The play begins and ends with the same simple words. A man, standing alone onstage, tells the audience that My Name Is Asher Lev. That may be the only simple thing about this highly complicated drama that pits identity against religious beliefs, father against son, and tradition against contemporary ideas.
Aaron Posner bases the play on Chaim Potok's 1972 novel. Posner previously adapted the 1967 novel that brought Potok world fame, "The Chosen," and the playwright worked closely with Potok on both scripts prior to the writer's death in 2002. Although "My Name Is Asher Lev," the novel, never achieved the acclaim of "The Chosen," it still was considered among Potok's best works. The play's first production was in 2009 at the Arden Theatre Company in Philadelphia.
Thankfully, Asher Lev doesn't contain the stiffness one often finds when a book is transported into a play. To be sure, there are many intentional awkward silences and moments of hesitation here. Under Posner's direction, one can almost see the inner workings of Asher Lev's mind as he makes a series of life-changing decisions.
Lev is part of a Hassidic family; his father is a key figure in the sect's work. The father would like his only child to follow in the family footsteps. But even as young as age six, Asher found drawing more satisfying than his religious lessons. He wants to become an artist. Despite his father's objection, Asher pursues his "calling." He understands that when his art reaches its potential, his religious community will shun him. Posner brings us closer and closer to the critical moment when his parents finally attend one of their son's art openings. Asher knows the show will be an emotional train wreck for them (paradoxically, it is also his greatest success).
This one-act play contains only three actors. Jonathan Bock plays Asher Lev, both as a young boy and an established artist. Daniel Cantor portrays all the men in Asher's life. With a few minor costume changes, he becomes Asher's father, his artistic mentor, and his "rebbe" (Hassidic leader).
Cassandra Bissel plays the women in Asher's life. She most often appears Asher's loving but subservient mother. She is torn between her husband, whom she respects as the family leader, and the wishes of her son to explore his artistic gifts.
All families seem to have crises that children remember all their lives. In this case, Asher tells of when his mother's brother dies in a car accident. Asher cannot quite appreciate the impact this has on his mother. Her parents apparently died long ago, and the brother was the only link she had to her past. Her mourning goes on for years before she slowly recovers her emotional balance.
Daniel Cantor is particularly impressive as s father who is proud of his son's talent but not of his subject matter. During one argument, he calls Asher a blasphemer and one who "brings shame to the whole family." Asher knows it's time to leave Brooklyn and make his way in the world. If possible, Cantor is even better as a 70-year-old Jewish artist who takes on Asher as a protégé. He is irascible and blunt; he is stingy with compliments but not with his opinions. Jonathan Bock may be less memorable as Asher Lev because his character is not as colorful. Bock looks a bit like Jerry Seinfeld, but his lines are definitely not part of a stand-up comedy routine.
Although Asher Lev has its lighter moments, it is more often a series of conflicts. Audiences of any religious faith can appreciate this thought-provoking work, told in the melodious rhythms of Potok's words.
Production qualities are simple but effective. A single set and minimal, rough-hewn props represent a number of locations: Asher's modest Brooklyn apartment, the rebbe's office, his mentor's studio and a Manhattan art gallery. Costumes are appropriately modest (with the exception of an artist's model who disrobes so Asher can learn to paint the human form). Asher, who obviously has never seen a naked woman, is almost too shocked to apply his brush to the canvas.
