“You have to make sure that you are not substituting your voice and perspective for those of the people who really live these histories.”
Playwright Brooke Berman chats with Joshua Furst over drinks about escaping the Midwest and her newest work, which is set in the racially torn Detroit of the late ’60s.
There was no Philip Roth book published this year. No Roth book was published last year. And unless something changes drastically, no Roth book will be published in 2014. Nathan Zuckerman — Roth’s author ego, who first appeared in the 1974 book “My Life as a Man” and presumably exited himself in “Exit Ghost” in 2007 — is gone. And yet, Roth himself, now 80, lives on.
La Mama’s productions of ‘Gimpel the Fool’ and ‘The Lady and the Peddler’ transform the written word into theater. They take separate approaches, and achieve different results.
According to its publicity materials, “Response Art: An Experiment in Politics, Power, and Pop-Culture,” the exhibit currently running at the Dershowitz Center for Pro-Israel Art, deep in Brooklyn’s South Slope neighborhood, promises to show what happens when artists and intellectuals “struggle together towards a new understanding of Israel and the Middle East — aided by the vision of artists inspired by the tremendous burst of cultural creativity unleashed during the ‘Arab Spring’ and ‘Israeli Summer.’”