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Between a ripping comedy and a scratchy nickname: the 7 moments that made "Rehearsals" such a wonderful series - Walla! culture

2021-01-11T20:10:58.142Z

Our lost-to-where relationship in the third episode, Mia tears in front of the mirror in the fifth episode, Karina makes it clear that she is much more than a character in the background, Ezra is forced to retire involuntarily, and that conversation without a voice in the last episode. These are the most beautiful and clever moments in the first season of "Rehearsals", spoilers



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Between a ripping comedy and a scratchy nickname: the 7 moments that made "Rehearsals" such a wonderful series

Our lost-to-where relationship in the third episode, Mia tears in front of the mirror in the fifth episode, Karina makes it clear that she is much more than a character in the background, Ezra is forced to retire involuntarily, and that conversation without a voice in the last episode.

These are the most beautiful and clever moments in the first season of "Rehearsals", spoilers

Tags

  • Rehearsals - Series

  • Noa Koller

  • Erez Driggs

  • Itay Turgeman

  • Agam Rodberg

  • Daniel Shapira

  • TV review

Ido Yeshayahu

Monday, 11 January 2021, 21:55

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Promo The last episode of the first season of "Rehearsals" (here 11)

It is very difficult to distill the best moments in a series that is so abundant in such.

There are simply too many of these in "Rehearsals", the comedic drama of Noa Koller, Erez Driggs and Assaf Amir, which ended tonight (Monday) here 11. How can one not, for example, insert the moment that has already become a classic, "I am Nina!"?

Or the duo of elderly actors who stage a scene from "One Plus One"?

Not simple, but what we have tried to do here is to choose the scenes that embodied larger things in the content, ones that contain within them both the other small and mighty moments, and also the essence of the whole "rehearsals".

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One of the best lines in the series.

Noa Koller, "Rehearsals" (screenshot here 11) (Photo: screenshot, here 11)

Iris kidnaps Tomer (Episode 3)

The conversation Iris (Koller) forced on Tomer (Driggs) in the car was easily marked as the highlight of the first three episodes of the season, which were sent to critics ahead of time.

The combination of the broken relationship and Iris' uninterrupted conduct makes these minutes an ultimate first example of the incredible way in which "rehearsals" merge between emotional explosiveness and excellent comedy.



Beyond that the conversation yields one of the best lines in the series - "I want to help you but I have no interest!"

- Including an agitated and perfect performance of Koller, in the last episode she turns out to be prophetic.

Iris then explicitly told Tomer that he would like to return to her and she would no longer be there, he told her he was not sure he loved her and she replied that she was safe.

Indeed, it turns out that she was right in all her words.

Whether Tomer convinces himself or whether he really has finally dropped the token, in the end he does beg to return to it.



Perhaps the most important thing said in that conversation: "Pop up, it's meant to be."

A truth that may not be expressed in romantic love, but in some faltering harmony between these two people, which yields something even greater and eternal.




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She mutilated herself.

Lake Rodberg as Mia, "Rehearsals" (screenshot here 11) (Photo: screenshot, here 11)

Maya tears in front of the mirror (Episode 5)

"I'm a Nina!" Mia (Rodberg Lake) insisted to no avail earlier in the series.

But as La Vera (Yevgenia Dudina) made it clear, she is not.

It lacks something substantial, dirty, damaged.

Therefore she consciously casts Mia a deformity in her perfect life and sleeps with Yubi (Amir Perry), her fiancée's good friend, the man who until then had seen her mostly blemish and had not spared his mind about him.



Already that day this act proved itself for Mia.

Tomer's exercise during rehearsals made her remember the root of her relationship with Reut ("he is from the Galilee"), the connection between them, the secret she hides from him.

Then, when she says "sorry pops up" in her role in the play, a real roughness comes out of her, pangs of conscience.

Instead of channeling him into the moment as she should, Mia rushes behind the scenes and calls Reut.

She thanks him for allowing her to be herself and says he is perfect for her, tears streaming down her cheeks.

It's just that all this time, while glorifying him, she stares at herself in the mirror, as if examining the bare emotion that Vera has talked about, even pleased with him.

Her hands stuck a knife in the back of this man she seemingly loves so much, and Mia loves what it makes her be.



This connection between Mia and Yubi, enmity between a man and a woman that turns into lust, is a huge cliché, but even from it grows real and honest "repetitions", further evidence of her much wisdom.

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Assertive and heartbreaking at the same time.

Daniel Shapira as Karina, "Rehearsals" (screenshot here 11) (Photo: screenshot, here 11)

"You Are Just" (Episode 7)

Throughout the first season of "Rehearsals," Karina's character became an audience favorite, and rightly so.

She is so sweet and marginal by nature, a classic background figure.

You must have known some Karina at school and in the army and at work, she was there around and integrated with her.

This is part of what immediately made the character familiar and real, of course also thanks to Daniel Shapira's precise acting.



But Karina is also much more than that.

Her minorities - as well as those of assistant director Sarel (the great Ben Yosifovich) - sharpen how well she is written and embodied in brilliant nuances that make the universe of "rehearsals" pay off.

In the little that Karina has, the seventh episode is the turning point of her character.

At Mia's wedding, Iris suddenly catches Ofer (Itai Turgeman) with her in the bathroom.

The shy actor justifies and assures Iris that it's just, really just plain.

Then, for the first time in our acquaintance with the introverted Karina, we see her standing on her own, and even in front of someone who is ostensibly in a much greater position of power than her own.

Assertive and heartbreaking at the same time, she defies Dirt "you are just" and leaves.



In the last episode of the season it even turns out that it was part of a trend.

