I knew there were Jewish surfers, and I’ve already written about the first (Jewish) family of surfing, the Paskowitzes, but who knew there was Jewish surfer music?Thanks to a heads up on the matter from Kookykitsch.com owner, Jessica Lindsey, I am now hip to the existence of Meshugga Beach Party, a Bay Area band that plays traditional Jewish songs to a surfer beat. The perfect thing to download to my iPod and play in the car on my way down to Southern California on my vacation next week! No matter what kind of traditional Jewish lider (that’s songs in Yiddish) I may want to listen to – be they klezmer wedding music, liturgical pieces, or songs from Fiddler on the Roof – those Meshugga surfer dudes have got them covered.

But, as I have pondered before, why is it that, no matter what kind of Jewish musical fusion or innovation we are talking about, the performers are always compelled to appear like ZZ Top gone Hassidic? It’s such a hackneyed stereotype, and – well, kitschy. Here’s Erran Baron Cohen (Sacha’s brother) performing his Latin-inspired “Dreidl Song” (a hit on Hanukkah last year, when it first came out). It looks like he must buy his black suit and fake, adhesive beard and peyes from the same wholesale supplier as the members of Mushugga Beach Party.

© 2009 Renee Ghert-Zand. All rights reserved.

Hello again! It’s winter now. Christmas is nearly here. Can you believe 2009 is almost over? It is almost time to watch the ball drop (ahem, you know the sparkly ball, the Times square ball, ah forget it). Tradition, tradition…got me singing Fiddler on the Roof.

Brief catch-up: What am I doing right now? Where am I?

I haven’t traveled at all lately, much unlike my summer (i.e. Korea and China). It is both nice and annoying. I am home more of the time, but I would like to get away for a while. I’ve been feeling rather lazy at home. I don’t do much, occasionally turning to my unfinished history homework or the internet that is the vacuum of my time. Do you have this problem too? I hope I’m not alone.

In other news, a bird flew in our house. It was fun trying to shoo it out. No animals were harmed in the process, rest assured.

My dad flew in from the Incheon Airport last night. I was talking to him on the way back. He said, “To say something and to believe something are two totally different things.” Maybe I didn’t understand and still don’t understand what he meant fully, but thinking about it, yeah, it makes sense.

For example, I will openly detest body image criticisms. When I hear a “I look so fat today”, I will shoot it down with a “Don’t say that!  You are beautiful.” It is almost becomes an automatic response. And that is not to say I believe so-and-so is “fat”. But my immediate rejection does not call for any reflection, any why-am-I-saying-this.

The truth is, I do believe everyone is beautiful and I believe we should not attack our bodies. But sometimes I don’t believe that I am beautiful and sometimes I criticize the way I look. Am I then a hypocrite? I know this, I can say one thing, but believing in what I say means much more.

Today and everyday, I am a beautiful person. This is what I say, and this is what I will work towards believing.

Love,

Emmy

And if our good fortune never comes,

Here’s to whatever comes,

Drink l’chaim, to life!

Donald Westwood, executive producer of AIM Management’s Fiddler on the Roof introduced the show by thanking us, the audience, for “taking a chance” on the new company. Fiddler on the Roof is AIM Management’s inaugural production, and Westwood informed us we were pioneers with immense power over the future of the theatrical arts in Savannah (and, perhaps, the success of the company itself).

Well, if I do have any such power, I here use it to proclaim that AIM Management’s production of Fiddler on the Roof is entirely brilliant and a delight to watch. The story of Fiddler on the Roof is itself filled with poignancy and humour, yet it takes a passionate and talented cast to bring the tale’s evocation of family, community, human interaction, prejudice, oppression and, above all, love to life. Luckily for AIM Management (and the audiences), its performers, musicians, and stage crew have passion and talent to spare.

