1975 play by Napolin and Singer
Yentl is a play by Leah Napolin and Isaac Bashevis Singer.
Based on Singer's short story "Yentl the Yeshiva Boy" published in 1962, it centers on a young woman who defies tradition by discussing and debating Jewish law and theology with her rabbi father. When he dies, she cuts her hair, dresses as a man, and sets out to find a yeshiva where she can continue to study Talmud and live secretly as a male named Anshel. When her study partner Avigdor discovers the truth, she is conflicted about pursuing a relationship with him because it will compromise her higher calling. The play focuses on the spiritual equality of women in a segregated Jewish society that does not see women as equals to men, but at the same time prioritizes religion and relationship to God above all else. More generally, the play's conflict is between one's need for self-actualization and the demands of society as well as one's baser desires.
Production.
The Broadway production of "Yentl" premiered at the Eugene O'Neill Theatre on October 15, 1975, played eleven previews, opened on October 23, 1975, and ran for 223 performances, concluding on May 2, 1976. It was directed by Robert Kalfin. The cast included Tovah Feldshuh, John Shea, and Lynn Ann Leveridge. It was produced by Cheryl Crawford, Moe Septee, and associate producer Paul B. Berkowsky. Scenic design was by Karl Eigsti, with costumes designed by Carrie F. Robbins, lighting designed by William Mintzer, hair design by Patrick Moreton. The general manager was Paul B. Berkowsky, the company manager was Gino Giglio, the production stage manager was Clint Jakeman, the stage manager was Richard Manheim, and the general press representative was Betty Lee Hunt.
Screen adaptation.
As early as 1968, Barbra Streisand had expressed interest in a film adaptation of Singer's short story. Using the Napolin/Singer play as her source material, she wrote a detailed forty-two page treatment, the first to conceive of the movie version as a musical. The resulting 1983 production veered dramatically from the original short story and play by allowing Yentl to reveal her true feelings for Avigdor and having her return to her female self and sail for the United States at the end.
The film received a scathing review from Singer, who was particularly taken aback by Streisand's monopolization of the production to its detriment: ;templatestyles src="Template:Blockquote/styles.css" / ;When an actor is also the producer and the director and the writer he would have to be exceedingly wise to curb his appetites. I must say that Miss Streisand was exceedingly kind to herself. The result is that Miss Streisand is always present, while poor Yentl is absent.
The film was well received by others, however, including reviewers at "Time", "Variety" and "Newsweek". Box office receipts were also healthy, both domestically and internationally, and the film was ranked 19th in the year's moneymakers. At awards time, Streisand was snubbed at the Oscars, but the film itself received four nominations, notably winning for Best Original Music Score. "Yentl" won two Golden Globe Awards for Best Director and Best Motion Picture (Musical or Comedy).
References.
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