The slumped jaws of the judges of "The Singer in the Mask" could not be missed when the identity of "The Strawberry" was revealed.
Sandra Sadeh, 72, a veteran and esteemed actress, peeked through the costume with her mischievous smile and stunned everyone.
Everyone, but not herself.
"Deep down I always had the feeling that I was a singer, that she just did not give herself the chance to go out with it," she says.
"I sang a bit at 'Sweeney Todd' at the Cameri, a bit on stage, a bit here, a bit there, but it was never really in the front. .
What was difficult? Sing in the mask? Maintaining confidentiality?
"I'm an actress and tied to a garment, and in this outfit they worked and debated every fold. It was a craft of thought, and sewing was part of their soul and became part of my soul. Same with the hat. I entered the game like a girl going into a competition she did not know. Of 'The Singer in the Mask', because I work in the evenings.
And I knew Captain was there.
So I went for it without thinking deeply.
"As soon as I was told it was over, my world fell on me. It's not that I thought of reaching the end, but I'm an actress with ambition, a performer, and I did not take into account the early death."
Death is a bit dramatic.
"I'm a dramatic character, but my experience was one of death. At that time, while filming for the show, I was photographed for the youth series 'Ziggy', and my character was killed. Also in 'The Greek Zorba' (a joint production of Habima and the Be'er Sheva Theater) .
"I was born four years after the Holocaust, and I have no problem connecting to the psychic realm that connects to the experience of death, disaster and loss. I was fired after three shows, and instead of being vocal and athletic, because it's just a game, I did not want to break up. ? Then they told me to sing again, so I'm also killed, and I have to sing too?
"Walking after being exposed to the locker room was like DEAD MAN WALKING. You see nothing, only through the mouth, Captain held my hand, and I just think I failed. I failed."
I was actually complimented on the poetry, did it not encourage you?
"No, who thinks of compliments. The late Nola Chelton, my guru, once said to me: what is good does not matter.
Throw it aside and deal only with what is not good, so that you can fix it. "
It is difficult to conduct oneself with such a philosophy.
"No, it's a philosophy that you can call yourself an actress. Because if you just pat yourself on the back and say 'I'm good, you will not get art out of it. Well no art comes out. Only if you want to fix and create something better because you were not good enough, "You have the right to call yourself an actress. That's how I was taught, and it stays in my blood. You did not come to hang out, the audience came to hang out. You came to work. And it is hard and cruel work."
In retrospect do you regret leaving?
"No, I'm just shocked by the intensity of the experience. I did not consider it to be so dramatic. But it's not fair not to talk about the good things either, we do not want to oppress the readers only with the bad things.
"I had my 72nd birthday, and that day I played on stage in my favorite show in the world, 'Talk about their whereabouts,' a play by Nava Semel in which Ruby Porat and I play hate-loving neighbors. At the end of the show, Robbie took the stage and said to the audience: Sandra's birthday, our strawberry. 'She did not finish the sentence, and the whole crowd shouted Bravo, got to his feet and cheered. This challenging and difficult experience, I can say that something good has come out of it. "
I guess Moni, your husband, was your secret man at the time of filming.
"Yes, it was allowed to tell one person, so obviously I told Moni. Over the years he has lived with me he knows I have a singer hiding in me who has never raised his head, so I think with me he thought in good faith that maybe I could suddenly sing. So he praised."
In the theater did not suspect?
"They did not suspect anything. The game itself requires such sophisticated concealment that I could not be exposed."
Did you watch the show?
"No".
Also not in the episodes you participated in?
"True. Even today we do not watch it, God forbid, do not want to return to the twilight zone."
What did the children say when they heard you were the strawberry?
"They did not say anything. They are not moved by their mother's antics. And we have a procedure of not reacting, certainly not to things like that."
"Deep in my heart I always had the feeling that I was a singer."
In "The Singer in the Mask", Photo: From the program
• • •
She was born in Romania to an opera singer couple, Shlomo (Moni) and Amalia.
Her brother, who is two years younger than her, is the international opera singer Gabi Sadeh, and her sister-in-law - fashion designer Dorit Sadeh.
"My parents met at the conservatory in Bucharest. Dad was a tenor, mother a soprano. They both had amazing voices. As a child in Romania I participated in radio shows and played on TV in a children's show. It was a show where actors played grades, I played grade 4.
