FIDDLER Closes Out Fall Theater-Going for Students

So we all got dressed up and went to see FIDDLER ON THE ROOF at Arena Stage on Thursday evening, our last theater-going expedition of the semester. What did we make of it?
Almost everyone seeing this classic show (celebrating its 50th anniversary) for the first time; many unfamiliar with the show’s iconic songs, one after another they roll out, stupendously, in one of the most amazing first act collection of songs in Broadway history (how’s that for stating the obvious?)… What did we make of book-ending the semester with two musicals——YENTL 10632581_10152669946859883_8759886788855477763_nand FIDDLER——that tell us something about the dynamics of community; of classic story telling (both shows adapted from classic stories by legendary Jewish authors IB Singer and Sholom Aleichem, respectively); plays about marriage, tradition, modernity, and exile. What to make of the portraits we’ve seen on DC stages of the Jewish experience, from FIDDLER, to YENTL, to AWAKE AND SING, to BAD JEWS? That’s quite a trajectory! Who wants to make some meaning of it?
I open the blog up to these wonderful students who’ve invested so much of themselves in these comments these past 3 months. Perhaps there’ll be one more posting opportunity to reflect on the larger picture — Theater at the cross-roads — Theater approaching the end of a calendar year — Theater aspiring to climb new heights and to remain relevant… Yes, we’ll give ourselves another opportunity to reflect more deeply on the art form and our institutions approaching a new year… For now, we look back and look at the production of a piece of heritage brought lovingly back to us for our entertainment and enlightenment… FIDDLER lives! Let’s appreciate what it still can do so masterfully.
Fiddler on the Roof

Rosh Hashana Talk on Judaism and The Arts (and…)

A “drash” given this morning at GWU Hillel, Lisner Auditorium.  Wishing everyone a very happy new year. 

Art and Judaism and the Case for a Holy Fusion

It’s wonderful to be with you today, to pray and sing and usher in the new year with family, friends, and this new community for us here at George Washington University. UnknownLet’s appreciate the intimacy of what’s to come (even the irony) of me standing before you, fresh off the plane from Israel and Italy – where my daughter and I joined a mostly-fully-represented extended family  to the scene where my mother, her sister, their mother and 1000 other Jews trekked into the Alps of Italy in early September, 1943 to escape deportation from Southern France. We were re-enacting their trek in a Memory March (our “legs were praying” indeed, just as Rabbi Abraham Joshua Heschel said in 1965 when he joined with Dr. Martin Luther King, Jr. and other religious and political figures in a third—and finally successful—attempt to march from Selma to Montgomery, AL, to demand voting rights for African Americans at the Alabama state capitol;  and my heart was full of inspiration from  the fellowship with church-affiliated citizens of Saluzzo who hosted us); a weekend’s worth of ceremonies, all of which followed a three-day jaunt through Israel joining the tour of WOODY SEZ: THE LIFE AND MUSIC OF WOOD GUTHRIE… It was a whirlwind Jewish week synthesizing art and family, memory and present-day consciousness; strengthening old bonds and forging new ones.

Today I come before you, a tad disoriented, publically worshipping for the first time in months, which feels momentous, to have been away from a prayer service (if not a synagogue—we toured several in Italy) and then be bestowed with this honor—the qualifier being that although I immerse myself in the world of Jewish drama—and I work in a Jewish Community Cultural Arts Center everyday—perhaps I don’t spend a deep enough time meditating on the full meaning of the spiritual component I’m immersed in—I’m so focused on the craft, the sustaining of the art—but what of the “J” in Theater J? Can I find it in the art I help produce? I’m going to reflect on that, as we consider the assigned topic—what Cantor Mishkin has charged me to address: “Art & Judaism,” to which I’ll add the sub-title: “A Dialectical Dance (or Holy Fusion).”

