REVIEW
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Sol Frieder, Tim Pickering and Carol Lempert in Cantorial.
JET's `Cantorial'
Is A Comic Tiriumph
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he Jewish Ensemble
Theatre completes its
second season with Ira
Levin's Cantorial, a charming
comedy about a young couple
whose home — a former
synagogue on Manhattan's
lower east side — is haunted
by the dawning of an invisi-
ble cantor.
In confronting the ghostly
incantations, the couple take
an introspective and often
confrontational tour that
ultimately leads them toward
a renewal of faith and
tradition.
Warren Ives and Lesley
Rosen are the prototypical
yuppies. They hold high-
profile jobs — Warren is a
commodities broker, Leslie, a
public relations represen-
tative. Like any self-
respecting yuppies, all they
want is to be left alone with
their BMW, Cuisinart and
Perrier. But the persistent
voice from beyond swirls
unceasingly, spoiling their
happy lifestyle.
The couple befriends a
neighborhood merchant, Mor-
ris Lipkind, who recounts the
history of the once struggling
shul-turned-residence. Morris
also translates the meaning
of the cantorial prayers of
High Holy Days and Sab-
baths past. The translation of
the Musaf prayer, which
states, "Build your house the
way it was," sets Warren Ives
on a frenzied mission reminis-
cent of the Kevin Costner
character in the film Field of
Dreams ("If you build it, they
will come.")
This production offers fine
ensemble acting featuring
Tim Pickering and Carol
Lempert as the young couple,
and Sol Frieder as their
Yiddish-speaking neighbor.
Mr. Pickering, whose credits
include work with a Los
Angeles comedy improvisa-
tion troupe, exhibited a
nicely-crafted sense of come-
dic timing.
Ms. Lempert's characteriza-
tion was rich and well-
rounded, filled with sensitive-
ly captured warm and comic
nuances. Mr. Frieder, in his
second appearance in a JET
production this season
(Ardenshensky, et. al. in A
Rosen By Any Other Name)
once again exhibited his
powerful range as an actor.
Solid performances by Curt
Miner, Maria Bortell and, in
particular, Carl Knisley,
round out the ensemble. The
beautiful cantorial obbligato
heard throughout the play
was sung by Cantor Harold
Orbach of Temple Israel. His
soulful tenor filled the Aaron
DeRoy Theatre, creating the
perfect mood of mystery and
mysticism.
Yolanda Fleischer's smooth
directing allows the entire
cast to shine. Special kudos to
scenic designer Paul Jenke
who masterfully transforms
the stage from a typical art
• deco home into a realistic
synagogue bimah. His crea-
tive work is especially im-
pressive in light of JET's
small stage.
Ira Levin's script peripher-
ally raises — but leaves
unresolved — such issues as
anti-Semitism and assimila-
tion. But these few loose ends
can be forgiven because the
play is intended as a light
comedy, and as such, it suc-
ceeds on almost every level. ❑