"We immigrated to Israel in 1964, when I was 15, and settled in a transit camp in Bat Yam, with the great protection of Moshe Sharett, who boarded our ship. My mother, who knew English perfectly, told him: 'I am an opera singer, I do not know how to make a living here.'
"A month after we arrived at the transit station, a truck stopped in front of our house and took down a beautiful piano, which Moshe and Rachel Sharet got for us. The piano stayed outside because it was impossible to bring it into the house, so we built a shed over it, and all the children came to play. .
"My mother started working as a sound development teacher. There was music at home all the time - mostly classical music, concerts, and I rebelled in my heart. I did not want the difficulties of classical music, I said I would be an actress.
"I rebelled against my heart."
In her childhood,
"I started studying at Urban A High School in the theater program in the evening track, because in the mornings I worked as a saleswoman in a jewelry store.
"After three years in the transit camp, we moved to Jaffa, which felt like Beverly Hills to me. My mother immediately joined the Israeli Opera, and then she and Dad moved to play at the Godik Theater. My mother played the ghost, and Lihoram Gaon, who played in 'Casablanca'.
"I was not taken to the army because I did not know Hebrew well. At the age of 19 and a half, I came to study theater at Tel Aviv University."
There you actually met Mooney.
"There I met Edna Mazia, who is my age.
Mooney studied in the class below me at university, he is two years younger than me.
I saw him for the first time in the play 'Che Guevara' in a production of the theater department, and I fell desperately in love with him.
It was two months before a wedding with my heart's choice, that I was in love with him to the roof, and I thought something was wrong in this world, because I was about to marry a man I love true love, and I fall in love with another man just from seeing him on stage - so what a strange life Those, who introduce us to experiences of this kind?
"I overcame my love for Moni and got married. After five years of marriage we had problems and we broke up. At that time I played at the Orna Porat Theater for children and youth and heard auditions at the Haifa Theater, which was a young and kicking theater. Oded Kotler auditions. ', And I saw all their shows.
"I went to auditions and was accepted. There I met Moni again, who was also accepted. We were already partners in the auditions - me, him and Braba, and we started working together.
"We moved to Ein Hod, a kind of extraordinary experiment in humans, led by Nola Chelton, Oded Kotler and Amnon Meskin. Our group also included Braba, Ezra Kafri, Maya Rothschild, Idit Tzur, Ami Traub, and our teachers, Amnon Meskin, Nola Chelton and Oded Kotler.
"We went on an adventure. We got lessons that we did not know when they would end, we stayed with the characters until we went to sleep, we did not know where to put the border. I think that is what they wanted, that this bacterium would enter our blood until the end."
• • •
In Ein Hod you fell in love with Moni again.
"We became partners on stage, we played together in a lot of plays, like 'Crisis' and 'Twentieth Night', which were a success story at the time. I fell in love with him again, because he made me laugh on stage. How much we laughed on 'Twentieth Night'. But Mooney was in love. In someone else, it was several years before we became a couple.I no longer remember how it happened, it just happened and surprised both of us.I told him I fell in love with him for the first time in university, I tell him that to this day.
"As soon as his mother saw me, she told him, 'Marry Sandra.' He told her, 'She's older than me,' and she replied, 'No matter, you'll marry her!'
"Later she told me that the first time she saw me, I was wearing a beret and I looked European to her."
And how did your mother react to the choice of Mooney?
"She was generally unhappy that I was divorced, but very quickly put Moni's picture on the piano, to show off her groom."
They married in 1980, when Sandra was 30. Alma was born a year later, and Michael was born another five years later.
In the late 1980s, the family moved to an apartment in central Tel Aviv, where Sandra and Moni still live.
"Our children are third generation artists. Alma went to New York to study music, and after ten years there auditioned for the Düsseldorf Opera Singers Ensemble, and was accepted. Eight years ago she was invited to the Komisha Opera in Berlin. She is an opera singer and lives with Amichai Gross, the violinist The head of the Berlin Philharmonic, they have two children - Daniel, 6 and a half years old, and Nina, 5.
"Michael does a lot of things - music, film, television. He has worked a lot abroad and in Israel.
He recently married Sheeran, a computer woman with a greater imitation talent than the rest of us, particularly charming.
