The Jewish Advocate: Community, egalitarianism making for new minyanim

Originally published in The Jewish Advocate.

CAMBRIDGE – From the Washington Square Minyan in Brookline to the Cambridge Minyan across the Charles River, young leaders are gathering their friends in apartments, social halls, and even leased synagogue chapels to create communities they are not finding in existing Jewish institutions.  There may be rabbis present, but not necessarily as leaders.

These are the new generation of lay-led congregations. While such groups come and go on a regular basis, particularly in a student-filled area like Boston and its surrounding communities, many of the groups in this latest generation of minyanim are planting roots to ensure long-term stability.

Minyan organizers cite two main attractions for their members: a particular approach to services and a community atmosphere.  Yehuda Kurtzer, of the Washington Square minyan, sees these aspects as intertwined.  His minyan, he said, strives to “create a positive social atmosphere with davening, not to obscure core values [of quality davening], but to complement that.”

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The Jewish Advocate: Profs gather for program about teaching on Israel

Originally published in The Jewish Advocate.

WALTHAM — More than 20 professors from universities around the world recently gathered at Brandeis University to complete a two-week intensive study of Zionism and Israel, followed by a weeklong seminar in Israel.

Now in its second year, the Summer Institute for Israel Studies is intended to assist professors in the design of new courses for their curricula on Israel.

The institute was established by Brandeis in cooperation with the American Jewish Committee’s Dorothy and Julius Koppelman Institute on American Jewish-Israeli Relations to increase the quality and scope of Israel studies courses being offered on the campuses of universities throughout North America.  Continue reading

Talkin’ Broadway: Frogz

Originally published on Talkin’ Broadway.

Children’s theatre that delights and inspires young audiences is a rare treat to be commended. Children’s theatre that also entertains, or better yet, engages adults is even rarer. Frogz, a production by the Imago Theatre currently being presented by the American Repertory Theatre, falls somewhere in between. The show is more an exploration of movement akin to Cirque du Soleil than a legitimate play, featuring a series of unconnected, wordless scenes set to music. Each scene involves actors in elaborate costumes, invoking everything from animals to inanimate objects through the sort of exercises typical to those used in acting classes. For example, the show opens with three frogs staring at the audience for an uncomfortably long time. Then, one frog moves its head in a rather frog-like way, and we are all expected to delight in the veracity of its froggishness. To the production’s credit, the children in the audience giggle and squeal with excitement, although at the performance I attended, the adults remained nonplussed.

While some scenes feel like overblown descendents of skits from The Muppet Show – think dancing accordions and floating, black-lit string creatures – the show does get more interesting as it progresses. A cowboy whose face has been replaced by a contraption that scrolls drawings to tell the story is entertaining, if occasionally a little off-color for children’s theatre. A troupe of sloths have some funny business stacking boxes. Penguins play musical chairs. If it all sounds rather simplistic, well, it is, but there is often charm in simplicity.

The five performers – Rex Jantze, Jonathan Godsey, Kyle Delamarter, Danielle Vermette, and Leah James Abel – all ably throw themselves into the proceedings, squeezing the most fun they can from the material. Carol Triffle and Jerry Mouawad, together credited with creation, design, and direction of the show, have put together a stylish evening, but one can’t help but wish there was a little substance to go with the style.

Imago Theatre’s Frogz, presented by the American Repertory Theatre at the Zero Arrow Street Theatre in Cambridge, now through July 31. Curtain times are Tuesday, Wednesday, Thursday, and Sunday at 7:30 pm, Friday and Saturday at 8 pm, with Saturday and Sunday matinees at 2 pm. Ticket prices are $50 for Friday and Saturday evening, and $40 for weeknights and matinees. Kids (under age 15) pay half price. Seniors, students, A.R.T. subscribers and members receive $10 off regular prices. Tickets for all performances can be ordered in advance through the A.R.T. Box Office by calling (617) 547-8300, by mail, or through the Internet at the A.R.T.’s website at www.amrep.org. Box office hours are noon to curtain time on performance days, noon to 5 p.m. on non-performance days, closed on Mondays.

The A.R.T.’s summer offerings will also include the return of the sold-out centerpiece of the A.R.T.’s recent South African Festival – Pamela Gien’sThe Syringa Tree, directed by Larry Moss, for a limited engagement July 15 – August 7 at the Loeb Drama Center.
Photo: Jerry Mouawad

The Jewish Advocate: Jewish camps crafting new strategies

Originally published in The Jewish Advocate.

BOSTON – Jewish camping has always been an element of the Jewish experience in New England in summer, but recently it has moved front and center on the field of the organized Jewish community.