The Lucas Theatre

From my centre seat in the front row, I was able to watch both the musicians and the faces of the ensemble cast as well as the main characters, and it was a joy to see how dedicated the performers were and how much fun the musicians were having. I thoroughly enjoyed seeing the musicians (when they weren’t busy playing beautifully, of course) watch the show and laugh along with the audience, despite the fact that they must have seen the show countless times in performances and rehearsals. There seemed to be a real camaraderie amongst the company (or else they’re even better actors than I thought). This not only made me miss my days of playing in a musical ensemble, but ensured I had to fight the urge to sneak on stage during the lyrical and heart-wrenching rendition of “Sunrise, Sunset”, because all I wanted at that moment was to be a part of the music and story.

Bruce Goldman as Tevye perfectly embodied the patriarch whose commitment to “Tradition!” and what “The Good Book says!” can always be adapted to accommodate his love for his family, while Thesa Loving’s talent came across beautifully during (though not only during) “Do You Love Me?” – one of my favourite songs. Joe Byrne’s depiction of the nervous yet optimistic Motel was highly entertaining, and Erin O’Neil, Shayna Albertson, and Nicole Brooke Brancucci’s voices shone as Tevye and Golde’s three eldest daughters. A special shout-out to Albertson, whose rendition of “Far From the Home I Love” (another favourite, along with “Sunrise, Sunset” and “To Life”) was striking.

Honestly, I can’t fault a single performer; even the minor characters were consistently focused, fun to watch, and had fantastic voices. I was able to get a photo with the hilarious Susan E. V. Boland (Yente); surely only good can come from being close to a matchmaker, right? I also chanced upon a photo with the charming Michael Kennan Miller (Fyedka), and must admit: if any man as gorgeous as that ever wants to whisk me off my feet, I too will go against my father’s wishes in order to be so whisked. (Michael, if you ever do get to visit Australia, let me know and I’ll be delighted to show you around… or at the very least give you some pointers so that you don’t make such horrible mistakes as saying “aluminum” instead of “aluminium”.)

Kangaroo. In Australia. (Well, it's not like I could take photos during the performance.)

As someone who’s spent a large portion of her life playing musical intstruments, I thoroughly enjoyed watching the musicians who, though only 11 in number, created such a symphony of sound that one might have guessed them to be twice the size. (As an aside, I got some giggles out of being able to read the conductor’s sheet music. I thereby knew not only when each significant song was being played, but when the music was for “Tevye’s Monologue”, “Final Scene – Underscoring”, or “Bows”. I had a chat with the lovely (and rather cute) conductor, Samuel Clein, who has a spot in my heart for having conducted several Sondheim musicals in the past, including Into the Woods. Samuel, if you ever put on Assassins, can I come and be your page turner? Please? I’ll also bake delicious brownies.

The dancing and choreography were great fun to watch, particularly during “To Life” and the Bottle Dance at Tzeitel and Motel’s wedding. From the kookiness of “The Dream” and the power behind “Tradition” to the joyful “Miracle of Miracles” and the moving strains of “Anatevka”, the performer and musicians gifted the audience with nearly three hours of wonderful song, harmony, laughter and, of course, entertainment.

I had no idea Fiddler on the Roof would be playing in Savannah during my time here, and as the company only put on four shows at The Lucas Theatre, I feel incredibly lucky that it was. Thank you to the ensemble for a wonderful afternoon, and I hope to see you all touring in Australia soon. Remember – delicious brownies.

The Roman commander may have saved Paul from the savage crowd but he still mistook him for an Egyptian terrorist! How could that be? Is it possible the commander saw what he wanted to see and not what was actually there?

Acts 21:38
“Aren’t you the Egyptian who started a revolt and led four thousand terrorists out into the desert some time ago?” [Commander arresting Paul]

Expectations are powerful and can lead us astray easily.

There was little to no evidence for the commander to suspect Paul to be a terrorist. I doubt Paul looked like an Egyptian, nor was he fighting off the crowd, nor did he have followers who were armed and dangerous. The only evidence was the crowd’s reaction to Paul. The commander may have assumed the situation was political. He could not imagine the riot was about differences in religious views. Or, that it was about who could be “in” and who was “out?” Or, who could be a follower and who could not? Or, who should be circumcised and who should not?