They live in Tel Aviv, close to us. "How much do you get to see the grandchildren?
"A lot. We've in daily contact, in video calls, but it's still not the same as watching them in sequence. I travel as much as I can, and already know the way there as if I travel with a show out of town. During the Corona period they lived with us for a month and a half, so That was a great consolation. "
The two children followed you with their careers. Did you like it?
"It's a fate that is a burden, but it's also a privilege. They both also know the difficulties of the profession. The fact that the whole family is actors makes us understand each other and identify. Everyone supports everyone, both good and wonderful and difficult. Give too much advice, and they try not to ask too much. "
"The fact that the whole family is actors makes us understand each other."
Above: with Moni, daughter Alma and her husband Amichai and grandchildren Daniel and Nina;
Below: With son Michael, Photo: Meir Partosh
• • •
One of the things that excites her the most today is the new role in "Fiddler on the Roof", one of the most successful musicals in the world, which will be staged in June at the Hebrew Theater, directed by Natan Datner.
She will play Golda, and Datner will return to the role of Tuvia the Milkman, who played in a production at the Cameri between 2008 and 2016.
These days there are hectic auditions for the rest of the roles.
"Less than two months ago, I saw Alma at the premiere of 'Fiddler on the Roof' in a production of the comic opera. She plays Zeitel, Tuvia's eldest daughter. It's a crazy production, which I found myself intoxicated by its beauty.
"I fell in love with the character of Golda, who constantly thinks of others and not herself. I liked this Jewish mother, who is preoccupied with the problems of others, and she seems to be non-existent. The part where Tuvia asks her: 'Golda, me - do you love?', And she looks at him. And answers 'loving', and says to herself: Find time for him to ask such a question, if there is no choice he is answered, who has any time at all to think about love.
"After a week, Yigal Hartel from the Hebrew Theater called me with the offer to play Golda. I said to myself, it's a bit mystical, and also - after I kept crying about the anguish of 'The Singer in the Mask' - the good side of it came. I said goodbye to the dress quickly, because I have You are Golda. "
Many productions of "Fiddler on the Roof" have already come up in Israel, what will be different this time?
"I can not think of a comparison to other versions but only of this moment, when I will be with Datner on stage and hear his powerful voice asking: 'Me - do you love me?'
"My mother used to play 'Fiddler on the Roof.' I remember her coming home and singing, so it connects me from all directions. I'm just waiting for this moment.
"I played with Datner in the play 'Fleischer' on stage, an amazing play about the Holocaust, the field that is my specialty. Nola would always say, in a dramatic, painful or scary situation: 'You want to take the Shoa - take the Shoa'. Unfortunately, the experiences of the Holocaust "They are a bottomless pit of pain and anguish, and that was the source of my connection to pain, as a classic second generation to the Holocaust."
Is Amalia in "Fiddler on the Roof", Photo: From the family album
How much of the Holocaust was present at your parents' house?
"We grew up with it. My brother and I heard detailed Holocaust stories every day, what they did to the Jews. My parents lived in Bucharest, my father was in a Romanian labor camp. The Nazis did not make it, so we heard about the horrors of others. They did not have time to get close. They miraculously survived, even though there were riots and murders. Mother's Jewish friends would put under the bed the shovel and all kinds of tools, beating those who would come to pick them up. It was completely daily and tangible.
"Datner's mother was in Auschwitz, with a number on hand. I played with him at Fleischer, a Auschwitz survivor who opens a butcher shop in Tel Aviv, and there was not a single evening that I did not feel chills, even now I have. Today I play in Nava Semel's play about the Holocaust. Nava's is in it. She was in exactly the same place as me, getting up in the morning and having to say to herself: I'm not in Auschwitz, I'm in Tel Aviv. She put it in writing, and I'm on stage.
"Today I bought two of her children's books, 'Courage to Be Afraid' and 'Faye and the Thermish', and I consider when it is right to let my grandchildren read, and when at all to put them in the same mental area of Nava and mine, which is tied in the same gold squares with Jewish names "They step on them every day on the way to kindergarten and school."
• • •
In "Explanatory Sabri" she plays the iconic character of Ricky Rosen, Pinchas' angry Polish wife (Tuvia Tzafir).
The critics kill, the crowd goes crazy, and Sandra is mostly amazed by the young crowd that discovered her.
