London Bridge?, repeated the still confused cast member.

“London Bridge is falling down,
Falling down, falling down,
London Bridge is falling down,
(well, you know the rest!)

Sometimes, one question leads to another, and one might be tempted to inquire about the origin of the nursery rhyme and who was the Fair Lady so mentioned.  Do yourself a favor and don’t go there!  The origin of this paean to the series of bridges crossing the River Thames is as murky as the river, as is the identity of the mysterious woman in the rhyme.  You would be better off pondering something more immediate.

Consider this: Lerner and Loewe, or more formally, Alan Jay Lerner and Frederick (Fritz) Loewe met by chance in a restaurant in 1942 and soon began a musical collaboration starting with Life of the Party in 1942, What’s Up in 1943, and The Day Before Spring in 1945, three musicals which have proven as successful as a typical U.N. resolution.  They stepped it up several notches with Brigadoon in 1947, a story about two American men who wander into a Scottish village which comes to life one day out of every one hundred years.  This  musical, with its beguiling songs, was a considerable success at the time and has been successfully revived over the years, including a film version directed by Vincente Minnelli, starring Gene Kelly and Cyd Charisse.  Less successful was the team’s next venture in 1951, Paint Your Wagon, about life in California during the Gold Rush.

Following the triumph of My Fair Lady on Broadway, Lerner and Loewe collaborated on the score for the greatly acclaimed film Gigi, also directed by Minnelli, starring, among others, Leslie Caron and Maurice Chevalier. However, efforts to transport its  magic to the stage fifteen years later were disappointing, to say the least.

After the back-to-back successes of My Fair Lady and the original film version of Gigi, Lerner and Loewe’s next and final work for the stage (1960), Camelot, was eagerly anticipated. This musical, a retelling of the King Arthur legend via E.B. White’s The Once and Future King, has become associated with the the time and the ethos of  the John F. Kennedy administration in the U.S. and is revived with some success (the musical, not the presidency) from time to time.  The music is wonderful — Loewe’s music rarely disappoints — and some of Lerner’s lyrics are witty.  In a better world, a theatrical company like Encore could mount productions of lesser known musicals like Brigadoon or Camelot and make a go of it.  So what separates the handful of musicals, like My Fair Lady, that are so endearing that peoples’ eyes light up when you just mention their names, from the rest, the ones you have to almost beg people to attend?  That’s the something more immediate to ponder over.

Perhaps you have to start with a really good story, one which  is compelling, cogent,  and somehow continues to speak to its audience.  In Pygmalion, Shaw tackles a subject which always seems relevant: the nature of class distinctions and individual identity.  Examinations of social barriers and their effect upon the lovelorn have long been a favorite theme of British writers.   Consider this example from Charlotte Bronte’s novel, Villette:

“Had he seen Paulina with the same youth, beauty, and grace, but on foot, alone, unguarded, and in simple attire, a dependent worker…….., he would have thought her a pretty little creature…….., but it required other than this to conquer him…….  (H)e required all that was here visible – the imprint of high cultivation, the consecration of a careful and authoritative protection, the adjuncts that Fashion decrees, Wealth purchases, and Taste adjusts; for these conditions his spirit stipulated ere it surrendered……”

Those of you who were fortunate enough to see our production of H.M.S. Pinafore will remember Captain Corcoran’s adjuration to his daughter Josephine that her beloved Ralph Rackstraw, a common sailor,  would at every turn commit solecisms that Society would never permit.

In Pygmalion, George Bernard Shaw took a slightly different tack.  He wrote a play about  a young woman who was  indeed ‘on foot, alone, unguarded, and in simple attire,’ and had her meet an older, self-absorbed, insufferable man who, to prove a point,  would train her to enter  High Society.  Would he be able to take this  flower peddler, give her lessons in elocution, as well as what would be described on American TV as an “extreme makeover,”, fill her head with Society’s badinage, and recreate her as essentially another person? Shaw’s subversive question: Would anybody notice the obvious forgery?

Shaw, being a master playwright as well as a socialist, went well beyond this simple premise and created a series of characters that are more than the cardboard figures in most musicals, even sneaking in a most unusual love story — or maybe a love-hate-love-hate story, given the constantly changing relationship between Eliza and Professor Higgins. Perhaps having strong characters and convincing dialogue to work with are the key to a composer and a lyricist coming up with their finest work. Whatever the reasons, Lerner and Loewe certainly outdid themselves, creating a musical that from Day One (March 15, 1956 at the Mark Hellinger Theater)  was universally acknowledged as a masterpiece of its kind.  It even somehow survived the film adaptation, something which doesn’t always happen to a Broadway musical.