To the traditional Jews, it was bad enough that Paul was preaching/teaching about this Jesus as the Messiah, but now word had spread that Paul had embraced the gentiles and was opening the faith to them. He had crossed a line they could tolerate.

One of my favorite musicals is Fiddler on the Roof. Tevye, the father, is faced with constant change as his daughters come of age to marry. The first one challenges the tradition that marriages are arranged and she marries out of love. Tevya begrudgingly complies. His second daughter falls in love with a zealot who is ultimately arrested and sent to Siberia. She decides to follow her love and Tevye, again, allows her to go, but with deep misgivings. But, when the the youngest daughter falls in love with a gentile, it is a line that Tevye cannot and will not cross. She is cast out and “dead to him.” In the end, the Russian pogrom disrupts their entire village. As Tevye’s family members are dispersed and may never see each other again, Tevye relents and speaks a small “God be with you” to his beloved daughter and her gentile husband.

Tevye had expectations. We all do… for our lives and for our children. Sometimes we expect the best and sometimes we expect the worst. Instead, I believe we must be willing to lay aside our expectations. Everyone’s journey is different. We can hope for the best, but we must accept the truth of what is happening in the present as well.

Another set of expectations rise up when we meet people who are different from ourselves. They may be from another country, speak a different language, or just live in a different neighborhood. Their skin may be of a different color. They may practice a different set of religious values or family structure. If we lay down our expectations, we may be surprised by what we discover: a beating heart, a yearning soul, a bright mind.

Keep my heart open today Lord. Help me to seek the heart of others and to see past our differences. Check my spirit when I start thinking that someone might be an “Egyptian terrorist” based on superficial circumstances or appearances.

By Carol Davis

SAN DIEGO– When Patrick Page and Paige Davis stood at the top of the stairs looking across the theatre from one another singing the opening number in the inaugural performance of the Tom Jones (book and lyrics)/ Harvey Schmidt (music) musical, I Do! I Do! (They also wrote the Fantasticks) in the new Sheryl and Harvey White Theatre (formerly the Cassius Carter Center Stage) all I could think of was another time, another couple and another century in Anatevika, when Tevye and Golda were singing Do You Love Me? from Fiddler On The Roof.

Of course by the time the milkman, Tevye and his wife Golda got around to singing that number, they already had five girls and were struggling to eek out a living in repressed Russia under the Tsar (1905). I Do! I Do! based on the Jan de Hartog play The Four Poster is a little two-character romantic comedy that plays out over a period of 50 years from 1895 to 1945.

It all takes place just at the turn of the century when a woman’s role as wife was still rather (as she says tongue in cheek) subservient to her mate’s. This setting is about as far removed from Russia as one can imagine but one thing is certain no matter the time, the couples involved, the place or the social conditions the institution of wedded bliss will prevail and over the course of time doubts, anxieties and tiffs will continue to confront.

What makes this somewhat outdated valentine so endearing is that the actors playing He and She, Patrick Page (Michael) and Paige Davis (Agnes) are married in real life so the chemistry between the two is perfectly charming. And, someone in the audience will be able to identify with at least one blip in this made for prime time couple’s marriage.

Page, who you might remember has been seen on the Globe stages over the years; just recently giving us an outstanding performance of Cyrano de Bergerac (by Edmond Rostand) in this summer’s Shakespeare Festival Season, is a multi talented actor whose presence lights up any stage.

His wife Paige Davis has Broadway credits racked up from her roles as Roxie Hart in the musical Chicago to the National Broadway Tour of Charity Hope Valentine in Sweet Charity just to name a couple. She too is oozing with charm. It’s a perfect fit, like a ‘hand in a glove, as I’m sure they will attest and as was witnessed on this opening night performance.