The Foundation for Jewish Camping last year appointed a new president, Newton resident Jerry Silverman, a former executive at the Stride Rite shoe company, and is aiming to create an agenda around Jewish camping for all of North America. And this year, the Combined Jewish Philanthropies launched the Jewish Camping Initiative, a pilot program with the goal of making Jewish educational overnight camping a part of the synagogue culture by providing incentive grants for first-time campers. In Waltham, the Hornstein Program for Jewish Communal Service at Brandeis University has added a class on the Jewish camping experience, combining a study of the history of Jewish camping in America with in-depth research into practical issues on the topic. Continue reading

The Jewish Advocate: “You can’t blame the soldiers for fighting in a war”; Exactly three decades since the end of the Vietnam war, veterans reflect on the views of Boston’s Jewish community towards the conflict and its 30-year legacy

Originally published in The Jewish Advocate.

At the 30th anniversary of the end of one of the most painful periods in American military history, one veteran is working hard to ensure that today’s soldiers won’t have to endure what he went through. Attorney Harvey Weiner served in Vietnam from 1969 to 1970, and the memories or returning home to a hostile public are still fresh. “Coming back was an extremely negative experience for myself and for almost all other Vietnam veterans. The reaction of most of us was to just hunker down and forget about it, put it behind us, and not talk about it at all.”

The events of September 11, 2001 changed that attitude for Weiner, who feared that an unpopular war might follow. Weiner worried that soldiers today would once again face demonstrators who made no distinction between the war they opposed and the soldiers who fought in it. His solution was to get involved with the Jewish War Veterans.  Continue reading

Talkin’ Broadway: Into The Woods

Originally published on Talkin’ Broadway.

Aimee Doherty (Cinderella), Miguel Cervantes (Jack), Evan Harrington (Baker) and Veronica J. Kuehn (Little Red Ridinghood)

The production is the final show of the 20th anniversary season. It’s also the company’s last hurrah in its current theatre space before moving to a brand-new, larger, state-of-the-art theatre. And the cast is a Who’s Who of Boston theatre. So to say expectations were high for the New Repertory Theatre’s production of Into The Woods might be something of an understatement. Happily, director Rick Lombardo has crafted a crowd-pleaser that’s both delightful and provocative.

Originally intended to open the company’s new theatre, Into The Woodsis a sprawling show – with seventeen cast members and an eight-piece band. Squeezing it all into the company’s tiny space is a feat all in itself. Lombardo and choreographer Kelli Edwards have compensated by utilizing every inch of space in the theatre, bringing characters into the aisles and even above the stage. The result is a more intimate Woods, where the characters’ realism trumps their fantastical elements, making the story of communal responsibility and parental obligations resonate even stronger.

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Talkin’ Broadway: You Never Know

Originally published on Talkin’ Broadway.

Haviland Stillwell and Ben Steinfeld

Can musicals still enchant a cynical audience, sweep us into a fantasy land, and maybe even make our lives a little better? Charles Strouse sure thinks so, and he’s written a delightful new show to prove his theory. You Never Know, now playing its world premiere engagement at the Trinity Repertory Company in Providence, RI, is Strouse’s love song to the power of musical theatre. While the show is not without problems, it is undoubtedly the best thing to emerge from his pen sinceAnnie.

Ben Shapiro (played by Ben Steinfeld) is a young composer at a crossroads: his lawyer father wants him to go to law school, but his passion is in the theatre where his late grandfather toiled unsuccessfully. His granddad – also named Ben – has recently passed away, so young Ben has rented out a rehearsal studio for a public read-through of the unfinished musical left behind. As friends and strangers join the reading, their lives get tangled up in the story they’re enacting. Before long, both the characters and the audience are immersed in the show within the show, awash in tap dancing and those elusive (but rewarding) hummable tunes.

The conceit of the show works, but sometimes it works against itself. The book, which is credited as “by Charles Strouse with Rinnie Groff,” is solid, with plenty of laugh lines and a compelling story. Because the show is set in a rehearsal studio, there’s a piano on stage at all times. The two-level set features another studio above where a band and some dancers are rehearsing. By the second number, when the band conveniently begins playing a dance tune as the characters reach a dance moment, I found myself hoping that this wouldn’t be a musical that pretends it’s not a musical. Will there be some sort of textual excuse for every note that’s sung, every step that’s danced? Thankfully, this idea is gradually abandoned as the power of the music takes over. And, with songs that echo the best of Gershwin and Kern, and dances (by Christopher d’Amboise) reminiscent of Gene Kelly and Donald O’Connor’s work at MGM, it’s easy to get taken in quickly. Still, some of the songs and scenes from the play-within-the-play are laughably bad, particularly those that suffer from too much exposition. Are the creators trying to show us why the elder Ben’s career never took off, or are they making fun of musicals of the 1940s? Either way, both the play and the audience would be better served by better material, matching the quality of the “old show” to the “present day” material. Continue reading

Talkin’ Broadway: The Trojan Whore

Originally published on Talkin’ Broadway.

Lonnie McAdoo and Jason Myatt

Did you hear about the unwinnable war being fought for personal reasons that went on for far too long? Yeah, me too. And so, apparently, have the folks at the Mill 6 Collaborative, who are currently presenting The Trojan Whore, a new comedy by Sean Michael Welch all about that war. That’s right, I was talking about the Trojan War, you silly readers.