Doug Mishkin is a new friend. We bonded last fall over our common debt to Woody Guthrie. I fell in love with Doug’s great song, “Woody’s Children” and the amazing video of it which was released last year in celebration of Woody’s Centennial. We realized that the love of one artist bespoke a lot of other common passions (a kind of Jeff-Bezos/ affinity match, “If you liked this, you might like…” only without the diabolical algorithms). Doug and I discovered connections ranging from youth group song-leading, to civil rights history, to the lyricist who wrote “Somewhere Over the Rainbow.” There’s something to this: If you’ve got a work of art in common, you might share other things—values, ethical principles—and through the love of a single piece of art you forge relationship, and as that extends to others, community is assembled; and the structure of our religion–with its cyclical rhythms and rituals, sustaining the community, year after year, ritual and repetition bound by passion and deep feeling–is fortified. Without deep feeling, intentionality, or kavanah, there is only law; only compulsion; practice devoid of light. The Arts have been a gateway for bringing light and repetition together; a portal through which we can connect to our heritage and have it resonate musically in the modern world.

And yet “The Arts as a Gateway” has become a familiar trope. It’s “The Spoonful Of Sugar” Approach; Sweeten things up with story, a melody or a decorative aesthetic. But to others, the arts are an end to themselves—not just additive—but a sustaining framework of meaning extolling the miracle and relentless fury of creation (natural and human). There are atheists for whom Art is their religion; for whom the theater, or the concert hall, is The Temple. I’m here to fuse the  notions; that the arts lead us back to more meaningful Jewish engagement (back to the synagogue, even), yet are to be understood (and respected) as more than a mere stepping stone. Jewish arts provide continuity and community; literacy and regenerative vitality. And in that word vitality, we see a material and spiritual life-line; an instrument for keeping our Spirit Alive.

So then don’t we adequately fund it?  Why don’t we make the arts a communal priority? Why doesn’t a new generation of donors and daveners give a darn about Jewish Arts? Because there is evidence suggesting that they don’t. There’s even a rare few who feel some Jewish arts should be de-funded!  Specifically, that the theater I run should be de-funded! Or that I should be. But we’ll get to that…

Let’s pose some more specific questions and ask if it’s really so important; this marriage of Judaism And The Arts.  Compared to, what?  Bible Study?  Meals on Wheels?  Financial support for the state of Israel?  Synagogue building maintenance? All of these are important too. What’s so special about Art?

Has a work of art ever led us to a more Jewish sense of self? We’ve all been moved by art, sure. But the question is, in what ways does loving Woody Guthrie lead to my praying here in Lisner? Which artists have left us spiritually elevated? Gerswhin? Copeland? Bernstein? Rothko? The bittersweet laughter of Wasserstein…? And as I’m listing and thinking about the importance of art in our lives, I’m reminded of another Woody—Woody Allen—and his famous list uttered into a tape recorder just before the end of his 1979 movie “Manhattan.”

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The Sounds of Sephardic Identity

Shirley here.

Last Sunday we hosted the fabulous musician and musicologist Ramón Tasat for a Post Show Panel Discussion titled: Sephardic Identity–An Encounter through Music. Stephen Stern, Theater J Council Member, led the conversation. We’ve posted some highlights (including several incredible musical excerpts) on Vimeo.

Sephardic Identity – An Encounter Through Music from Theater J on Vimeo.

And speaking of Vimeo, I’ll take this opportunity to point folks towards some of the discussions we recorded and posted earlier this season, during the run of OUR CLASS. The first was a pre-show talk that Jan Gross gave (author of the book Neighbors–which inspired the play); the second is a panel co-sponsored by the Polish embassy with esteemed guests:
• Tadeusz Słobodzianek, playwright of OUR CLASS
• Mr. Krzysztof Persak, Ph.D, Director of the Institute of National Remembrance President’s Office
• Derek Goldman, Director of OUR CLASS
• Allen Kuharski, Chair of the Department of Theater at Swarthmore College and an authority on Polish theater and drama

We love continuing the conversation beyond the stage, and this play gave us much to discuss. Follow us here on the blog and on Vimeo to keep up with the latest discussions!

Our Class Pre Show Discussion with Jan Gross at Theater J from Theater J on Vimeo.

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THE WHIPPING MAN Field Trip to Richmond

As THE WHIPPING MAN finished its first week of rehearsal, director Jennifer Nelson and stage manager Karen Currie scheduled for a cast field trip to Richmond, Virginia–where the Civil War drama takes place.

The trip included a drive along Monument Avenue–where the city honors its Confederate heroes;  a tour of downtown Richmond, past the current Capitol Building; and of course, a visit to Richmond’s Museum of the Confederacy.


Actor Mark Hairston reads about the build-up to the Civil War

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