When his secret life of debauchery comes to a heartbreaking end, disgraced puppet maker Mickey Sabbath plunges into increasingly mad and maddening encounters with people from his wild and wicked past. Part ghost story, part love story, Sabbath’s Theater unleashes Roth’s power to shock and amaze in this profound meditation on mortality and juicy celebration of life.
Ariel Levy and John Turturro's stage adaptation of Sabbath's Theater begins with a bang: Over-the-hill lecher Mickey Sabbath (Turturro) and his insatiable Croatian mistress, Drenka (Elizabeth Marvel), schtup with abandon in the opening scene. But the play goes flaccid fast. Despite the transgressiveness of the source material—the late Philip Roth's scabrous novel, considered a masterpiece by some and purely masturbatory by others—the play is an impotent affair, with three excellent actors working awfully hard to screw inert vignettes into a whole.
Roth devotees — and maybe readers, mostly women, who believed him more misogynistic than misanthropic — might wonder how such an immaculately stylish prose writer with a boundless gift for humor translates to the stage. Well they might. Turturro, evidently a close Roth friend, and Levy have trimmed the 451-page novel into something exploding over the footlights for around 100 minutes. The result passes muster along the lines of professionally accomplished CliffsNotes. As could be expected, the playwrights include sections of all, or most, of the important sequences, although they don’t always catch the hilarity that comes so easily to Roth. Nevertheless, they do impressively convey the mounting frustrations eventually causing Mickey to contemplate ending it all.
2023 | Off-Broadway |
New Group Off-Broadway Production Off-Broadway |
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