S. An-sky’s “The Dybbuk” is arguably the most famous play and film in the cannons of Yiddish theater and cinema. Written in 1914 and first produced by the Vilna Troupe in 1920, “The Dybbuk” is an otherworldly tale, based on Jewish folklore collected by An-sky during a three-year ethnographic expedition through Russia and Ukraine. In the play, Leah, the daughter of a rich merchant, is possessed by the dybbuk of her suitor Hanan, who died after Leah’s father opposed the match. Though an attempt is made to exorcise the Dybbuk and allow Leah to marry her new suitor, she ultimately chooses to unite with her first lover in death.
In addition to its original stage performance in Yiddish, “The Dybbuk” was translated into Hebrew by Haim Nahman Bialik, into English by Henry G. Alsberg, and was produced as a Yiddish film in 1938 by Polish-Jewish director Michael Waszynsky. Now, a production of “The Dybbuk” is being staged from May 22 to 25 in Montreal by Uncatalogued Productions, featuring an all-female cast. The Arty Semite spoke to director Avia Moore about the significance of this casting decision, as well as the ways in which this production experiments with one of the most experimental Yiddish plays.
Ezra Glinter: Why “The Dybbuk”? Isn’t there a less famous play to bring to the public’s attention?