Review: MY NAME IS ASHER LEV Speaks to our Hearts and our Arts at Eternity Playhouse

If there is anything an audience can relate to in contemporary theatre, it is the concept of struggling to forge ahead with one's own individual passions whilst navigating the traditions of the past and the expectations of those who, having grown up in more desperate times, had only such traditions to survive by. Where parents fought to give their children a better life, but don't know how to handle it when they start to take such opportunities. My Name is Asher Lev turns up the dial hard on this theme by setting such conflict in the home of an observant Torah Jewish family, wherein the titular character is awakened with a prodigal gift for art. In his father's mind, this gift is from the devil. So Asher's narrative plays out as the ultimate declaration of independence from family, from community, but not perhaps from faith.

Adapted by Aaron Posner from Chaim Potok's semi-autobiographical novel, this account of Hasidic Jewish life in early 20th century Brooklyn has proved popular with Jewish crowds for its refined references to the religion and its customs. This reviewer acknowledges that he is not Jewish, and thus elements of his review might exist with some level of ignorance to the nuances of Judaism present in the play. Certainly the canting, prayers, and costume design by Hugh O'Connor gave a richness to the content, and insight into the mysteries. O'Connor also designed the set that most gratifyingly came to life with the help of Emma Lockhart-Wilson's lighting design, showing strong imagination incidentally throughout the show.

John O'Hare as Asher Lev had the artist's sensitivity and inexplicable passion completely under his thumb, contrasting the character very well beside his brick-wall of a father and meandering mother, played by Tim McGarry and Annie Byron respectively. Versatility was afforded McGarry and Byron who played other characters in the show, although the female perspectives in the piece were not as persistent or developed. That being said, Byron's portrayals were entertaining, especially in moments more organic and less directed. McGarry stands out amongst the three as his characters are allowed much more drama, which he delivers most powerfully. Unfortunately, the sense of conflict displayed by McGarry isn't matched by O'Hare or Byron, which may be indicative of the patriarchal nature of Jewish community, but left much of the more potentially powerful moments of the play masked by O'Hare and sidestepped by Byron. Their performances as individuals were intricate and sensitive, each main character having the opportunity to express their pathos, an opportunity which all actors took and made the highlights of the piece.

As directed by Moira Blumenthal, the stage momentum was fantastic that gave a sense of barriers and chaos to display Asher's state of mind as he passively navigated the inner turmoil of parent and spirituality versus art and individual expression. Without a credited accent, dialect or cultural coach, I assume Blumenthal oversaw this; it was both impressive and authentic use of language, and the humour resonated strongly with the audience. Blumenthal's employ of sound technique and out-of-the-blue lighting changes heightened the action in a way that left me thirsty for more.

My Name is Asher Lev comes at an interesting political time in this country where funding cuts and foreign policy are restricting young talent pervasively and irrevocably. It sends a strong message to communities in the position to support the arts to do so, and hold arts accountable for staying topical, to keep challenging, to keep entertaining and above all, inspire.

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