The staging is brilliant. Newspaper headlines, cascading columns of letters, a half ruined half-wall that advances and recedes, furniture that trundles on and off, costumes that reflect their time, even to the ‘70s exaggerated sideburns on the men, deft lighting, apt music choices.
Kudos to the Ella Grossman designers, including set designer Eran Atzmon, costumer Orna Smorgonsky, video artist Yoav Cohen and most certainly to director Pines.
The actors, too, tackle their lines with imagination and fervor. Gaia Be’er-Gorovich reveals a starry-eyed, somewhat naïve young Ella who promises Papa Shmuel, played with deceptive simplicity by the veteran Avraham Selektar, that she’ll never hide her light under a bushel. She interacts with Hila Feldman whose grown-up Ella has a ferocious intensity, little sense of humor, an aversion to compromise and a world that’s either black or white.