The scene: Baltimore, 2017. Shlomit Koffler Weinreb, a songwriter and musician, was reading about Ruth and her great-grandson King David in Rabbi Eliyahu Kitov’s Book of Our Heritage.
She was captivated by the midrashim (rabbinic teachings) describing David’s formative years. How, in the face of adversity and judgmentalism, did he bypass bitterness to choose the high road and become the legendary King David, sweet singer of Israel?
In a light-bulb moment, she thought: “What about a theater production of this dramatic story?” It felt like a “crazy, impossible dream.” But now, nearly a decade later, it’s being performed in Jerusalem and Beit Shemesh as David the Servant King: From Outcast to Anointed.
Writing it took three years and involved detailed research into the narratives from the Book of Samuel. The result is an epic all-woman musical production, with scores of cast and crew.
Jewish women’s theater and film have blossomed exponentially over the past few decades, both globally and in Israel, with dozens of new productions by women for women.
Like any art form, these vary in quality, but some of the talent on display could rival anything found off-Broadway (or even on it). Top-notch singing, acting, and dance are in good supply in David the Servant King.
The show wastes no time in plunging us straight into the difficult childhood of David (played by Avital Macales). A choice on the part of his mother, Nitzevet (Tamar Rabinowitz), falsely brands David with the stigma of mamzerut (a halachic status resulting from prohibited unions). Barely tolerated by his father, Yishai (Malka Fleisher), and his five brothers, he grows up steeped in shame.
David finds solace in his relationship with God
Shame is among the worst and most damaging feelings a child can experience. It is deeply wounding when David’s father yells at him in front of the king and the prophet. Yet David, finding solace in his relationship with God, music, and tending sheep, matures into a modest, good-hearted youth.
The story arc continues to follow the Book of Samuel. David is secretly anointed king by the prophet Samuel (Shlomit Koffler Weinreb), but King Saul (Rivka Deray) continues to reign. Saul unravels as he senses his kingdom slipping away and witnesses David’s success, which soars after slaying the Philistine giant Goliath.
Fleeing for his life, David leaves behind his wife, Michal (Zahava Margulis), and bestie Jonathan (Michal Lourenco).
Meanwhile, despite having outlawed witchcraft, Saul visits a witch, who summons Samuel’s spirit. Spoiler alert: The play closes with Saul showing remorse and falling in battle with his son Jonathan. They are mourned by David, loyal to the end. The show goes out on a rousing note, with David about to finally step into the fullness of his role as “servant king” to the Lord and to Israel.
This production succeeds on multiple levels. It kept the audience spellbound with a gripping plot full of suspense and pathos, bringing more than one audience member to wipe away a tear. At David’s anointing, I literally shivered, so momentous did it feel. The dialogue was strong, and the characters felt real. The songs were varied in style (I loved the early 1970s vibe of “David’s to Blame”), and the singing, under the musical direction of Ellen Macales (mother of Avital), was professional and delightful.
Comic turns were carried perfectly by Esther Attia (Caleb) and Ariella Anouchi (Gershon), and the choreography was graceful and energetic. The way Goliath was portrayed was both effective and droll.
Particular praise is due to the leads, with their outstanding voices and acting: Avital Macales bringing David to life as a complex personality kaleidoscope of insecure youth, warrior-leader, and dreamer-poet; Rivka Deray’s powerful, commanding Saul; Michal Lourenco’s calm, regal Jonathan; Tamar Rabinowitz’s fiercely protective Nitzevet; and all the other talents, too many to list here.
The use of a backdrop screen worked well, and surtitles in English and Hebrew helped us follow (though they occasionally diverged from the spoken text). The sound had a few hiccups – but it’s not easy making sound work with such a large ensemble.
I appreciated being shown David’s emotions and motivations, as well as his struggle to accept his lot. As a junkie of the inner life, I would have welcomed an even deeper glimpse of his interiority – his childhood trauma, his transformation into a leader – and the relationship with Michal is, to my mind, darker than portrayed. However, such delicate work is not always feasible in a musical with a large cast and much ground to cover. The audience’s enthusiasm at the finale confirms that David the Servant King is a clear winner.
And kudos to Avital Macales who, interrupted mid-speech by a male voice blaring an announcement about lock-up times, paused for a moment and then coolly quipped, “God, is that You?”
What: David the Servant King, an original biblical musical for women
Who: New Note Productions. Directed by Ayelet Sanay. Musical direction by Ellen Macales. Choreography by
Gabriella Friedman. Music & lyrics by Shlomit Koffler Weinreb. Book by Shlomit Koffler Weinreb & Avital Macales. Production manager Shayna Levine-Hefetz
Where: Heichal HaTarbut (Jerusalem and Beit Shemesh)
When: January 25–February 8
Why: Immerse in the rousing story of King David’s life.
