An entry in Florida Studio Theater’s Stage III Series, My Name is Asher Lev is that series’s typical “small” drama with big impact. In flashback, Asher both narrates and also presentationally acts out his coming of age. Maturity comes to him not only as a man but as an artist. To thus devote himself requires Asher to grow up from his family and the tradition in which they raised him. So they share his story. As a youngster Asher (Ben Rosenback, always passionate) is devoted to drawing more than yeshiva studies and to copying museum paintings of things afoul of his Hassidic traditions. This disquiets his mother Rivkeh (expressive Naama Potok) but horrifies Aryeh Lev, his father, who nourishes his New York Hasidic community and travels to similar work throughout the world. Nathan Kaufman astutely portrays Aryeh’s consternation at his son’s devotion to picture making more than Hassidic concerns that he feels Asher destined to pursue. Kaufman is equally vivid as a relative who remarks on Asher’s “unique and disquieting gift” and as a Rabbi who keeps him blessed. Kaufman particularly excels as Jacob Kahn, a famous artist who mentors Asher and introduces him to gallery owner Anna (Potok again, but slick). She warns him, “Art is not for people who want to make the world holy.” More and more, as distance grows between Asher and his parents, he heeds Kahn’s dictum that an artist must know the world and reflect life in it. Chaim Potok adapter Posner channels all the influences on mature Asher Lev into a final exhibition of his works, which his parents visit. It is a powerful conclusion to an intense drama. Jason Cannon as director wisely avoids tipping the audience off to Asher’s ultimate achievement or raising maudlin emotions about family. Yet those of Asher and his family come to the audience sympathetically even when they conflict. Cannon has the courage to steer his actors to appeal to intellect as well as emotions. The choice of a minimalist set, basic costumes, and wide ranging lighting are also commendable. Despite the play’s Jewish background, its story is universal in its basic characterizations and motifs. Because a bit of the terminology may be particular, FST’s program gives a brief and useful glossary — another example of a good chance to learn.