The challenge for a company like Encore is to re-imagine a work which is ingrained in the memories of so many of our audience, scaling it down to the smaller dimensions of the Hirsch Theatre and the obvious limitations of our budget, yet retaining is opulence, its humor, and the sweep of its music; in other words, making it our own.  We are up to the task, and you may be witness to our accomplishment.

Director: Robert Binder
Musical Director: Paul Salter
Choreographer: Arlene Chertoff

- Actors, singers, dancers and production crew

Auditions will take place on 
Monday, January 16 and
Wednesday, January 18
from 7:30pm to 10:00pm

37 Pierre Koenig (corner of Poalei Tzedek) Jerusalem, second floor
Entrance to left of Maayan Furniture (room 317)

Tell your friends!

More information:
www.Encore-etc.com | binder@actcom.co.il
Tel. (054) 546-4215
Facebook Event: https://www.facebook.com/events/189693754463384/

תיאטרון הדרן, גאה עד מאוד להציג את המחזמר הנודע סיפור הפרוורים, לציון 50 שנה להפקתו הקולנועית, מה – 12 ועד ל - 18 לחודש מרץ 2012
סיפור הפרוורים נחשב לאחד ההישגים היותר מרשימים של המחזמר האמריקאי. זוהי גרסת רומיאו ויוליה של שייקספיר הממוקמת בתקופתנו. הסיפור מפגיש בין טוני (רומיאו) ומריה (יוליה) על רקע משכנות העוני של העיר ניו יורק, בשנות החמישים של המאה העשרים. מריה, מהגרת פורטוריקנית וטוני, אמריקאי ממוצא פולני, משתייכים לשתי קבוצות עוינות של נערי רחוב בניו יורק. אהבתם הניצתת במפגש חד פעמי, נחסמת באופן טרגי כתוצאה משנאה בוערת השוררת בין שתי הקבוצות האתניות אליהן הם משתייכים. סיפורם של האוהבים שזור בסיפור מאבק אלים וחסר מעצורים על טריטוריה, המתנהל בין שתי הכנופיות; הפורטוריקנית והאמריקאית; ה”כרישים” וה”טילים”.

סיפור העלילה המרתק מועבר אל הבמה באמצעות מוסיקה משחק, שירה וריקוד. המחזמר נוצר בשנות החמישים, בארה”ב, בעבודה משותפת של ענקי היוצרים של התקופה: ג’רום רובינס (בימוי וכוריאוגרפיה) לאונרד ברנשטיין (מוסיקה) סטיבן זונדהיים (מילים לשירים) וארתור לורנס (הדיאלוג).

המחזמר התקבל באהדה רבה בהפקתו הראשונה בברודווי ב – 1957. ניתן לקרוא ביקורת אופיינית אצל המבקר ג’ון צ’פמן מהדיילי ניוז בניו יורק, שכתב: “התיאטרון האמריקאי עשה צעד נועז קדימה… זהו סוג חדשני של תיאטרון מוסיקלי, נועז ובוטה… מרגש באופן יוצא דופן עבורי.” ואולם, הפריצה הגדולה שלו התרחשה רק ארבע שנים לאחר כן, כאשר הגרסה הקולנועית שיצאה למסכים, השיגה הצלחה חסרת תקדים בכל העולם, וזכתה בעשרה פרסי אוסקר, כולל פרס הסרט הטוב ביותר לשנת 1961. התמלילים והמוסיקה שבשנת 1957 עוד נחשבו למורכבים ומתוחכמים מדי, הגיעו לשיא הפופולריות שלהם. זמרים מפורסמים בעולם הקליטו מגוון גרסאות לשירי ההצגה ולהיטים כמו “מריה”, “אמריקה” ו”הלילה” הפכו בן לילה לקלאסיקות, ברפרטואר מחזות הזמר האמריקאים.

סיפור הפרוורים היה יוצא דופן משאר היצירות, במיוחד בהקשר למה שכונה אז: “תור הזהב של מחזות הזמר”; התקופה שבין אוקלהומה (1942) וכנר על הגג (1964). לעומת היצירות האחרות, הוא סיפר סיפור ראליסטי ואלים, שיחסית כלל מעט מאוד אתנחתות קומיות. סופו של הסיפור מאוד טרגי, כאשר שלוש דמויות מרכזיות מאבדות את חייהן במהלכו. ההצגה לא סיפקה את הסיום המוסרי המנחם, שכה אפיין את מחזות הזמר האמריקאים של התקופה, שבהם למרות כל הקשיים בדרך, האהבה תמיד מנצחת. במקום זאת העלילה הציגה ריאליזם לירי של קנאה עיוורת, באמצעות טכניקות במה של משחק, ריקוד, שירה ומוסיקה.

