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THE SCENE
A storefront Orthodox Synagogue in Mineola, Long Island -- Late 1950’s
Act I - Before the morning prayers - 6:30 a.m.
Act II - Scene 1: the morning prayers
15 minute intermission
Act II - Scene 2: Before afternoon prayers (about noon)
Act III - The Exorcism (half hour later)
Director's Notes
Outside the central story, The Tenth Man gives us a glimpse of an immigrant
community’s struggle to establish itself in America. While all immigrant groups
struggled to assimilate and retain aspects of their individual cultures transplanted to
America, the eastern European Jewish immigrants were unique in that they were not
identified by nationality. Having been scattered by centuries of brutal persecution, this
community defined itself by religious tradition and practice, allowing for some local
variations. The old men in The Tenth Man often discuss how things were in the
places they came from. Their discussions raise questions of faith versus pragmatism, of
the spiritual versus the material.
The Tenth Man has roots in one of the most famous of the classic Yiddish
plays, S.Anski’s The Dybbuk (1914) introduced at the Yiddish Art Theatre in
1922. Chayefsky managed to make his play a distinctly American Jewish one and, along with
Clifford Odets, contributed significantly to bringing about a flourishing tradition of
American Jewish theatre.
My affection for this play, as well as the characteristic culture, is due partly to my
background. I grew up in characteristically Jewish neighborhoods from New York City, to
suburban New Jersey, to Chicago. Although I am not Jewish, my early social life was
practically defined by Bar Mitzvahs and Confirmations. In my earlier days in theatre, I
worked on productions of both The Tenth Man and The Dybbuk.
I also love the play for its themes. The Tenth Man celebrates the power of
love and the worth of people who only appear unremarkable in a society ruled by shallow
values. It tells a story of redemption through reconnecting with community. It reminds us
that “love is an act of faith.” Sprinkle in a fair amount of Jewish humor and I
believe this is a play with universal appeal.
Thank you to my extraordinary cast and staff for their “acts of faith.”
~~ Emme Lundeen Fallen
Acknowledgements
The Elden Street Players wish to thank the following people and
businesses for their help in making this production a success.
Green’s Funeral Home ~~ Howard Nachman
Reeva’s ~~ The Printing Place
Washington Jewish Bookstore, Wheaton
Religious properties including Tallis, Teffilin, Ark of the Covenant,
Torah’s, and furniture designed by Jay Bradley and manufactured for this production
by our staff.
The chants we are using are by special arrangement with Zen Ziona Cohen
from "Hebrew Chant."
The "Shema" is perhaps the most central statement in Judaism:
Shema Yisrael, Hashem Eloheynu, Hashem Echad.
Hear Israel, Hashem is our G-d, Hashem is One.
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