I Do! I Do! sweeps an arc in a series of vignettes about the fifty-year marriage between Michael and Agnes from their wedding night to their old age, highlighting their significant ups and downs, trials and tribulations in their marital journey. It is reminiscent of a time of innocence to a time just approaching self-determination with the help of eighteen musical numbers that assist in the storytelling. “My Cup Runneth Over,” “The Honeymoon Is Over,” “Flaming Agnes” and “When The Kids Get Married” are but some of the more recognizable tunes heard.

It’s difficult to fault this production just because the material is outdated. If one can overlook the gender discrepancies (Marriage Is Between an Man and a Woman) and the pompous attitudes of Michael (A Well Known Fact) who definitely thinks Agnes is, well. just a woman who can’t balance the checkbook because she spends more than is in the bank (wink/wink) or that a woman’s place is to stay in the background. what’s left is sugar and spice and everything nice and that includes the rest of the package.

The new ‘White Theatre’ is a state of the art 250-seat theatre in the round (similar to the old Carter), with a modern lobby (dedicated to and contributed by the Viterbi Family) and bathrooms (the old theatre didn’t have bathroom facilities in the building), “a fully trapped stage state of the art acoustics, two stage level entrance, plush seating and complete access for patrons with disabilities”. The Facility also includes dressing rooms and a green room (named in honor of capital campaign donor Alan Benaroya) for the Globe’s three theatres.

It’s always exciting to be part of something new and this new campus at the Old Globe is an eye catcher even as seen in between the raindrops. Equally important and exciting is the flavor. Director Richard Jay-Alexander and his two stars leave a scrumptious taste and after glow at production’s end.

Both Davis and Page are just as engaging, captivating and smooth together as can be. Page, whose voice is deep and resonant and whose debonair look is enough to catch any woman’s breath. brought smiles to his easy and light performance. Paige is the perfect companion to Page’s otherwise masculine sex appeal. She is feminine, lovely to look at but with a strong determination when pushed. Her voice is pleasing and convincing as her moods change from loving wife (“Something Has Happened”) to frustrated companion (“What Is A Woman”) to concerned yet loving mother.

Both were able to maneuver around the central, not named character, a four-poster bed set right in the middle of the stage (Ralph Funicello) and surrounded by all the other props needed to tell the story of their fifty years history together. Charlotte Devaux’s costumes, especially the antique wedding gown and off the wall hat Agnes blows the family budget on are eye catchers. Chris Rynne’s lighting captures the mood; James Kinney’s choreography is simple enough to keep the two from stumbling over the props and Ben Toth’s (on Piano with Tim Christensen on Bass) musical direction kept the show’s pace moving all the time.

Recently I attended a media event at the Old Globe Theatre for the unveiling of the newly redesigned campus now to be called The Conrad Prebys Theatre Center. You can’t miss the huge circular patterned stone work leading up to Copley Plaza and the Elizabethan shaped two storied building housing the beautiful new Sheryl and Harvey White Theatre next door to a modern updated 80 seat restaurant, Lady Carolyn’s Pub, with an outdoor seating deck.

According to Executive Director Lou Spisto, “this is the lobby we never had”…

The Tony Award winning Old Globe will be celebrating its 75th birthday in this upcoming season. Now that the completion of this 75 million dollar capital campaign and construction project and 2.2 million dollar theatre which came in on time and on budget (LMN Architects of Seattle) the powers that be at the Globe have announced the January lineup that includes a world premiere of Duncan Sheik and Kyle Jarrow’s Whisper House in the Old Globe Theatre and Neil Simon’s Lost in Yonkers in the White Theatre.

When it comes to defining certain parts of our fair city, Balboa Park is usually referred to as ‘The Crown Jewel’ and the nations ‘largest urban cultural park’. In 1977 it was declared a National Historic Landmark. Named after the Spanish explorer Vasco Núñeuz de Balboa, it was placed in reserve in 1868. On any given day thousands of visitors and locals traipse through the park for as many reasons. This new campus complex at the entrance to the Park is the ‘Jewel’ within the ‘Crown Jewel’.