סיפור הפרוורים ציין את שיאו של המחזמר האמריקאי בברודווי, כשלמות. הוא היה חלומם של גדולי יוצרי הבמה שהתממש. בספרו “מסיימים את הכובע” שכלל אוסף משיריו, כתב סטיבן זונדהיים, ש”סיפור הפרוורים עבור רבים, הוא אודות אפליה גזעית ואלימות בשכונות עוני, אך לאמיתו של דבר זהו סיפור על התיאטרון במיטבו; התיאטרון המוסיקלי, ליתר דיוק. זהו סיפור אודות שילוב מופלא של טקסט, מוסיקה, מילות שירים והכי חשוב ריקודים, לתוך רקמת סיפור אחד, ללא תפרים”.

ואכן, הודות לגיוסם המוצלח של כל מרכיבי התיאטרון המוסיקלי לשירות הסיפור, אשר לתוכו נוצקו הרגשות המתאימים, הפך סיפור הפרוורים למחזמר האהוב והבלתי נשכח בעיני רבים, למעלה מחמישים שנה עד עצם היום הזה.

מדור הנוער בתיאטרון הדרן!

בשנה שעברה הפיק התיאטרון את המחזמר גריז בשיתוף עם מרכז הבמה של הדסה. הצלחת המחזמר שלוהק כולו על ידי בני נוער, הובילה להקמת מדור נוער בתיאטרון ולהעלאת המחזמר סיפור הפרוורים בעונה זו, כאשר הכוונה היא להעלות עוד מחזות זמר באותה מתכונת בעתיד.

מעורבותם של צעירים בכל היבט של ההפקה, מגשים את אחת המטרות המרכזיות של התיאטרון, לקרב ולחנך את בני ובנות הדור הצעיר באומנויות הבמה ולהכרות עם רפרטואר התיאטרון המוסיקלי. בדרך זו שואף התיאטרון לחיות את מסורת המחזמר בצעירים בארץ.

Encore! is proud to present its production of this classic musical, running from March 12^th through 18^th 2012.
West Side Story is widely considered one of the greatest achievements of the American musical theater. A version of Shakespeare’s Romeo and Juliet set in modern times, West Side Story tells of star-crossed lovers in the New York City slums of the 1950s: Maria, the Puerto Rican immigrant, and Tony, American-born. Their love is tragically thwarted because of the ethnic hatred between their communities. The lovers’ story, and the story of the rival Puerto Rican and American gangs (Sharks and Jets), is told through the thrilling use of words, music, and dance. The show was created by seasoned Broadway veterans at the height of their creative powers, along with relative newcomers (destined for future greatness): Jerome Robbins (director and choreographer), Leonard Bernstein (music), Stephen Sondheim (lyrics, to his first Broadway show), and Arthur Laurents (book, to his first musical).

West Side Story was positively received by critics when it came out in 1957. Typical of the reviews was John Chapman’s from the New York Daily News: “The American theatre took a venturesome forward step… This is a bold new kind of musical theatre…It is, to me, extraordinarily exciting.” The show’s major cultural impact, however, was really only felt four years later, when the movie version of the musical achieved unprecedented success, winning 10 Oscars (including the award for Best Movie of 1961). Its music and lyrics, which in 1957 had been considered complex and perhaps overly sophisticated, achieved wide popular acceptance. Singers recorded versions of the show’s songs, and numbers like “Maria” and “Tonight” and “America“, became well-known classics of the American songbook.

But West Side Story was always an anomaly, particularly within the context of its specific “golden age of musicals” (the period between Oklahoma in 1942, and Fiddler on the Roof in 1964). West Side Story told a violent, realistic, story, with relatively little comic relief. The ending was stark, with three of the show’s main characters dead. The show did not provide the happy, storybook moral that was so identified with the American musical up to that time, specifically that love will triumph, despite any and all challenges. Instead, the show aspired to a lyric realism, telling a story of bigotry through the abstract stage techniques of dance, music, and lyrics. In fact, it marked the high point of Broadway musicals in its successful integration of the basic tools of musical theater into an integrated whole. This was the creators’ intention, and their aspirations were realized. In Sondheim’s book of lyrics, “Finishing the Hat“, he writes, “For most people, West Side Story is about racial prejudice and urban violence, but what it’s really about is theater: musical theater, to be more precise. It’s about the blending of book, music, lyrics and, most important, dance into the seamless telling of a story.”

