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One year after the onset of the pandemic, most American theaters are languishing in the dark. But performers are still competing for our eyeballs through ever-more-sophisticated slates of virtual entertainment. Polished, highly-produced events in the vein of “Saturday Night Seder” have attempted to reproduce the intimacy and immediacy of live theater, lulling us via special effects into believing that we’ve emerged from our crumb-speckled couches into the darkened auditoriums of yore. Until I tuned into “Megillah Cycle,” a modernist Yiddish take on the Purim spiel staged virtually by the Congress for Jewish Culture, I didn’t realize I’d been craving the opposite. I wanted virtual theater that acknowledged that making art from home is an inherently weird enterprise. I wanted virtual theater that reflected the social isolation of this moment rather than ignoring it. I wanted virtual theater that didn’t pretend to be something else.

United statesChernivets ka oblastDaniel kahnMegile liderJoe darionItzik mangerMike burstynNational yiddish theaterJewish cultureEastern europeanNational yiddish theater folksbieneLia koenigஒன்றுபட்டது மாநிலங்களில்டேனியல் கான்ஓஹோ டேரியன்இதஜிக் மேலாளர்