Irish Repertory Theatre’s adaptation of “The Dead” took us on a rare, transporting journey.
Rachel Chavkin, director of “The Comet” talks Tolstoy, Judaism and what why there’s cause for hope in the art world in the Donald Trump era.
It’s a surprising idea for light entertainment — the behind-the-scenes negotiations for the Oslo Accords. But Anna Katsnelson finds J.T. Rogers’s “Oslo” held her attention, at least most of the time.
For his second film, author David Bezmozgis has adapted the title story of his collection “Natasha and Other Stories.” Russian-Jewish audiences will applaud its accuracy, but whether all audiences will embrace it is a different matter.
Marcel Ophuls is often credited with exposing French collaboration with the Nazis in “The Sorrow and the Pity.” But Arthur Miller’s “Incident at Vichy,” now playing in New York, was an equally important and groundbreaking work.
South African Jewish artist William Kentridge’s “Refuse the Hour” was a powerful work. But Anna Katsnelson says his production of Alban Berg’s “Lulu” at the Met is a phantasmagoric masterpiece.
When Anna Katsnelson, a Soviet refugee, came to the States with her Jewish family in 1989, her immigrant parents heard wild tales about unhygienic yeshivas and public schools rife with sex, drugs and HIV. The solution? Send the girl to Catholic school instead.
Joshua Harmon, the guy who brought you ‘Bad Jews,’ has a new play called ‘Significant Other’ — and it comes complete with Jewish mom jokes.
The Dr. Zhivago musical on Broadway might make poor Boris Pasternak turn over in his grave. Anna Katznelson explains why.
Boris Nemtsov was killed in broad daylight steps from the Kremlin. The opposition leader’s murder shocked Russians, but Moscow is no stranger to assassinations.