It is both because of this successful blending in the service of story-telling, as well as the emotional story that is told, that West Side Story has remained so beloved for more than 50 years.

About the youth division

Last year, Encore! co-sponsored a youth production of the musical Grease, with Hadassah Centre Stage.  The success of the show, staffed by young people, led to the formation of a youth division in Encore! in order to present West Side Story this season, and other popular works in the future.

The involvement of young people in every aspect of the production fulfills Encore’s goal of training the new generation in theatre crafts and appreciation of the musical theatre repertoire. In this way, Encore! aspires to perpetuate the tradition of musical theatre in youth.

What a great production that was! As usual, the singing, choreography, costumes, sets, choruses were outstanding, but it is a triumph because of your vision which unites it all and gives it cohesion and momentum. Could feel your presence all the way through – really superb! Thanks for a wonderful evening and look forward to many more productions. — SG

אנו שמחים לארח אתכם שוב בבית שמואל עם הפקה חדשה ונפלאה מבית היוצר של גילברט וסאליבן. בסיום כל הפקה שלכם נדמה שכבר אי אפשר לחדש דבר ועם זאת כל פעם אתם מצליחים להפתיע אותי מחדש. ההפקה הפעם צבעונית ומשעשעת, קטעי הריקוד משולבים באופן מופלא, הומור מתובל היטב, התזמורת שוב עושה פלאים, התפאורה מהממת…

אני חושבת שאתם מצליחים להרגיש את ה”חיבוק” החם ומלא הערכה מהקהל בסיום כל הופעה. אני מודה לכם על רגעי הנאה צרופה ומאחלת המשך הופעות מוצלחות.
צירפתי כמה תמונות שלי למזכרת.

אורלי שגב
מנהלת תוכן ושיווק
מחלקת מופעים, מרכז שמשון – בית שמואל

I went to see the matinee show yesterday and had to rush out straight away so I didn’t have a chance to talk to anyone in person, but I wanted to say it made me realize that I really miss theatre. Whole being the show and watching the pieces come together you sometime don’t see how amazing the whole show is. Coming in without seeing the rehearsals or the set before hand was breathtaking. My grandmother came with me and said “it was top class” (imagine that in an English accent). Everything from the set to the voices to the costumes to the acting, everything was just brilliant. Can you please tell everyone that they did a really really good job? I made sure to watch different actors every chorus number and everyone was great. — AP

I want to tell you how much I enjoyed your performance. Of course, the leads were marvelous, but so was everyone else! Everyone was acting to the very end and everyone was fun to watch. (And I do watch everyone. Don’t think that if you are standing in the back, the audience can’t see you. It can and it does!) Kudos to whoever trained you in English accents. What a good job you all did with that. Sometimes I hear stuff in other productions that makes my toes curl. And kudos to the set mastermind. The portrait scene was magical! And kudos to the translator who did a careful, faithful and poetic job.

But best of all, my parents loved it! My father came (discreetly) harrumphing, but left with a surprised grin on his face. He said, “Wow! This could have been a professional production!” He was impressed by the singing, the acting and by the fabulous sets. And even better, my mother loved it. Why is this even better? Because my parents are making aliyah this year after living in London for 30 years. My mother goes to the theatre about twice a week, and to the opera about once a month. The only thing that makes her sad about leaving London is missing all that. I couldn’t have timed this production of Ruddigore better if I had planned it myself. It came right when my parents are visiting, and after the show, my mom said “Well, at least we’ll be in Jerusalem where we can see Encore productions that are comparable to the productions I see in London.” I actually think that your show has made my mother less ambivalent about her aliyah. Hooray! — YG

I was at last night’s performance. Superb! The sets were magnificent, especially Act II. Wow!! The costumes, the voices, every detail. The choreography was delightful. I think you’ve outdone yourself with this performance. I’m sure G&S are smiling. — JB

I saw the performance last night and was utterly and completely enchanted. The story, although vintage G & S, had its own charm and everything was terrific. Every time I see your “creations” and they all have your special touch from the beautiful costumes to the addition of Yiddish. I find your abilities more and more amazing. Thank you for providing me with one of the most pleasant experiences I have had in a long time. You, all the players, support staff and everyone who had anything to do with this play are to be congratulated. — CS