I Do! I Do! is well worth the trip to Balboa Park for more than one reason but mostly to see these two talented and charming Broadway stars doing what they do best, entertaining.

I Do! I Do! continues through Dec. 20th. Hurry!

*
Davis may be reached at davisc@sandiegojewishworld.com

Pacifism. We’ve been sold on this ideal for long time. It serves its purpose often enough when it comes to battle oppression, injustice, discrimination.  I can’t ignore it created some of the most inspirational leaders: Gandhi, the Dalai Lama, and Martin Luther King Jr.

I even admire Tevye in “Fiddler on the Roof” when he scoffs at the idea of violent defense:  “An eye for an eye, a tooth for a tooth…Very good…That way the whole world will be blind and toothless”.  It seems witty and wise, until you really think about it.

 I too, was brought up learning “Two wrongs don’t make a right”and “Turn the other cheek”.

Now as a parent, I’m deciding not to raise my kids this way. 

I was inspired by a quote I read in Defiance by Nechama Tec (a local author whose book has been turned into a movie with the same title): “With fine people we have to be good and proper, but with bad people we have to be bad.”

Those brought up on this type of parenting are more likely to be brave, confident, and resilient to mental or physical attacks.  They are aware that they are not to blame for others malignant behavior, and become impervious to the harm it intends to inflict.  Those who aren’t brought up this way (like me), internalize and blame themselves for attacks: causing a sense of shame, low self-esteem, and  possibly a belief that being treated poorly is just a part of life they have to endure.  I’m here to tell you, you don’t.  Stop being a victim. “Don’t get mad get even!”

I practiced this as an adult while out casted by my fellow coworkers: they were offended when I ate lunch with another department.  I was often privy to where they ordered their food, and what they were ordering.  With a quick phone call, I simply changed their order, often adding jalapenos.  While it didn’t make me feel any better about being an outcast, I at least got a good chuckle.

Then last summer I watched my life-jacket clad 3-year old daughter bobbing too close to a group of older kids.  I knew she hovering a little too close, but hoped they would play with her. What ended up happening was she got a bucket of water dumped on her head.  As soon as she could bob her way over to me, she started crying.  I tried to soothe her and diplomatically tell her to just ignore anyone who is mean.  This did nothing to soothe her, I think instinctively she knew that being passive is not always the answer. What choice did I have?  I couldn’t teach my child to be comfortable as a victim. I told her sternly: “Find that boy and dump a bucket of water on his head.” I’d like to believe that boy learned a lesson that day- that there are or, at least, should be repercussions for your actions. 

I, in no way, will allow my kids, to the best of my ability, to become bullies.  Nor can I say they are saints, but they are young so it’s a learning process.  And while my protective mom side wants to see my kids go unscathed when they misbehave, I recognize that sometimes they deserve what they get.

I’d like now to refer to a particular sociological game theory dubbed “Tit for Tat” (Related to the Prisoner’s Dilemma).  Summed up, a person should not attack unless they are attacked.  They should only attack the way they have been attacked. They should quickly forgive…. There is more to it, as it assumes that the initial aggressor will likely attack again, so the defender should be able to defend themselves again.  But, in the toddler world, let’s just hope it ends at the initial “tit”.

So I suggest giving your kids a high-five and a pat on the back when they push back, yell back, or take back.  But follow these guidelines: younger children and especially babies are exempt;  never assume all actions are malicious- sometimes it’s just how kids initiate play; and “know when to walk away”: a battle with a much bigger kid just isn’t going to turn out well. 

Guidelines that parents must follow: ignore your primal instincts of being your kids backup, instead just guide them on how best to handle the situation; explain to your kid that you will always be there to defend them, but there is a strict rule about reprimanding another’s kid. The rule, simply put, goes something like this “Stay away from my kid, jerk”.

