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In August 2018, Australian theatre maker and director Samara Hersch, along with Chamber Made, a company operating at the ‘nexus of contemporary performance, music and sound’, presented Dybbuks – a production in three acts exploring ideas of possession; of women being with the dead; of desire, ritual, and voice. Here, Nicola Menser Hearn reviews the production and discusses it with Hersch.

Zeitlin’s kabbalistic poem offers a stunning, yet difficult, fusion of Yiddish expressionism and futurism on the one hand, and mystical and messianic thought on the other.