Another Encore! production lives up to my pretty high expectations – the costumes, the scenery, the very fine – very, very fine – acting, the singing, the orchestra, and most of all, the way it all works together as a seamless and spectacular whole – I came away feeling I had received a real gift to all of my senses. — JK

I must tell you the show tonight blew me out. I expected a decent amateur performance. This was so professional it could be on Broadway or the equivalent in England. The voices, the acting, the costumes, the music, the quick recitation were tremendous. I was told you rehearsed for five months, and presented another show a half hour after the 5 pm one. Yasher Koach. – YC

I want to share with you the reaction of a friend of mine to the show. He is very smart and sensitive but not a theater person. In fact, he is generally not interested in the arts. I thought he came because of our friendship but he absolutely loved “every minute of the show.” He said that the show was a wonderful escape from our day to day reality. He called it extremely “refreshing.” He kept me on the phone for 20 minutes raving about every aspect. He also commented on the costumes, orchestra, and said that the translation was excellent (my friend is a native Hebrew speaker) and that we should publish a book of all of the translations. He said that he can’t believe how much effort goes into this and what amazing results we get. He said he called me because he felt a need to express gratitude: “when someone makes me so feel so good, I have to say ‘thank-you.’” He came as a favor to me but it is clear that he was completely enthralled by and appreciative of the production. We have a new loyal fan. — AP

The bittersweet story of a young girl who falls in love with a carousel barker, adapted from the play Liliom by Hungarian-Jewish playwright Ferenc Molnar, Carousel is considered the finest musical of the 20th century. It features such unforgettable songs as “June is bustin’ out all over,” “If I loved You,” and “You’ll never walk alone”.

The show featured stage direction by Robert Binder, musical direction by Paul Salter, and choreography by Arlene Chertoff, with a cast of 50 and full orchestra (in Jerusalem).

In truth, ships in the Royal Navy were more likely to be called Avenger, Defiance, Impregnable, or our personal favorite, HMS Dreadnought instead of Pinafore.  It would be like a cruiser today patrolling the Persian Gulf off the coast of Iran called the USS Mini-skirt.

It is hard for us today to imagine what the audiences who came to the Opera Comique in London to see HMS Pinafore in 1878 expected to see and hear. The team of W.S. Gilbert and Arthur Sullivan had just begun their celebrated collaboration, having written only a Christmas entertainment, Thespis, in 1871 and the forty minute one-act Trial By Jury four years later.  In fact, the kind of English language comic opera which these two men were to create was unknown at the time.  But the title, HMS Pinafore, must have been a sure tip-off that what  would be going on on-stage would bear little if any relationship to anything which actually occurred in the real British Navy. (Much like a number of American TV sit-coms from decades ago, which purported to be about life on an army base, a P.O.W. camp, or an army hospital.)

So when the curtain went up on Pinafore’s opening night to the rousing “We Sail the Ocean Blue,” in which a bunch of ‘British sailors’ prance around the stage reaffirming that they are “sober men and true,” the audience must have gotten the joke. Drinking water being hard to obtain and keep fresh, the most common beverage on board any HMS of the time  was grog: diluted rum with a little bit of lemon or lime juice — served twice a day.  So much for sobriety!

Following an interlude in which Buttercup, a most mysterious character, announces that she has a secret, which, if the audience is patient and pays attention, she will divulge in due time (meaning near the end of the second act when a denouement is required), the cast of characters and what passes for a plot is revealed: there is the young sailor, Ralph Rackstraw, who is intent on marrying Josephine, the  daughter of the captain, a most pompous fellow in his own right, who “never uses a big, big, D — except that he does — when he finds his daughter trying to elope with the common sailor!  Then there is the meddling Dead-eye Dick, determined to maintain class distinctions and thwart the lovers’ plans.  Finally, there is the First Lord of the Admiralty, who is himself eager to marry the beautiful, charming, and musically gifted Josephine — and his gaggle of sisters and cousins and aunts, who join him on board the Pinafore.  Needless to say, the sailors are more than  eager to “welcome ladies most politely.”  Generally speaking, as we can be sure the audience was aware, the kind of women who were usually ‘welcomed’ aboard a ship in port were unlikely to be anybody’s sisters and cousins and aunts. As a result, venereal disease was a common occurrence among the sailing men.