An old favorite. This reminds me of staying up until five in the morning watching with Amy H. when I was in Junior High. Everyone was obsessed with Fiddler on the Roof for about a year. Last night the orchestra played a Fiddler on the Roof song at Shanny’s band concert and I had to get my fix today! Thank goodness for Youtube!
Every family has traditions and even more so at Christmas, Hannukah, Kwanza etc. We like to do gingerbread people and houses, play games, the giving tree at church, let the kids draw names so they can give each other presents, play Bing Crosby, read special stories, just to name few.
What are your traditions?  And do you even know when they began?  I like it in the beginning of Fiddler on the Roof  when Topol is talking about how they keep their heads covered and wear prayer shawls to show respect for God and that they are always thinking of him.   And then he goes on to say he doesn’t even know when that tradition started!   Surely this classic musical is worth a second look?  Maybe I will start this tradition of watching Fiddler on the Roof every December.

December will be magic at The SENATOR!

A beloved classic for Chanukah!

Join us this weekend
Friday, December 11th
through
Sunday, December 13th

Shout it from the rooftops!

Friends of The Senator
present:

A Norman Jewison Film

Fiddler on the Roof

(1971 – 3 hrs)

Michael Sragow – Baltimore Sun

Starring:
Chaim Topol, Norma Crane,
Leonard Frey, Molly Picon & Paul Mann

Presented with a rare collector’s “roadshow” film print
featuring a four-track “mag” stereo soundtrack.

Friday, December 11th – 7:30 pm
Saturday, December 12th – 3:00 pm
Sunday, December 13th – 3:00 pm

Set in pre-revolutionary Russia, “Fiddler on the Roof”
tells the story of Tevye, a milkman who struggles to
raise his daughters in a world that is quickly
changing around his traditional Jewish community.

Tickets $6

* * *

And make your plans for next weekend:

Ring in The Holidays at The Senator
&
Benefit a Valuable Community Resource!

Friends of The Senator
present:

Our 19th Annual Food Drive to benefit
The GEDCO CARES Food Pantry

Featuring Two Beloved Holiday Classics

Frank Capra’s Heart-Warming 1946 Masterpiece

“It’s a Wonderful Life”

(1946 – 130min)

Starring:
James Stewart, Donna Reed,
Lionel Barrymore, Thomas Mitchell,
Henry Travers & Beulah Bondi

Friday, December 18th – 8:00 pm

Saturday, December 19th
3:15 & 8:00 pm

Sunday, December 20th
3:15 pm & 8:00 pm

Christmas Day, December 25th
3:15 pm & 8:00 pm

An angel helps a compassionate but despairing,
frustrated businessman by showing what life would
have been like if he never existed.

&

The 1951 Classic

“A Christmas Carol”

(90min)

Starring:
Alastair Sim
&
Kathleen Harrison, Mervyn Johns, Hermione Baddeley,
Frances De Wolff & Michael Hordern

Friday, December 18th – 6:00 pm

Saturday, December 19th
1:15 pm & 6:00 pm

Sunday, December 20th
1:15 pm & 6:00 pm

Christmas Day, December 25th
1:15 pm & 6:00 pm

Admission to the double-feature is
$6 worth of non-perishable food items
and/or
$6 at the box-office.

* * *

See senator.com
for even more film & music events like

Saturday, December 12
Senator Sessions Xmas Party Concert

Friends of The Senator
and Eat Your Neighbors
present:

Bands on the Main Stage:

Better Without You

&

The Mishaps

&

The Expotentials

&

The Mayan Factor

&

Morella

Eat Your Neighbors

And
In the Outer Lobby:

Dukes of Jazz

(7 pm – 8 pm)

DJ Jeff Hurn

And
Featuring the World Premiere of

An Eat Your Neighbors

Christmas Story

A 20 minute film inspired by actual events

Click here to watch the trailer for the film.

Doors 7:00 pm

Tickets $15 at the door

Patrons must be 21 years of age or older to purchase
alcoholic beverages.The Senator seats 900 and ample tickets will
be available at showtime.

