Robi Cohen A version of this post appeared in Yiddish. When the first Montreal International Yiddish Theatre Festival wrapped up two years ago, one could hear the usual critics saying: “Nu! Let’s see if there will be a second one.” This year, that question was answered. From June 13 to 22 the second International Yiddish…
Trish McCall, Dan Bielinski and Marcus Naylor in ‘Under the Cross.’ Photo by Louis Zweibel. This summer New York remains the center of Yiddish theater. Audiences looking for a lighthearted romp can go see Hershele Ostropolye (in Yiddish) at the Folksbiene. Those looking for a grittier Yiddish theater experience can head to Midtown and see…
S. An-sky’s “The Dybbuk” is arguably the most famous play and film in the cannons of Yiddish theater and cinema. Written in 1914 and first produced by the Vilna Troupe in 1920, “The Dybbuk” is an otherworldly tale, based on Jewish folklore collected by An-sky during a three-year ethnographic expedition through Russia and Ukraine. In…
Sidney Lumet, the acclaimed director more than 50 films, died April 9 in Manhattan at the age of 86. Best known for taut psychodramas such as “Serpico” (1973), “Dog Day Afternoon” (1975), “Network” (1976) and “The Verdict” (1982), Lumet’s work demonstrated an enduring interest in social realism and the difficulty of obtaining justice, a concern…
A version of this post appeared in Yiddish. On March 12 the Yiddish theater lost one of its most beloved stars. Shifra Lerer, an Argentine-born actress who toured the world and who later appeared in films by Woody Allen and Sidney Lumet, died in Manhattan at the age of 95. I met Shifra during my…
A longer version of this post appeared in Yiddish. Some weeks ago, on December 12, I was involved in a commemoration at YIVO of the 120th birthday anniversary of the great Yiddish actor and director Solomon (Shloyme) Mikhoels. I am not sure if Mikhoels is well known among the younger generation in Russia, or anywhere…
In attending “A Gilgl Fun A Nigun” (“The Metamorphosis of a Melody”), which opened its five-performance run at the New York International Fringe Festival on August 14, I was charged with answering a single massive question: Can Yiddish theater appeal to a mainstream audience? As a lifelong theater lover and gentile, I had never been…
The year is 1943. The place is Warsaw. The ghetto uprising has been crushed, but one man, a Hasid by the name of Yosl Rakover, is still alive, and he is busy recording his sordid tale for posterity. After recounting the events of the last few years — the deaths of his children and grandchildren,…
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