Exciting, entertaining and touching: the musical "Crossing the Wall" breathes new life into the esteemed film

After the dizzying success of "Zero in Human Relations," Beit Lessin turned another cinematic work into a wild and surprising musical.

Even if this time the product is a little less elaborate, this show stands proudly next to the film on which it is based with life and character of its own, releasing its viewers at the end of the evening with a huge smile on their face

Nadav Menuhin

11/02/2022

Friday, 11 February 2022, 07:05 Updated: 07:09

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Chen Amsalem and Oz Zehavi in ​​a presentation of the musical "Crossing the Wall" at the Beit Lessin Theater, December 29, 2021 (Stills: Reuven Castro, Video: PR)

Israel has not had such days in the field of musicals.

Whichever theater you turn to - a musical.

Original, imported, humorous, dramatic, historical, OpenBank, Alterman - whatever you want.

Within these, the Beit Lessin Theater has a special specialty: musicals based on non-Israeli Israeli films.

This is not just an adaptation or duplication, but a new work that puts new layers of color on marvelous works anyway.

It started with "Zero in Human Relations" - also one of the best Israeli films ever, a black comedy that got a brilliant stage version with a life of its own.

Meshi Kleinstein and Maggie Ezerzer then did wonders in the high shoes of Nelly Tagar and Dana Ivgi, arranged by Oren Yaakobi, directed by Ido Rosenberg and music by Eli Butner, and the operational gamble turned out to be a dizzying success.

Now the Tel Aviv Theater is trying its luck once again with another successful Israeli film - "Crossing the Wall" based on Rama Burstein's film, which originally starred Noa Koller in one of her major roles.

A winning horse is notoriously irreplaceable, and again the same professional team - Jacobi on the play, Rosenberg on the image and Butner on the music - was entrusted with the task.

Will this also be a success?

Exciting, entertaining and touching.

From "Crossing the Wall" (Photo: Reddy Rubinstein)

As you may recall, the story follows Michali, repenting, this time played by Chen Amsalem (Zaguri Empire, Famata), whose fiancée breezes her a few weeks before the wedding.

But she refuses to give up: she decides not to cancel anything, neither the date nor the hall, in the complete belief that by the due date the long-awaited spouse will arrive.

And as the song says, now only the groom is missing.

Along the way, she meets countless singles, a successful supporting musician (Oz Zahavi, who also starred in the film) and a childhood friend, and is assisted by her mother (Evelyn the Redeemer), her secular and Tel Aviv sister (Hagar Engel), and several close friends (led by Gal Hazaz).

What was in the film version a slow romantic drama, full of even sadness, completely changes its tone in the musical version.

It may be the same story, but the film's silences have become a wild comedy on stage, not to mention a celebration, and the refined subtext becomes punch after punch.

This does not detract from the brilliant story that Burstein originally weaved, but quite another.

It is still after all, a wonderful tale about faith and longing for love, and especially for belonging and normalcy.

Michal, an outsider both in the world she comes from and in the one she entered, sees marriage as a confirmation of being part of the rule, and the same is true for her friends.

On the sidelines, it is hard to miss the fact that after two years of accumulating so many difficulties in producing events and celebrations, Israeli culture is filled with content dealing with marriage as redemption.

It is no coincidence that "Crossing the Wall" ran parallel to "Mama Mia" on stage - and there are many similarities between the two plays and their romance - after two seasons of Coronam.

This trend indicates not only the conservatism of the cultural industry, but also to some extent simply the need of the Israelis for good news within this sad period.

Chen Amsalem and Oz Zehavi, from the presentation of "Crossing the Wall" (Photo: Reuven Castro)

Even if it's a slightly less elaborate show than its big, ingenious sister (who continues to run in parallel), "Crossing the Wall" is still a few levels above the norm.

It is fresh, exciting, entertaining and touching.

The thought behind each and every scene is evident here, down to the level of the costumes.

The actors do an excellent job themselves: Amsalem's well-known charisma burns the stage as well, and it's clear she's making her own container, completely different from Noa Koller's.

It's easy to see that both the Redeemer and Zahavi enjoy every moment - but no less than them, and perhaps more, these are Engel and Hazaz, who are not so familiar yet, but take the opportunity here with both hands and conquer every scene they are in.

It is effective and enjoyable entertainment, but not memorable.

It must be said that "Crossing the Wall" repeats itself, and this is noticeable in the supporting roles - that even if they are wonderfully embodied, the play forces them to be forced to repeat themselves.

The character of Paige, for example, Michal's close friend, is a passionate young woman - a matter whose comic effect is intensified because of the modesty expected of a religious woman.

But this joke comes back so many times, far beyond demand.

This is not the only case where the lemon seems to be squeezed too much.

More on Walla!

Breaks the wall

To the full article

As for the songs, the theme song that opens the play and introduces the characters, "Michali Gets Married," which happily sweeps the audience, is especially notable.

Unfortunately, Beit Lessin once again refrained from releasing a soundtrack album for the show - which is a shame - but it is worth noting two numbers that are still engraved: the apps song, where Michal's sister and girlfriend are looking for her match on Tinder and other apps, Great choreography;

And another song, charming, that the protagonist sings on a date with a deaf bachelor and is performed simultaneously in sign language as well.

The rest of the songs are beautiful, but less memorable.

In any case, if before watching it was possible to wonder whether such a version of such a film is needed, then the viewing proves that the new version has a life and character of its own, and it stands proudly next to the original.

Most of all, it provides a joyous viewing experience, and takes its viewers out of the hall - secular or religious - with a big smile on their face.

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Tags

• Cross the wall

• Beit Lessin

• Eli Butner

• Chen Amsalem

• Oz Zehavi

• Evelyn the Redeemer

• Ido Rosenberg