Theatre
Rolf Hochhuth, playwright who challenged the Vatican’s WWII legacy, dies at 89
When Pius died in 1958, Hochhuth felt he had to expose the faults in his actions. “He was virtually canonized by world opinion on his deathbed.”
In Chicago Theatre, The Play’s the Thing for Both Sides in Israel-Palestinian Conflict
“The Victims” is one of six plays that will be performed as staged readings as part of Semitic Commonwealth, a performance series at Silk Road Rising, a 14-year-old theater company that will address the Israeli-Palestinian conflict—three from the Jewish-Israeli point of view, and three from the Palestinian. But all six have the same goal.
A Director’s Undying Tribute to the Iconic Elie Wiesel
I was hit by a car on my way to meet Professor Elie Wiesel for the first time. It happened just after I arrived in Boston from Paris, as I stepped out to cross Commonwealth Avenue. The car knocked me down, and I felt an intense pain in my right leg. I mumbled that I did not want to go to hospital—I couldn’t be late for my meeting. That month, March of 2003, was supposed to be one of solid memories and moments, yet it began in an ineffable glow.
How 'Aladdin' Became A Hanukkah Musical
Musical theater pantomimes are a well-loved Christmas tradition in England. Can Hanukkah pantos have similar success in Israel?
Lost Performances: A Survivor's Story
Lost Performances: A Survivor’s Story
The Dybbuks Made Me Do It
The myth of an innocent person turning to evil because a demon has taken possession of the body is common. But it has especially deep roots in Jewish legend.
Vokh Tyokh Tyokh (Yiddish Theater song) - Mappamundi's Cabaret Warsaw
Written in America but taken to Poland in the 1930s. Performed by BenZion Witler and Shifra Lehrer, Moyse Oysher and Florence Weiss, and others. Recorded by Mappamundi on the Cabaret Warsaw cd and performed at the cd release concert at Duke University June 2, 2012. At this concert: Beth Holmgren, vocals; Jane Peppler: vocals, violin, concertina; Aviva Enoch: piano; Ken Bloom: guitar, clarinet, domro, bowed dulcimer; Jim Baird: bass, guitar; Bob Vasile: guitar and bouzouki. See cabaretwarsaw.com and http for more information.
Soul to Soul : Close Up - Zalmen Mlotek
Zalmen Mlotek (Artistic Director) has been the force behind the Folksbiene’s revitalization for the past 12 years. He introduced the idea of supertitles for all performances, now in Russian and English, making our shows and concerts totally accessible. He has instituted children’s shows, staged readings and outreach groups that now present Yiddish theater (all with supertitles) to communities around the metropolitan area and throughout the United States. As a leading figure and an internationally recognized authority on Yiddish folk and theatre music, he has brought Yiddish-Klezmer music to Broadway and Off- Broadway stages and venues worldwide. He served as musical director for Those Were The Days, the first Bilingual musical to be nominated for two Tony Awards. He was musical director and co-creator of Shlemiel The First, The Golden Land, On Second Avenue and others. His formal musical training was as a conductor at the Julliard School and Tanglewood with Leonard Bernstein. Zalmen Mlotek tours the country with an entertaining musical lecture about the Yiddish theatre with songs and pictures performed from the piano. For more information, please go to www.nationalyiddishtheatre.org Video Created By: Brenner Media Labs www.brennermedialabs.com
Stage of Transition by RAS.wmv
This short film was shot in 1972 as a New York University summer film workshop final project. The topic of the film is the Yiddish (Jewish) theater in America, how it flourished and how it declined. The narrator of the film is Betty Budanov who was a well known Yiddish Theater actress during the 1930’s and 40s. Interviewed in the film for his expert knowledge was Yiddish Theater impresario, Herman Yablakoff.
Montgomery Theater - "Jacob and Jack"
“Jacob and Jack” by James Sherman * Nov 17 - Dec 10, 2011 Jack Shore, a well-known present-day television personality, returns to Chicago for a Yiddish theater tribute to his grandfather. Thinking it’s only a staged reading for his mother’s ladies club, Jack has not rehearsed. Complications arise as he pisses off his wife, flirts with the ingénue and the theater sells out. In a parallel dimension set in 1935, Jacob is preparing for his theatrical moment. Complications arise as he pisses off his wife, flirts with the ingénue and the theater does not sell out. Seventy-five years apart, both Jacob and Jack are challenged by pay, ego and libido.