Karina, who at first looked like a leaf blowing in the wind, has assimilated a thing or two from her boss and now does not fold in front of anyone.

No more freebies, go talk to Vera yourself - and all this without detracting from its delicacy.

It may not be true to wish that a marginal character by virtue of being a larger volume, these measured dishes are surely a part of strength, but I wish the second season would devote at least an entire chapter to it, one that would bring things from her point of view.

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The shadow of destruction.

Yossi Segal as Ezra, "Rehearsals" (screenshot here 11) (Photo: screenshot, here 11)

Ezra is retired (Chapter 8)

This is possibly the saddest scene in all ten episodes of the first season.

Ezra the Elder (Yossi Segal, already 83 years old) understands that he has reached the end of his professional path. The audience already remarks that he is confused. Jose shadow of extinction and fight their way to the periphery - dementia growing Ezra aligns with this second play of the iris, which won her the praise of the wrong Tomer left side, and the dirt discovers that the series starring killed the character.



under the cloud that culminated in a number of storylines final stretch Of the season: Tomer who kisses Iris and then explodes on her and leaves, dirt coming to her apartment and begging her with desperate passion.Due to the coupling to death matters, all the tool-breaking and dramas seemed like wild attempts to seize life. What a healthy and whole place she is in: "We all know we will die in the end, what, it destroys everything for us?".

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Tomer's pauses.

"Rehearsals" (screenshot here 11) (Photo: screenshot, here 11)

Tomer directs the actors in the cafe (episode 9)

Tomer's interpretation of the play in the first place tended to be dramatic.

In the scene Iris added in the fifth episode, the one in which she falls asleep in the middle of sex, he insisted on pumping his actors with the most sincere emotion hidden in them.

In the ninth episode, when he is no longer the director, he still does it but the context is different.

At the beginning of the episode, he and Iris are in a mediation meeting - it turns out that Tomer demanded to add his name as equal rights to write "one plus one".

Finally, on the verge of tears, he tells the truth: "The play is not half mine, but I am half of the play."



In this moment for the first time it is a long time noticeable depth in Tomer as a character.

A depth that also paints what came before, including his tendency to direct, as one that stems from his confused feelings toward his five-year relationship with Iris.

Accordingly, someone else's appearance directs the play that Tomer is "half of", surely a burning sting, especially when he takes it to fast-paced and grotesque ping-pong districts.

When Tomer sits with Mia and Ofer in the cafe and directs them with the considered pauses - a scene in which Turgeman and Rodberg once again play a great game - suddenly the exact same words take on completely different meanings.

This is exactly the seam on which "rehearsals" take place, between a funny scrubball and a scratchy nickname, which makes it a wonderful varnish.

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A game full of soul.

Itai Turgeman in the role of dirt, "Rehearsals" (screenshot here 11) (Photo: screenshot, here 11)

Ofer introduces himself in the support group (Chapter 9)

For two minutes and a bit, in one continuous whip that does not touch the dirt for a moment, emphasizing his place in the spotlight he has no desire to be in, the actor introduces himself to a group of sex addicts.

He begins by saying that he is not sure that he belongs there, that for him it is different, "not in a bad way."

He describes his fondness for life as a debauched bachelor, but not something out of the ordinary.

Got into trouble recently because of posts, but not something out of the ordinary, Facebook, Instagram, such.

Then he suddenly flashes his words "maybe I exaggerated a bit".

And he keeps denying it, then loses the thread of thought, and recovers and recounts that he was with a prostitute "suddenly, a month ago," until he finally admits: "Maybe a little yes I got lost."

It is a contradictory and touching monologue, backed by a soul-full play by Itai Turgeman, which brings Ofer's story to an emotional climax.

Smile, affection, charm.

Erez Driggs, "Rehearsals" (screenshot here 11) (Photo: screenshot, here 11)

Iris and Tomer whisper the text on both sides of the stage (episode 10 and last of the season)

We've heard the opening scene of "One Plus One" many times before, but as Tomer's impromptu directing with the actors in the cafe in episode nine illustrated - there are several ways to express the same sentences as well as consume them.

And this is the essence of repetition.

Not just the series, but of that very word.

Iris and Tomer's move to a shared apartment - a huge act, exploding with potential, laden with crates that contain whole beings - was transcribed, rewritten and embellished in favor of a play that reflects him and then the rest of the life together.

These exchanges, from a period that has since been shattered, have been changed over and over again in the long process of rehearsals, until they have long since been eroded and lost from their perspective.



Now, in the premiere of the show, these words are being revived.

The reverberations on top of the reverberations that suddenly take place in the same space: the audience hearing them for the first time, the actors living them in a whole new way, and the two still signed together, stand in front of each other at the edge of the stage, invisible, saying them to each other without sound.

And remember, it also has a meta layer that stems from the fact that it all stems from the old-fashioned real relationship of Noa Koller and Erez Driggs.



In contrast to the ping-pong controversy versus the pauses, in the case of the whispering scene it is difficult to imagine a way in which it will not be powerfully charged.

She's like that already at the script stage.

She could have been heartbreaking if Iris and Tomer were both in tears.

She might have been sad if one of them had been dismantled and the other had not.

But she is not.

Is the perfect combination of sweet and bitter.

The two perform the dialogue with a smile, with mutual affection, with great charm.

And what is so beautiful is that all the layers and repetitions of this event - of the whole series, of reality itself - are stored in the silent conversation between them.

Using the same worn-out words, they tell each other what lies beneath them: the time that has passed since they entered the apartment and since they separated, the changes they both went through, puberty, sobriety and completion.

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Source: walla

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