"It's really the kind of thing I'm shocked by, that kids love the character," she says, "it's the genius of Robbie (Duanias) and Yaniv (Polishuk), who wrote such an antipathetic character, and yet 8-year-olds come to me and tell me they adore me. Lord of the world, for what? It really is a kind of miracle.
"Since this success came to me at a late age, I am so enthusiastic about it. In the filming I really enjoy the company, the wonderful relationship with everyone. With Tuvia it is almost a double life - he was my suitor on stage as well (in the theatrical version of 'Givat Halfon'; "C), and I feel the closest to him in the world.
I love Yona (Elian) a huge love, and am excited to meet Yehoram as I was excited when I was a child in the Alhambra Corridors.
"Rotem received me from day one as if I were her real mother, and it did not stop for a moment."
Outside of filming, do you get to spend time together?
"Not so. In our profession it is not easy to maintain friendships, you start with a cast and feel that it is your family, move to a second cast, join another group, and a few years later you no longer remember who was in the first cast. It is such an intimate profession, castes Dispersal, which is a recipe for loneliness at a late age. "
"Wonderful relationship."
With "Sabri Mernan" actors, Photo: Ilanit Duanis
In real life, do you have something marquee?
"I'm basically what psychologists call a 'pleaser,' a lecturer. I'm willing to commit suicide to please whoever's in front of me, and it's just the opposite of Ricky Rosen. And it upsets her.
I've been trying all my life to solve this and be more courageous and unkind, so meeting Ricky is a kind of therapeutic gift.
This is the ultimate therapy.
"This morning I spoke on the phone with a representative of the courier company, through which I sent my daughter a birthday present. Throughout the conversation we had, annoying texts like Ricky's came out of me. Questions like 'Oren, are you still there? Hello? Don't you have a big box? "In the end, I found myself apologizing to the guy, because I was back to being me."
"Playful explanations" take place around Friday night meals. How is your family?
"Over the years, our family meal has always been Saturday at noon, because on Friday evenings we work. When we were younger, I would prepare meals for 40 people, family and friends. Today, if there are four around the table, it's a celebration."
How long do you think the series will last?
"I always hope the phone comes and they announce that they want another season. After each season I tell myself that this is, it's the last season, and it always comes. Now I pray that we will all be healthy, and that it will continue. Eight seasons have been filmed, the seventh season is currently airing. I know what's going on with the ninth. "
What reactions do you get on the street?
"Many tell me, 'How I like your show,' forgetting that there are another 40 people there. I'm surprised that despite the character's antipathy, people like her. It's exciting and joyful. That's exactly why I became an actress."
• • •
She is currently starring in three plays on stage: "Talk About Their Location", "The Greek Zorba" (co-produced with the Be'er Sheva Theater), and "Road Signs" - a musical play about the life of Naomi Shemer, which came down following a financial dispute by the previous theater management With the Shemer family and the creators of the musical, and now, once resolved, he will return to the stage next month.
"I did not know Naomi personally, but it's a privilege to play her," says Sandra.
"I play her in the mature and difficult period of her life, in which she dealt with the nightmare of the accusations about 'Jerusalem of Gold' (according to which she wrote the melody under the influence of a song with Basque; MK) and also with the disease.
It feels at home to me again, because you will only give me hard materials - I open the door and enter the familiar area, which connects me to the need to be an actress.
"It makes me happy to see that there is a young audience that has come to hear about the greats of our culture. It is known that most of the audience in the theater is older, and that is stressful. I hope our profession will continue to be relevant for generations of ticketing."
With Ruby Porat Shoval in "Talking About Their Location", Photo: Or Danon
Your profession was at the bottom of the priorities during the Corona period.
"True. Moni and I were at home, but we are optimistic people, and we did not get into these thoughts that the theater would never come back. There were fears, but we did not believe it would go away.
"Then our filming came to TV, and it was a gift. I filmed two seasons of 'Sabri Rejoicing,' and Moni started filming the reunion of 'This Is It,' and it was a complete rescue. He was busy with this thing that he loves so much and fulfilled, the birth. Re of this whole thing.
"One day I got in a taxi, and the driver asked what I was doing. I said I was an actress, and he said to me, 'Tell you the truth? Am I willing to give up theater?' "Another place, neither in the cinema nor in front of the television, will not give up. And he really does not give up, and that's wonderful."