Now most of these characters, stock figures from the world of melodrama, were created from whole cloth by W.S. Gilbert, except for the First Lord of the Admiralty.  Here is an early example of the biting satire for which the librettist would soon become renowned.  His hapless victim was one W. H. Smith (actually W. H. Smith, Jr., the son of W. H. Smith, whose family name survives in the eponymous British chain of book stores.)  the qualifications of the second-generation purveyor of novels and periodicals to become the First Lord of the Admiralty (from 1877 to 1880) had eluded most of his countrymen, and there was probably no one sitting in the Opera Comique who couldn’t figure out who the inconsequential figure on stage who kept being rewarded until he became ” the ruler of the queen’s navee” was based on.  Smith never lived it down; virtually every time he appeared in public thereafter, he was rewarded with a rendition of “When I Was A Lad….”

Fortunately for audiences today, Gilbert’s humor has outlasted the butts of his jokes.  We all know about people who somehow rise to the top of the heap without any visible qualifications.  Likewise, we are all too familiar with the “sisters and his cousins and his aunts” syndrome, the claques of hangers-on, whose only importance is that they themselves know someone important. And the kill-joys, whose main source of pleasure is by being a constant wet blanket.  Gilbert and Sullivan’s magic has outlasted the specific foibles they were originally lampooning: the rigid class system, Victorian morality, and a pride in one’s country of origin taken beyond the point of absurdity    The witty and at times subversive lyrics, the tenderness and vigor of the music along with its wonderful harmonies still have the power to amuse and enchant audiences today.  Which is why we, at Encore, keep doing G&S — because we know that you will  have almost as much fun watching a winner like Pinafore  as we have performing it — singing music which is not at all easy, all the while, moving effortlessly (?) about the stage.

Given the zany mad-cap nature of what passes for a plot in a typical G&S endeavor, there is a natural tendency to camp it up, to inject a wink here and a smirk there; to let the audience know that the actors are in on the joke.  We will have none of that.  We perform it straight (and quite well too). What makes Gilbert’s words and Sullivan’s music so endearing is that the characters are not in on the joke.  They are — unwittingly — the joke, for us to enjoy over and over again.  Even if we are not always certain what is going on!

Gilbert and Sullivan’s magic transforms an typical boy-meets-girl, boy-loses-girl, boy-gets-girl story into a musical bonanza, a delicious romp, spoofing all things Victorian: the Queen’s Navy, the rigid class system of the time, and patriotism gone berserk.  Plus we will offer up the greatest satiric figure of all, the First Lord of the Admiralty, who arrives at his position without any merit, talent, or knowledge (When I was a lad I served a term as office boy to an attorney’s firm….). We don’t know anybody like that today, do we???!!!!!

Speaking of magic, there is no other word to describe this production from the justly esteemed Encore Educational Theatre Company, who over the last five years have been performing high quality, fully staged and choreographed  G&S (Mikado, Pirates of Penzance, Ruddigore) and American musical comedies (Oklahoma, Carousel, Fiddler on the Roof).

Ticket will be available starting November 13th from the company’s website, www.encore-etc.com/.  All you need to do right now is decide when you plan to go and note it on your calendar, Blackberry, IPad, or SmartPhone.  You will have plenty of time to take advantage of our “early bird” discount plan (valid through November 25th) or group purchase discount (10 or more tickets for the same performance), whereby the price of each ticket will be reduced from 100 to 90NIS.  Need we say more?

a spectacular new production of Gilbert & Sullivan’s beloved musical delight for the entire family!

Stage direction by Robert Binder
Musical Direction by Paul Salter
Choreography by Arlene Chertoff

Performed in English with Hebrew surtitles
בליווי כתוביות בעברית

10% off on orders received by Nov. 25, 2012!

Performances

Jerusalem
Hirsch Theatre, 6 Eliahu Shama Street

Dec. 27 Tues., 8:00 p.m.
Dec. 28 Wed., 8:00 p.m.
Dec. 29 Thurs., 8:00 p.m.
Jan. 3 Tues., 8:00 p.m.
Jan. 4 Wed., 5:00 p.m., 8:30 p.m.
Jan. 5 Thurs., 8:00 p.m.

Ra’anana
HaMishkan, 19 Hashomer St.
Tickets: (09) 746-2677

Jan. 1 Sun., 4:00 p.m., 8:00 p.m.

Zichron Ya’akov
Beit Nir, off of HaShoftim St.

Jan. 8 Sun., 8:00 p.m.

Order tickets online: www.Encore-etc.com
or call Encore! (054) 578-9006; Hirsch Theatre (02) 620-3463

10% off on orders received by Nov. 25, 2012!