If you thought the above paragraph was arch and clever, you’re in for a treat with Sean Michael Welch’s play. If, however, you’re tired of loose metaphors for the Bush administration’s policies disguised as political theatre, you might want to stay away.

Even for those of us tired of preachy, anti-Bush shows, there is a lot to recommend in The Trojan Whore. John Edward O’Brien has staged the work effectively in the tiny, 30-seat Devanaughn Theatre at the Piano Factory, emphasizing the personal conflicts that underlie national battles. The cast is uniformly talented, eliciting their fair share of laughs and even a bit of pathos.  Continue reading

Talkin’ Broadway: The Old Man and the Sea

Originally published on Talkin’ Broadway.

Richard McElvain

Hemingway’s classic novella The Old Man and the Sea is a timeless story of determination and struggle, keeping readers on the edge of their seats wondering who will win in a battle of wills – the old man, or the sea? Weylin Symes’ new stage adaptation of the piece retains the plot of the book – Santiago (Richard McElvain), determined to end his recent spate of bad luck, sails out into deeper water and battles to hold on to a large marlin – but somehow manages to lose the story of struggle along the way.

The major obstacle in dramatizing the piece is its setting. Most of the original takes place in a boat, on the open water, exploring the inner workings of Santiago’s mind as he struggles with his adversary, the marlin. Rather than attempting to embody the fish or portray the fight, Symes has reframed the narrative, which we now encounter as the fisherman’s young protégé, Manolin (Nicholas Carter), coerces an exhausted Santiago to recount his recent adventure on the sea. This conceit undermines the drama of the original – seeing Santiago animatedly recount his adventure; there is no question of whether or not he will make it back from his battle with the fish. Here he is. However, McElvain and director Greg Smucker find a new dramatic question. Rather than asking will Santiago make it back in one piece, they confront us with an excitable, rambling, and perhaps broken man and challenge us to ask did Santiago actually make it back in one piece?

McElvain’s performance is no less than a tour de force. He transforms his monologues into fully realized plays in miniature, whispering and yelling, all the while making full use of his body to reenact encounters with weather, sharks, and that darn marlin without ever letting us forget that it’s an old, battered man recounting what may be his last great conquest. Carter is given much less to do, becoming something between a plot device and a costumed stage hand for most of the show, prompting Santiago to tell his next story whenever it’s appropriate, but mostly moving large props around to assist Santiago’s storytelling. Still, this young actor makes the most of his material, staying in the moment as Santiago tells his tales.

The story-telling aspect of the play is helped considerably by a skilled design team. Richard Chambers has built the sea on stage, imagining a gigantic blue bamboo wave surrounding and overwhelming Santiago’s tiny home. Evocative lighting by Annmarie Duggan and haunting sound cues by David Reffel heighten the transitions from moments shared between Santiago and Manolin to Santiago’s flashbacks. The costumes by Allison Szklarz complete the stage picture perfectly, never once allowing us to doubt that this old man really did the things he claims.

This play, a world premiere as part of the Stoneham Theatre’s Emerging Stages Program, doesn’t fully satisfy, and doesn’t feel quite finished. An uncredited narrator begins the evening and pops in from time to time, interrupting the flow in a way that suggests the playwright – who also happens to be the theatre’s artistic director – ran out of ideas at certain points in his adaptation. And the change in the story’s structure deprives the narrative of a natural place to end, leaving the conclusion somewhat softer than it might be. However, as an evening of theatre, The Old Man and the Sea hardly disappoints.

The Old Man and the Sea is presented by the Stoneham Theatre, 125 Main Street, Stoneham, MA through April 3. Performances are Wednesdays and Thursdays at 7:30 pm, Fridays at 8:00 pm, Saturdays at 4:00 pm and 8:00 pm, and Sundays at 2:00 pm. There is no performance on Easter Sunday, March 27. Tickets are $32 for adults, $27 for seniors, and $16 for students. Tickets are available online or by calling (781) 279-2200. The Stoneham Theatre’s season continues with Neil Simon’s The Sunshine Boys, starring Dick Van Patten, May 5 – 22, 2005.
Photo: Emily Sweet

 

Talkin’ Broadway: Homebody/Kabul

Originally published on Talkin’ Broadway.

Tony Kushner’s plays are often mistaken for political statements. Most of his works are set against specific political backdrops, from the Roy Cohn world of Angels in America to the civil rights struggle that sets the stage for Caroline, or ChangeHomebody/Kabul is no different, taking place in London and Afghanistan in 1998 during the reign of the Taliban. However, none of these plays are really about politics any more than Star Wars is about space travel. At the heart of Homebody/Kabul is a family drama that happens to play out in a time and a place when connections between men and women, east and west, were particularly strained. The central drama is not about whether the Taliban was right or wrong, nor is it about the place of women in society – it’s about finding connection. And unfortunately, Boston Theatre Works’ production, directed by artistic director Jason Southerland, could use a lesson or two in connecting.  Continue reading