Here’s one for my fellow Fiddler On The Roof Fan.

Anyone seen the movie Fiddler on the Roof ?  I first seen it at a church social when I was 15 and I loved it! I guess one of the “good” things being in the historic Worldwide Church of God was it’s “philo-Semitism” and for me I always felt some connection to the Jews and have some fascination with Judaism (well I’m a staunch fan of Rabbi Shmuely Boteach as many of you know and in the mid to late 90’s, liked what most of what Dr.Laura had to say. I even bought a couple of her books!). Some have interpreted my admiration as something malignant, to be gravely concerned about and not healthy. Whatever!!! I can only say to them in return, get a freaking grip and need to get a real life to say the least! Now, I got that off of my chest, I got two clips from the movie, “The Sabbath Prayer”  and “Sunrise, Sunset”. May these be relaxing as well as inspirational as we head into another weekend.

Los más ricos:

Hace algunas semanas tuve la oportunidad de conocer a uno de los hombres más ricos del mundo.  Peter Thiel tiene más de 1,300 millones de dólares y los consiguió trabajando duro en ideas exitosas.  Thiel es también autor de un libro titulado “The Diversity Myth” y lo recomiendo como una buena lectura sobre el mundo de la academia universitaria y el alcance de la corrupción a todos los niveles de la sociedad humana.  Les cuento sobre él porque unos días despues de conocerlo, platicaba con Adelaida sobre el valor decreciente que tiene c/millón de dólares para Thiel… platicábamos que seguramente “perder”, “regalar” o “dar” unos 2 ó 3 millones de dólares a uno de nosotros dos no afectaría en absolutamente nada la continuidad de su estilo de vida porque él nunca necesitaría esos millones, ¡ya tiene demasiados y muy poca vida para gastarlos todos!  Ambos nos reímos y brindamos con un “chin chin” de nuestras cervezas.

Video: Fiddler on the roof – If I were a rich man

Redistribuyendo la riqueza:

El día de hoy leí la propuesta de la reforma fiscal que el gobierno socialdemócrata de Álvaro Colom promueve para continuar el proceso de redistribución, democratización y solidarización del pueblo de Guatemala con los más pobres; todo lo anterior, no malo por su naturaleza sino por los sacrificios implicitos en los medios a utilizarse para su consecución.

Así, LuisFi pide en su blog y en Facebook: no más corrupción y no más impuestos.  Y nos invita a utilizar el logo en nuestras cuentas en línea.  Pedro Trujillo escribe en el periódico que la redistribución de esta “reforma ? fiscal” no funcionará y es necesario detener y fiscalizar toda la actividad que actualmente realiza el gobierno pues muchos millones de quetzales han desaparecido en actos de impunidad y corrupción.  Trujillo también habla sobre la intención de quitar a los ricos dinero para beneficiar a los pobres y esto me hizo pensar.

Pero, ¿la riqueza de quién será redistribuida?

Yo no soy rico, soy un joven de 25 años que aprovechando que tenía el tiempo, una idea, el deseo emprendedor y las ansias de hacer más dinero se metió a un negocio.  No tengo carro propio y utilizo un carro de mi familia.  No tengo casa y debí regresar al hogar de mi madre por no tener suficiente dinero para pagarme un apartamento propio.

Yo no soy rico y tampoco soy pobre.  Yo soy un guatemalteco más que, si esta reforma fiscal llega a ser aprobada perderá mucho dinero.  Dinero que necesito para mantener mi estilo de vida, invertir en mi negocio y pagar cuentas en mis tarjetas de crédito.

De aprobarse la reforma fiscal, yo deberé pagar Q.75.00 quetzales más pues hablo aproximadamente 500 minutos mensuales en mi teléfono celular.  A esto, deberé sumarle un incremento del 1% al pago de ISR que hago mensualmente y, utilizando la cantidad promediada de mis últimos tres pagos de ISR, habré de pagar casi Q975.00 quetzales más en el próximo pago del impuesto sobre la renta.

