‘What is the life we want to live? What do we want to be remembered for?” These profound questions lie at the heart of Say My Name, an immersive theatrical experience that invites audiences to confront mortality, memory, and the legacies they leave behind.
Created by Elinor Milchan and Ronit Mushkatblit, two artists, friends, and mothers grappling with the complexities of life and loss, the play unfolds in the “Terminal of the Unknown,” a liminal space between worlds.
As the audience checks in, surrendering their earthly belongings, they embark on a journey through a “waiting room” where characters from various eras and backgrounds reside. Some have lingered for an eternity, while others seem to be from a more recent present.
In this space, characters interact with each other, sharing stories, regrets, and reflections on their lives. The audience, too, becomes part of this narrative, invited to participate in moments of improvisation and interaction.
“You are in this waiting room,” the creators explain, “for as long as somebody on earth remembers you. When that person dies, they enter the waiting room and you move to the next room.”
This central concept – that existence in this terminal is tied to earthly memory – drives the play’s exploration of legacy. “Why do you want to be remembered? How do you want to be remembered?” they challenge.
The play doesn’t shy away from the difficult questions surrounding death and remembrance. “Sometimes when you face it,” they suggest, “it’s the best way to live truly. By confronting the ephemeral nature of life, Say My Name encourages a deeper appreciation for the present moment and may help with making choices.
“It’s not simply about living today, but how we live, with whom, and what we leave behind. The waiting room transcends time and place,” they explain. “We wanted to be open about these sensitive subjects, such as the idea that you come in and it can be anyone, anywhere, anytime,” emphasizing the universal nature of their exploration.
Specifically designed for the Hadive space
THE PERFORMANCE is site-specific, designed especially for the Hadive space, which is home to a new non-profit arts performance organization founded by Milchan and Mushkatblit.
“Hadive is the home to Say My Name alongside other artistic projects, including music,” they say. “It’s called ‘Hadive’ because there used to be fish aquariums in the basement. It also suggests diving deep into something, immersing yourself in an experience. The whole compound called ‘3426’ was Tel Aviv’s former fish market.”
The choice of venue adds another layer to the play’s themes of transformation and impermanence. The play is the inaugural production of Hadive, which envisions fostering a collaborative environment for artists and serving as a platform for multidisciplinary culture.
Milchan is a multidisciplinary artist whose work spans photography, writing, illustration, and video art installations. Her innovative techniques have been recognized by publications and art institutions such as Art in America and the Los Angeles County Museum of Art (LACMA).
Mushkatblit is a theater director, playwright, and CEO of LABA: A Laboratory for Jewish Culture. Her work often explores the intersection of art and Jewish culture, to build communities for artists and audiences.
After creating a successful children’s play based on Milchan’s book Michtav Hakesem (The Magic Letter), the two searched for a new subject.
“Everyone expected us to do another children’s play, but we thought, “Oh, not necessarily,” recalls Milchan. “Ronit and I decided that the next time we met for coffee, we would each bring a book or a play that stayed with us. Weirdly enough, we both brought something that was looking at life from a different perspective.”
This shared interest in exploring deeper themes led to the creation of Say My Name. Together, they have crafted a performance that is both deeply personal and universally resonant.
The idea of the production grew after “many cups of coffee and many discussions.” The subject they chose was not an easy one, but they felt it was the right time to discuss openly what happens after we leave this world.
“It’s a waiting room. And you’re in this waiting room for as long as somebody on earth remembers you,” they say, describing the situation on stage. “When the last person on earth who remembers you dies, they come into this waiting room and you move to the next room.”
Watching this immersive play, you begin to think, “What am I doing? Is this really what I want to be remembered for?”
“In Israeli culture, especially now, there’s a very specific way of dealing with tragedy. I think we need some time to actually look back at it,” says Milchan, adding that this war is different than previous wars.
“Social networks help in keep someone who is gone stay a real part of our lives. Before [social media], someone would just put up a photo in their home.” Now, she says, “there’s a need for people to say, to show, to share, [as if to say]: ‘Please remember my son… don’t forget them.’”
This resonates with the play’s themes of memory and legacy. “Sometimes when you face these issues, it’s the best way to truly live,” they explain. “Why do you want to be remembered? How do you want to be remembered?”
The cast includes Reut Agemi, Nina Kotler, Ora Meirson, Roberto Pollak, Tomer Sharon, and Ben Zeev Rabian. The creative team also includes Zohar Shoeff (set design), Baruchi Spigelman (lighting design), Li Alembik, Sarah Levy (costume design), Alberto Schwartz (music), Yonatan Kovanski (assistant director), and Ilan Shalom (technical management).
“Some people, when they leave, are quite shaken by it. And some have said to us, ‘We will talk in a few days.’ Some send very nice emails sharing their insights. And some people, you know, are very ‘high’ from it,” says Milchan.
“The reactions vary from ‘Wow, it made me think of this and made me think of that.’ Someone wrote: ‘My parents just died and it made me think about them in the waiting room and who would they want to meet if they were now to go there?’”
The scenes can be very moving. There is a mother who’s waiting for her son, for example. Every time she leaves her spot, she puts someone in her place, to keep an eye in case her son arrives.
Newton, who has been in the waiting room forever, interacts with everyone because he doesn’t want people to touch things. He’s trying to figure out formulas for everything, including emotions. So he gets close to people, but not too close, because he cannot.
“People laugh, cry. They can become childish again,” Milchan observes. “There are moments when they find themselves playing again. There are many artifacts, from different eras, that remind them of their own lives, or moments of it.
“The ending is a very strong moment for people. A lot of questions resonate with them. That’s what art is all about. It’s not about if it’s good or bad, but whether or not it lingers with you.”
Say My Name is an emotional journey, a chance to reflect on our lives and the memories we cherish. It’s an invitation to consider not only who will remember us, but how we will be remembered.
Upcoming performances of ‘Say My Name’ will be held on February 11, 18, and 20 at 8:30 p.m. at Hadive, Hathiya Street, corner of Herzl Street, compound 3426, Tel Aviv. For details and tickets, see www.hadive.org.il.