein, sensitive intellectual Jew par excellence, who manages to transcend stereotypes in his appealingly awkward stubborn insistence on maintaining his standards.
Director Miko Bozakov frames the story beautifully from the first moment the older and wiser Jerome takes down his old journal, scented with nostalgia, and one by one, the characters come into view, as the memories come to life against Alexander Lisiyansky’s evocative set. The relationships between the men and the irrationality of the military (although why one would expect rationality from a structure designed to train people to kill one another is not clear either) form the strong core of this production. Biloxi Blues is thoroughly enjoyable, very, very funny, and resonates deeply, as amidst the laughter one recognizes oneself and one’s companions in these men, their dreams, fears and struggles.
Biloxi Blues written by Neil Simon, translated by Eli Bijaoui
Director: Miko Bozakov; Stage designer: Alexander Lisiyansky; Costume designer: Svetlana Breger; Lighting designer: Uri Morag; Musical director: Ran Bagno; Cast: Tom Avni – Eugene Morris Jerome; Ron Bitterman – Sgt. Toomey; Yael Grobglas/Inbar Danon – Daisy Hannigan; Eliran Harus – James Hennessy; Tom Hagi – Arnold Epstein; Oren Cohen – Donald Carney; Ori Mazki – Roy Selridge; Adva Adani – Rowena; Itay Polishuk – Joseph Wykowski.
Next performancees: April 23; May 26 – 30, 2013 at the Beer Sheva Theatre. For times and ticket information, consult the Beer Sheva Theatre website.
