When was the last time you watched a show that you came out of with a stomach ache from laughter and a tear that threatens to trickle down your eyes? One that makes you throw in the air phrases like “yoo, genius”, “who thought of that” or “fuck, what courage”. The kind that will arouse in you all the hidden passions that you really tried to hide. If you know what I’m talking about, you’ve probably already watched “Love and Plague,” and then you have nothing to stay with us. If not, Wellcome, you’re in the right place.
In the days when the Corona plague is almost completely behind us, it feels like it’s just the time to look back on the past two years and laugh a little at the global panic. But this time not from that angle you were used to seeing on TV or in the news, but from the private side of people – like me like you – who went through crises or had crazy experiences that without this virus that drove us all crazy we probably would not have had a chance. And that is exactly what “Love and Plague” is trying to tell us.
The most sweeping, daring and surprising show that the Cameri Theater has to offer is not in vain. But rather the fact that it is an exact collection of humor that ranges from witty and calculated to silly and deviant. The fact that the whole audience kept laughing, until the writers asked him (not in words of course) to start finding himself in the comedy of mistakes and the ability of the talented actors to keep each and every viewer close to the plot, which alternates four times but feels woven into itself.
So after flying a bit about the feelings, let me tell you what made me like to move around uncomfortably in a chair, while I understand exactly what it is about:
“Love and Plague” is divided into four episodes, each of which is a short love story that takes place in a hotel for Corona patients, but the show begins even before the lights go out. Imagine you are still looking for the seat in the hall, getting along in a chair, placing the bag between your legs, and all this while the actors are already on stage.
Two actors dressed in Corona suits, you know from the days when they walked around in white overalls, gloves and masks, and started cleaning the “hotel room” ahead of the arrival of the next positives. , Which allows viewers to be like flies on the wall in each of the rooms, including the bathroom.
But before I tell you about any of the stories, let me pick up on the set manager, Eran Atzmon, who seems to have thought of everything. From the design of the room, which looks like you would imagine in a generic Corona lodge, through the carefully selected transparent window cuts to the ability of one stage to become three-dimensional. Walla, inhale. Music director Roi Yarkoni also deserves appreciation for the current choice of songs, and one more thank you to Maor Zabar for the prostitute’s dress from the second story, which was almost identical to the one from “Beautiful Woman”. You will understand later.
The first story, written by Irad Rubinstein and Yoav Shoten-Goshen, presents the failed married life of a young couple (Neta Gerti and Eran Moore). The two, whose relationship began to fall apart even before they arrived at the Corona Hotel, explode with much anger, sadness, passion and love, unfolding the life story of almost every long relationship that has eroded over the years.
With the plot, which was written sharp and rough, we get a glimpse into the couple’s emotional love life. They fight dramatically, reconcile erotically and even make viewers fall in love with failure. This is a strong piece, with a lot of character and very little flattery to the audience. One that makes you ask “is it even allowed on stage like that?”, And then makes you answer: “Take it easy, why not?”.
Momi and Rosie
The second story was written by Bat Chen Sabag (yes, this is the crazy one who is also responsible for “Dumb”) and the truth? I did not expect from her at least. After devoutly watching the extreme TV series she wrote, I had no doubt that this time too I was going to watch a live attack that would take viewers out of their comfortable place. This time, the plot focused on Momi (Nadav Assulin), a man in his 40s who found himself celebrating a birthday with a prostitute (Kinneret Limoni) in a Corona hotel.
During the plot, Momi recalls the love of his youth (Neta Gerti) who recently divorced, and tries to bring her back to him with the help of the prostitute on duty, but has to deal with the news of the illness. It starts out funny, even a little annoying, continues to evoke empathy and ends in real heartbreak. Short story yes? And yet he managed to assemble within it all that one such needed. Without the fear of revealing some toxins or cursing God forbid. Nadav Assulin miraculously played the typical character he is, and we will return to Kinneret Limoni later – just one short sentence will not suffice.
And let’s say I managed to survive
I did not expect such a passage, and I will also explain to you why. Amidst all the cursing, the pursuit of sex and the semi-nudity, suddenly a section popped up that grabbed me from the stomach. Neta Gerty, in the role herself, in an exciting monologue about the pursuit of happiness, which is already just around the corner. With her childhood clips (really real ones pulled from the family archive) she manages for a moment to put the viewers in a completely different zone that even creates a kind of confusion. As a little reminder of who we are in all the hustle and bustle.
Fear and loathing in Dan Panorama
Have you heard of those who eat the pizza from the hard to keep the good for the end? So that was probably the thought here as well. The third and final story, written by a radiant puppy is the best to keep to the end, enjoy every bite and even wait for the next triangle.
The story is about Sarah in the Israeli government and a young gay guy who get into a situation, take MDMA and embark on a journey of feelings and emotions. Ohad (Eran Moore), is a gay man who sneaked into the room of his lover’s Corona hotel, but instead he met the next tenant who was placed in the same room – Minister Oshrat Ben Dayan (Kinneret Limoni).
With such excellent acting skills, the two managed to use such rude words and small flirtations to discuss such deep issues as politics, attitudes towards LGBT people, broken relationships and pleasant drug experiences. She’s a complex of how much an actress needs to be to evoke emotions in the audience, without it feeling made or fake.
I wanted to sum up in “I will not exaggerate in words”, but I have already done so, so I will only emphasize again the powerful and important statement that this play has to offer. The fact that it is a very unconventional show, which is exactly what makes it special and relevant. In 2022, it’s fun to know that you are no longer afraid to swear, undress and engage in painful issues, even on the theater stage.
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