What about reviews?
"Throughout my career I have only been afraid of the criticisms of Michael Handelsalz (former theater critic of Haaretz; MK).
Every night I was shaking for fear that he would write something bad about me, I think it never happened.
"But write about me badly, do not worry. I have a whole list, and I have memorized all the bad reviews, including the talkbacks. Because you have to deal. I do not ignore criticism, I learn from it. When criticism is wild and violent, like in talkbacks, there is little to learn. But theater reviews are something to learn from. Nola said the ability to deal with criticism is more important than the talent itself.
"After reading I move on, but pay the price for dealing with what's not good enough. It's the price of the right to call yourself an actress or artist. You learn what you are not like, and should be brave. I can quote you comments I received on Facebook about my photos." .
When you started your career in the field, did you encounter sexual harassment?
"I grew up in a time when if I had not been sexually harassed, I would have thought something was wrong with me. The equation was: I am equal - I am accepted - I am sexually harassed. To be harassed was to belong, not necessarily in the stage world but in general. It was a way of life.
"לי היה מזל אחד גדול - שהמורה שלי למשחק היתה אישה, והדבר האחרון שעניין אותה זה להטריד אותי מינית. לכן אף אחד לא הצליח להטריד אותי מינית בתחום שלי. כן היה מוכר בחנות, או החייט ביפו שהייתי באה אליו למדידות אחרי שקניתי בד לתפור שמלה, והיה מובן מאליו שאני חוטפת כמה נגיעות, בלשון המעטה. ניסיתי בעדינות להדוף אותם. אבל בתיאטרון היה לי כוח, כי נולה נתנה לי כוח להגיד שאמנות והטרדות מיניות לא הולכות ביחד. היא ישבה לי מול העיניים כל הזמן, ולכן ניצלתי. וזה מהותי, כי ברגע שמישהו מטריד אותך ויש לו כוח של במאי או מנהל תיאטרון - זה שילוב קטלני".
ראית הטרדות כאלה מסביב?
"כן. שחקן שכבר לא איתנו היה מפסיק חזרות כדי לצאת עם מישהי להתחרמן, וכל הקאסט היה מחכה שיחזרו, וממשיכים כאילו לא קרה כלום.
"בתיאטרון של גודיק, בהפקה שבה שיחקה אמא שלי, שחקן בכיר ניהל רומן עם אחת הרקדניות. כשהרומן נגמר, זרקו אותה מההפקה, כי הוא הציב את זה כתנאי להישארות שלו. זו היתה הנורמה. הבנתי אז שלא ייתכן שיהיה קשר בין הדרך להפוך לשחקנית לבין המיטה של הבמאי או המנהל האמנותי".
מה את חושבת על מהפכת מי טו?
"אני בעיקר שמחה בשביל הנכדה שלי, שנולדה אחרי הדבר הזה. זו נחמה גדולה. עדנה מזי"א אמרה שבסרטי אורי זוהר היתה נורמה תרבותית להפוך את האישה לחפץ, לאובייקט מיני, שמקסימום גם מנקה פה ושם ויולדת ילדים. זו היתה התרבות הנערצת והנשגבת אז. היום אנחנו בזמנים טובים שאפשר להגיד את זה בקול רם, לתאר את התרבות שהיתה ולהתנהג אחרת".
• • •
בשונה מנשים רבות, אין לה שום בעיה לדבר בפתיחות גם על הליכים קוסמטיים שעשתה. "פרופ' יורם יובל אמר פעם שצריך להעניק לי צל"ש על כך שאני מודה שעשיתי ניתוחים פלסטיים", היא צוחקת. "הוא אמר שזה גורם לאושר יותר מלהרוויח מיליונים".
וזה באמת גורם לך אושר?
"בהחלט. קודם כל, יש לי תירוץ - אני עובדת מול מצלמה, והנראוּת של שחקנית היא חלק מרכזי בעיניי. יש לי ממש תשוקה לזה, גדלתי בבית שבו אמא שלי אמרה כל הזמן 'את לא מספיק יפה'. ברגע שהבנתי שבכלל יש אפשרות כזאת, נכנסתי לעולם הזה. בגיל די מוקדם, 46, עשיתי ניתוח פלסטי ראשון. עד היום היו ארבעה. המנתח שלי, אייל גור, הוא האליל שלי.
