What drew us to adapting the filthiest of Philip Roth’s novels? Its morality. Its tenderness. Its comic intensity. The deep exploration of our human frailties, our repulsiveness, our vulnerability, our grief, our contradictions and our capacity for love. Ariel Levy and John Turturro
Philip Roth was an amoral, sex and death obsessed misogynist; an irreverent Jew; sardonic, imaginative, brutish and smart. A country away from “Me Too,” the author is often vilified. Author David Foster Wallace described him as “a penis with a thesaurus.” I’ve never liked Roth’s books. Yet here is a play which arrives fulfilling the intent of its adapters and admittedly Roth, which is dark, earthy, funny, and ultimately so fallibly human it’s irresistible. You may not like its protagonist and language is sometimes crude, but the play, supported by virtuoso acting and direction is wonderful; John Turturro brilliant.
Jason Kravits as Norman, John Turturro as Mickey
We hear sounds and words (reference to east European meatballs, that is feeding, adoration of body parts, and endearments) signifying exuberant sex. The curtain (literally) drops to reveal Mickey Sabbath (John Turturro), a 65 year-old, unemployed puppeteer (due to phone sex with a student) and his lover, Yugoslavian immigrant Drenka Balich (Elizabeth Marvel). Actors are not naked. Mickey to audience: (She’s) “A respectable woman unlike any woman I had known outside a whorehouse, who was enough of a warrior to challenge my audacity with hers.” Mickey is (secretly) faithful to Drenka. She exercises no such limitations.
In true Kismet coupling, the pair share outsized libidos and a penchant for frequent, messy, illicit sex. They’ve been meeting for 13 years. Both are married to others. Drenka is “repulsed” by her husband, Matija (Jason Kravits – sympathetic; excellent accent) who provides well heeled security. Mickey finds his second wife Roseanna…well, let’s say his litany of objectionable qualities and actions is long and mean. They go at each other. That she and her friends lionize Lorena Bobbitt is not an indication of healthy communication.
(In 1993, 24 year-old Bobbitt, cut off her husband’s penis as he slept after she said that he had abused and raped her.)”…life isn’t just a series of pranks. “Remember how Nora does it in A Doll’s House? She doesn’t cut off Torvald’s dick––she walks out the fucking door!” he snaps referring to the characters in Ibsen’s play.
Jason Kravits as Norman, Elizabeth Marvel as Michelle, John Turturro as Mickey
Mickey’s first marriage to child-like actress Nikki fell apart when she disappeared. Lack of closure haunts. Also hovering somewhere just out of sight is his nihilist mother. (We hear whistling and a voice.) Acerbic asides, often to the audience, are frequent and clever. Turturro moves seamlessly between interacting with characters and addressing us, never less than natural. Everything he says and does emanates from a fully formed man with history and presence. As Drenka, Marvel is sensuous, raw, joyful, and available. It’s easy to see what attracts men. The accent is splendid. (Dialect coach- Kate Wilson)
When Drenka dies of Cancer, Mickey goes into freefall. “…In 13 years I never tired of looking down your blouse or up your skirt.” The thought undoes him. He breaks. Finally separated from his wife, the “hero” is homeless. “I’m a suicide like everyone else. I’m a pseudo-suicide.” He continues to imagine his lover both “then” and “now.” Thoughts of childhood float to the surface.
John Turturro as Mickey
Concerned, best friend Norman (Jason Kravits, playing all the men) and his wife Michelle (Elizabeth Marvel, playing all the women) unwittingly invite the rooster to their hen house. (Kravits’s unexpected, 100 year-old man, Fish – kind of a Durer etching – will later delight.) Their guest propositions his hostess. He ends up by the shore, at crossroads of life and death. Just as the early Woody Allen might do, Mickey existentially discusses his situation weighing options. It’s quite a scene.
Director Jo Bonney does a virtuoso job helping Turturro manifest the wry, fatalistic delinquent. Always physically aware, seductive and at play, even moving sideways across the stage is a mime-like dance. The actor’s wearing panties on his head is oddly not silly. This is serious comedy. There’s laughter throughout- at absurdities not buffoonery. As Drenka, Marvel is hyper aware of her desirability and appetite. So are we. Pacing is pitch perfect.
John Turturro as Mickey
Arnulfo Maldonado offers just enough set and credible, multi-purpose costumes. Alex Basco Koch’s projection design works better creating scenery than it does impressionistically – the latter artwork implying sex. Erik Sanko’s shadow puppet design is an intriguing idea well executed.
In 1995, Philip Roth’s book Sabbath’s Theater won the National Book Award for Fiction.
Photos by Monique Carboni
Opening: Elizabeth Marvel as Dranka; John Turturro as Mickey
The New Group presents Sabbath’s Theater
Adapted by Ariel Levy and John Turturro from the novel by Philip Roth
Directed by Jo Bonney
Through December 17, 2023
The Pershing Square Signature Center
480 W 42nd Street
