The production based on the play by American Jewish writer Isaac Bashevis Singer first shocked Israel. But already in Russia, Evgeny Arye (the creator of the "Gesher" theater in Tel Aviv) first transported the audience of the "Sovremennik" theater to the early 1950s in New York, where the action of the play "Enemies. A Love Story" begins, in February 2011. Herman Broder miraculously escapes from the Nazis after the war. That miracle is the warmth and devotion of a woman, thanks to whom he began a new life. Before the audience, the first scene (of three): Yadviga lovingly cares for her husband. He is cheerful, she is devoted. Their relationship resembles mutual gratitude, as Yadviga becomes too little for Herman. The second scene. The hero in bed with his red-haired mistress Masha - a Jewish woman who also escaped from the Nazi ovens, who is also trying to live anew, held by a husband who does not grant a divorce. Herman's new love? No, Masha and Yadviga are stronger than him, and therefore there can be no strong feelings between them. A special move by Bashevis-Singer defeats the audience's logic (the third scene): before the once again bewildered Herman stands his resurrected wife Tamara. She embodies for all the characters in the production the most important thought: after the concentration camp, there is no life. It is impossible to exist as before, for the spirit is broken, the body remembers fear, the eyes see the previous horror. Life would seem ordinary if the characters did not have the serial numbers of concentration camp prisoners on their arms. At first glance, Herman's story is ordinary: a man lost among three pines, in other words, women. The love square points to a weak angle - this is Broder. He hid from fears but lives in them. He took a woman as a wife but is drawn to another, and he also fears his deceased spouse. But the female characters of this play impress with their strength. Masha strives for the light, Yadviga tries to hold onto her beloved, and Tamara sincerely and faithfully believes that there is no life after death. Evgeny Arye accomplished the practically impossible: staged the story of those saved from death, but dead for significance.