"גם גיסתי דורית שדה שאבה אותי לעולם היופי. אני פרזנטורית של הבגדים הנפלאים שלה, וזה היה עוד תירוץ להתעסק ביופי ממקום אמיתי לגמרי. הרי היום אם רואים אישה מבוגרת שפעם היתה מאוד יפה, יש כאלה שיגידו: 'אוי, אלוהים, מה הטבע עשה לה, זה נורא ואיום'. אבל אם היא מעזה לעשות ניתוח פלסטי, אומרים 'מה זה? זה בכלל לא היא, זה לא טבעי'.
"את יודעת אילו השמצות אני מקבלת? שלשום יצאתי ממספרה עם תספורת חדשה שמצאה חן בעיניי, והעליתי תמונה לפייסבוק, אני עושה את זה לעיתים רחוקות. ואז התחילו תגובות.
"חברים טובים כתבו: 'איזה יופי את נראית'. ומצד שני, מישהו כתב: 'את נראית נפוחה, מעניין איפה הפתיל שממנו את מכניסה את האוויר'. אחר כתב שאני נראית כמו מייקל ג'קסון. כתבו לי, 'איכס, זקנה'".
נפגעת?
"זה כואב קצת, ואחר כך אני מתעודדת שגם את משפחת קרדשיאן מעליבים. אני לומדת להתגבר על זה. הגיל לא מטריד אותי, אני מרגישה שזכיתי. אני עושה פילאטיס כבר שנים, אני תלמידה של דליה מנטבר וממשיכה את הדרך שלה, ויש לי, תודה לאל, דוגמאות של בכירות ממני, כמו ליא קניג, מרים זוהר וגילה אלמגור, שחקניות שפורחות היום על הבמות, יש להן תשוקה והן מצליחות, רלוונטיות, לומדות טקסט ונוסעות בכל הארץ. זה תענוג, מתנה. יש לי למה לשאוף. אני לא מרגישה את הגיל, אני ילדה, רק בת 72".
• • •
"בנוסף יש גם 'אנטי־אייג'ינג לנשיוּת', לאזורים האינטימיים הנשיים. עצם העובדה שזה קיים היא מדהימה. אני לא עושה הרבה כי לא צריכה הרבה, אבל יש נשים בנות 70 ו־80 שזקוקות. זה מצעיר את האיברים, נותן חיים באזורים האלה, וזו מתנה אדירה שמעמידה את הנשיות במקום של כבוד. מי שמתמחה בזה היא הגינקולוגית פאני בר לוי, היא פורצת דרך בארץ.
"אני מעודדת נשים לעשות מה שהן רוצות, מה שיגרום להן אושר, בלי להתייחס ל'מה יגידו'. אז יגידו, 'זה נפוח, זה פויה'. פויה, אבל אני מאושרת מזה".
ויש לה גם "מורה לעולם האנרגטי", חנה פילניק. "היא הילרית שעובדת עם מדיטציה ואור. מדיטציה מודרנית, קצרה, עם אנרגיה חיובית. הכרתי אותה דרך הבת שלי, שלומדת אצלה יותר מ־15 שנה. היא היתה אומרת לי: 'יש לי מחר אודישן, והגרון שלי דולק'. הייתי מתקשרת לשכנים שלה ומבקשת שילכו לבית מרקחת לקנות לה דברים. כשהתקשרתי אחר כך לשאול איך היה, היא היתה אומרת: 'היה בסדר, עשיתי טיפול עם חנה'.
"כשאת קמה בבוקר, כל הדברים הלא טובים יכולים לעלות ולחנוק אותך. יש הרבה דברים מפחידים, ותחושת הכישלון תמיד עומדת בפתח. ככל שאת מתבגרת כך קל עוד יותר להצטרף לחמוצי הפנים. אני נלחמת בזה בעזרתה. אנחנו עושות מפגשים בזום, בכל פעם יש תוכנית חדשה.
"Now it's a program called 'Love of Life.'
"I'm a very unspiritual woman. For years I had opposition to it, I said what, I'll work with imagination? I imagine enough in the theater, can not turn my tools into a healing tool. But after seeing it work on Alma, I said I must give it "A chance. And I'm grateful I gave it a chance."
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