Black Rain

Herzliya Theatre Ensemble in Cooperation with the Haifa Theatre
Premiere: May, 2007

Adaptation, Directing Ofira Henig
Writing and Adaptation Shimon Bouzaglo
Set and objects design Amit Drori
Costumes design Shiri Asa
Lighting design Jackie Shemesh

Actors (By order of appearance)
The Woman Salwa Nakkara
Young female B Sylwia Drori
Young female A Ruti Borenstein
She Liat Goren
He Moti Katz
The Librarian Yussef Abu-Warda
The American Guy Messika
The Spokesman Uri Rawitz

The song One star for all
Lyrics Shimon Bouzaglo | Music, Adaptation and Production Guy Messika
Bass Gal Bashan | Drums Shay Hochberg | Recorded at Hamaklet Studios

Research Yaniv Shachar | Assistant direction Ilanit Swissa | Preproduction Mali Ohana
| Production management Yael Elyashiv | Production coordination Haifa theatre Amalia Zecharyah
Stage direction Eljasaf Ish Shalom | Light Zaki Kawasmi | Sound Harel Tabibi | Wig dresser Saray Levin
Set manufacturing Adam Brown | Bicycle manufacturing Mark Donde
Requisites manufacturing Anat Zamir, Alexandra Chernin, Pavel Chanbacht (Haifa Theatre)
Costumes manufacturing Noa Vidman and Haifa Theatre Sewing Workshop
Wigs and Make up advise Luda Goldberg, Taniya Shpak (Haifa Theatre)
Tailor Shlomo Anteby
Poster and Image design Yuda Dery
Program Editing Nir Turk | Letters translation Shimon Bouzaglo | Stills Photography Gerard Allon

Black Rain - Full Program

The dropping of the atomic bomb upon Hiroshima in 1945 signified the beginning of a new epoch in the history of humanity.  For the first time in its history, man entered the council of the major forces of nature and became – perhaps even more than the others – a capricious and unrestrained member.  The questions that this event raised and the cynical means which various parties having diverse interests have used to recall or forget it, together with the power with which they take advantage of the general dullness of the senses of human beings, and our helplessness facing this force – this is the idea at the basis of Black Rain.  Characters living in different places and levels of reality following the dropping of the bomb and before the next bomb are exposed in Black Rain.  The play was written under the inspiration of poetic and documentary materials.




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"I was watching an American action movie one evening. I can't even remember what it was about. An image from the movie stayed with me afterwards. It was the mushroom cloud of the Atom bomb dropped on Hiroshima, which was edited in a rather strange manner into that grade-b movie. The famous image engraved itself in my memory and haunted me for some time. I quickly understood that the aesthetics of horror had profoundly affected me. It had shaken me greatly and led me on a journey in which I became acquainted with and learned the story of Hiroshima. I was joined on this journey with Yaniv Shahar, a friend and companion, who helped me to reach official documents, statistics and poetic materials, which in turn became the inspirational base for this piece. At times, as a director, I find it difficult to decide what direction my next work will take. This time, it was evident to me that that the story of Hiroshima, and all that pertains to it, will be the subject of my next work. I had no doubts. There was no other possibility. The presence of the idea and the image brought such conviction with them. I then turned to Shimon Bouzaglo, a poet and translator to write the play. The dialogue with Shimon was for me an issue of great importance. Figures were formed which would convey the narrative, situations, places, plays in time and illusive realities. Through this dialogue I was also exposed to beautiful musical material that then formed the conceptual base for the work. At this stage Amit Drori, a visual artist, and designers Jacky Shemesh and Shiri Asa joined the team. Through their aesthetic language and unique points of view of the theatrical event, the dramatic structure of the work changed shape and form. The working process on the play worked in parallel lines and involved casting within it. Some of the parts were written with specific actors in mind. This entails a demanding and difficult process that is made possible only through total dedication and team work and a free conception of the idea of Theater. The story of Hiroshima affords me the possibility to deal with issues of morality and humanity that are intertwined with the development of weapons of mass destruction. This work took us out of the realm of political theater; it did not work within the binary of good vs. evil, no victim or victimizer, no message of pro or con. We all stopped and listened. We listened to a past of horror and carnage, with the hope of better understanding a threatening present. I stopped in order to better understand whether something can be done to prevent the horrors of the past recurring. Whether we know enough and whether we want to know everything. I stopped and felt a dull scream echoing from my throat, reverberating in the face of a humanity gradually losing its sanity. This scream led me to the understanding that my work would deal with this subject." Ofira Henig