One doesn’t have to be a biblical scholar to understand the opening passages of the Book of Genesis. It informs the reader that in the beginning was the Word. From that moment on the power of words was upon everyone.

Words have the power to influence, to inspire, to destroy, to do many things, both good and bad. The theatre is the medium that grabs and clutches to the heart the words written by others but spoken by actors becoming transformative in the process.

The Old Globe production of “The Twenty-seventh Man” written by novelist and first-time playwright Nathan Englander, has the very good fortune to be directed by Old Globe Artistic Director Barry Edelstein. Edelstein’s easy manner belies the intellectual rigor he applies to all of the productions he directs.

In 2012, he directed the world premiere production of Englander’s play at New York’s The Public Theatre. This time, however, he has crafted a production that has been reimagined to be staged in the Sheryl and Harvey White Stage – in the round. No walls. The six actors are out there all alone (theatrically ‘naked’, except for each other). Focus is the key element that grounds this splendid ensemble cast in powerful, poignant, and yes, at times, even humorous moments albeit, in a grim tale of artistic and Yiddish intelligentsia repression in the Soviet Union during the 1950’s

The story in short is set in a Soviet prison and revolves around the fate of twenty-six writers, the crème de la crème of Yiddish literature in Russia.   Four actors become surrogates for the other twenty-two prisoners who are unseen and housed in other off-stage cells. Suddenly, a twenty-seventh prisoner Pinchas Pelovits (Eli Gelb) appears. He’s a teenager, unpublished and unknown. Baffled by his arrest, he and his cellmates wonder at what has brought them together and begin discussing what it means to be a writer in troubled times in a society run by the brutal dictator Josef Stalin.

Leading the cast of players is Broadway and television star Hal Linden as Yevgeny Zunser, a sardonic leading writer of his time. Linden’s dialogue from time to time, requires chunks of Yiddish when speaking to the others. In real-life Linden, although raised in a Yiddish-speaking home, is a non-speaker, but like most good actors he has a working acquaintance with all languages. Linden’s performance would bring a smile to the face of humorist Leo Rosten, the author of the book: The Joys of Yiddish.

Robert Dorfman as Vasily Korinsky, portrays a Yiddish poet who believes his fame and acquaintance with Stalin will be his ticket out of prison, telling the others that this incident has all been misunderstanding and a huge mistake. Dorfman’s demand to see the Agent in Charge (James Shaklin) a bureaucratic functionary, fall on the deaf ears of their guard (Lowell Byers). When Shanklin and Dorfman finally do meet, Dorfman caves under the sly interrogation by Shanklin and meekly returns to his cell to commiserate with his fellow cellmates.

Ron Orbach playing Moishe Bretzky, delivers several telling and passionate speeches concerning their plight, reminding them that “…Hitler only wanted to kill our bodies. Stalin wants to destroy our souls.” Orbach is big man with a large on-stage presence. His insightful speeches foretell the fate of all four prisoners. And when he speaks, the others listen.

The subject matter of the play is based on a little known 1952 event referred to as “the night of the murdered poets”. Playwright Englander has taken some literary license for theatrical effect, but in so doing, he doesn’t diminish the impact and overall veracity of the actual events.

The real power of the production lies in the wonderfully compelling ensemble performances and the deft direction of Edelstein. There are moments of aching poignancy and moments where universal truths cannot be denied. It’s potent theatre at its best.

In the technical department, the stark and forbidding prison cell set is creatively designed by Michael McGarty. Lighting Designer Russell H. Champa nicely compliments both McGarty’s design and the spot-on period costumes of Katherine Roth. The ominous sound design by Darron L. West, adds the proper chilling effect and overall tone to the production.

“The Twenty-seventh Man” is an impressive production now playing on the Sheryl and Harvey White stage at The Old Globe theatre complex. The drama runs through March 15, 2015. Don’t miss it.

Dezart Performs of Palm Springs presents the West Coast Premiere of its 2014 Annual Theatre Festival award winning production “Duck and Cover”, written by Michael Kimball and directed by awarding winning actor/director Judith Chapman.

It’s 1962. WW II is but a sad memory. America has lost its innocence and now teeters on the brink of massive social change: civil rights, women’s rights, students’ rights, Viet Nam, Bob Dylan, the Beatles, and the Pill. But in suburban Massachusetts, the Whitebottom household remains sheltered from it all.

Young twelve-year old Stevie Whitebottom (Stephen Lee) wants a pair sneakers. His mother, Claire (Yo Younger), would like to get her driver’s license. But her priggish husband Hugh (Michael Shaw), a shoe store manager, sees sneakers, and women’s rights as the first step to the breakdown of American society. And then those troublesome and pesky Russians are up to their old tricks as in the “cold war”. Something to do with nuclear missiles down in Cuba. What’s a typical American family to do?

Before Hugh, Claire, and Stevie can figure out a coping plan, Hugh deems it’s time for Stevie to get the traditional “birds and the bee’s chat” from the father, except that Hugh gets tongue-tied and a case of sweaty-palms; ultimately postponing the session.

Claire’s brother Bunny (Scott Smith), an itinerant trumpet player and his musician buddy Eddie (Robert Ramirez) arrive unannounced looking for a place to crash. Bunny, it seems, accidently burned down his apartment losing everything in the fire. Together with the daily visits of their slightly, mentally-challenged delivery milkman Mr. Rippit (Hal O’Connell) who offers tips and the odds on baseball, football, basketball, and horse-racing among other tidbits – even volunteering to help Hugh with Stevie’s puberty chat – send Hugh over an emotional cliff.   Claire, in her best “Father Know Best” wife role tries to cope.

“Duck and Cover” is like watching a rerun of the old Jackie Gleason’s TV show “The Honeymooners” or any number of family sitcoms from the 1960’s. What drives the satiric production are the wonderfully earnest takes on the characters created by Michael Shaw and Yo Younger. It’s a delight to watch two pro’s, who know how to sell their performances reel-in their eager and receptive audience.

Scott Smith, Robert Ramirez, Stephen Lee in his stage debut, and Hal O’Connell, all turn in nice performances. O’Connell shines in a little gem of a cameo, and Lee’ performance is quite composed for a twelve-year old (his real age) actor in the company of such seasoned performers.

Director Judith Chapman deserves credit for keeping everyone on their toes in this paean to the kinder and gentler American comedies of the 1960’s. Chapman’s creative team includes: Set Designer Thomas L. Valanch, Lighting Designer Phil Murphy, Sound Designer, Clark Dugger, and Scenic Artist Walter Lab.

“Duck and Cover” performs Fridays and Saturdays at 7:30 PM and Sunday Matinees at 2:30pm though February 8, 2015. Call the Box Office for tickets at 760-322-0179.