Even in episode 8 of the series, which airs here 11, the script, acting, credibility and accuracy continue to turn "rehearsals" into real candy • In the days when the world of culture is in danger of extinction, this series is a breath of fresh air
Noa Koller and Erez Driggs in "Rehearsals"
Rehearsals, Episode 8, Here 11, 21:15 The
success of "Rehearsals," which Otto closes a season, is not trivial at all.
This all-too-intimate series manages to bring such real voices to the screen that it is impossible not to relate to it.
It seems that just as the series is good, the audience has also learned a bit to appreciate the local produce more (perhaps following other successes), and to look at what is in the jar.
The frame story is by Iris and Tomer (Noa Koller and Erez Driggs), who are a couple who also work together in the theater.
He's a director and she's a playwright, and they both can not separate their personal lives from their professional lives.
Their play, written from real-life scenes, was accepted into the theater moments after they experienced a crisis in their relationship and separation.
The real story is not far from reality: Noa and Erez are indeed exes who created and in the past the play "One + One" which came up at the Gesher Theater and where they also played.
There are several elements that make "rehearsals" worthy of all the buzz around.
First and foremost the casting.
Noa Koller has been a big success story in recent years in the local industry.
She was able, thanks to hard work and display of versatile abilities, to get into the skin of diverse characters.
In episode 7, Ofer (Itai Turgeman), in a bed scene with Iris, tells her "Do you know how I know I love you? Because you're not a drinker."
Koller knows she's not a model.
She has the look of the neighbor across the street, and the beauty in her is revealed as soon as she starts playing.
She speaks as you speak, and gets upset and sad as you are sad, and the feeling is that it is familiar and believable.
Admittedly, a collar is the most real thing on your screen right now - you can't help but fall in love with it.
And Erez is exactly her male counterpart.
He has no papers, he brings Tomer's frustrations and confusion to the forefront.
This is what a relationship in crisis looks like, this is what people who want and hate working together look like, and it's just wonderful.
The casting of Lake Rodberg and Itai Turgeman for the role of the two stars who play in the show is also excellent.
Rodberg, as Mia, plays a series actress who wanted a big role in the theater and fell for this show.
Turgeman is addicted to sex and unwilling to admit it.
Both bring beautiful conflicts to the screen and add color to the story.
Each scene with Evgenia Dudina, who plays the director of the dictatorial theater, is a delight to the eyes and music to the ears.
And Mill Ben-Ari, as the veteran actor in the theater, turns upside down the dirty laundry behind the scenes of the stage world in a great way.
Another reason for the success of "Rehearsals" is the excellent script.
"Rehearsals" is a jigsaw puzzle of small moments connected together by skilled hands.
Koller, Driggs and Assaf Amir, who also produces the series, managed to write a story that could have been boring and predictable, turning it into an interesting work that brings life to the screen and creates anticipation for the next episode, even though there is no Cliff-Hangar to build suspense for the sequel.
They gave up the cliché that only one side chases the other side, preferring the small reciprocal courtships, ego games and moments when the love story is set aside to let it migrate the bitterness out of it before it is ready to be served.
"Rehearsals" is another victory of the Broadcasting Corporation here, which closes an excellent year, and is mostly a victory for the local work.
It deals with the world of theater - a place that has been inactive since the outbreak of the plague.
At a time when the field of culture is in danger of extinction, the local work on television proves how breathable the air is for the cultural figures and for us, the viewers, who live from lock to lock.