Señores, soy un joven de clase media que será obligado a pagar más de Q1,000.00 mensuales para mantener los gastos de un gobierno socialdemócrata que ofrece pagar con mi dinero la educación, salud y servicios de otras personas.  Yo soy un guatemalteco más que será ahorcado en un afán por redistribuir mi poca riqueza para dar bienestar a otros que por muchas razones no han querido o no han podido crear la suya propia.

La moraleja:

Los más ricos nunca serán afectados por el pago de más impuestos.  Ellos siempre tendrán mucho dinero y los pobres serán pobres siempre.  Nosotros, los que deseamos ser ricos algún día seremos los afectados y al final, este país será cada vez más pobre. Y bueno, siempre han dicho que el negocio más rentable en este país es dedicarse al narcotráfico… quizás tienen razón porque ellos, al igual que los que laboran en el mercado informal, no pagan impuestos y tienen mansiones inmensas en las áreas más ricas de la ciudad mientras crean empresas que lavan impuestos.

I have a confession to make. While I’ve been blogging away about the basics of theater going, I’ve been neglecting some of my duties as the Broadway Bostonian – mainly, seeing an excessive amount of shows. This semester has been slow, theater-wise. You might ask why? What makes this semester (semester – not year, because unlike the rest of society, college students measure time in these strange blocks) different from others?

Because of the economy, it looks like some theater producing companies aren’t creating the same volume of work they once were. For example, Broadway Across America Boston, the major production company behind many of the touring shows that pass through Boston, typically hosts about four or five shows a semester, which is awesome for a theater junkie like myself. But this semester, they’re only hosting three – and none of them played during September or October, the prime back to school months. Now, one might chalk this up to their spring line-up of seven shows. But other theaters seem to be following suit – cutting their seasons short or producing fewer shows than they have in the past.

With all of this brewing, I jumped at the chance to see Broadway Across America’s first production of Boston’s 2009-2010 season, the Fiddler on the Roof, when it passed through the Colonial Theater last week. I have a long history with the music from this show; when I was a little girl, my grandmother had a wind-up music box that played “Sunrise, Sunset.” I used to sit in front of it, listening to the song on an endless loop. Back then, I had no idea that the show was from a musical, but I loved it anyways.

The Fiddler on the Roof is the story of Tevye (Chaim Topol), the patriarchal figure of a large Jewish community in Tsarist Russia, set during the early 1900s. Tevye often breaks the fourth wall, to tell the story of his five daughters and their attempts to hold the family together despite external factors that threaten to break them apart. In a word where dysfunctional families dominate television, theater and movies, the warm rallying spirit of the family depicted in Fiddler is refreshing. The cast makes each song and scene a joyous moment, truly creating the camaraderie one expects from such a boisterous community.

As for Chaim Topol, who originated the role of the Tevye on stage and on the silverscreen, he’s wonderful. He’s truly the leader of the piece and he’s every bit as charming and charismatic as he was on film. Sadly, the night I saw the show, the producers announced that Topol would be leaving, effective at the start of the next tour stop. His replacement, Harvey Fierstein, is an accomplished actor, but Topol truly IS Tveye, the same way Marilyn Monroe is Lorelai Lee. It just seems strange to picture any other actor in the part, but I guess that’s just because I’ve never seen anyone else in the role. Nevertheless I’m sure the lively and welcoming ensemble will continue to shine under Harvey’s new leadership.
I’d say Fiddler was well worth the $25 I spent on my student rush ticket and I’m looking forward to my next trip to the Colonial to see Avenue Q!

Have you seen any good productions lately?

 By Rabbi Leonard Rosenthal

SAN DIEGO–The great opera diva Maria Callas once famously said: “Love is so much better when you’re not married.”

Our patriarch, Isaac, would not have agreed! The Torah tells us that Isaac was taking a walk in a field when Eliezer returned from Aram-naharaim with Rebecca: “…looking up he saw the camels approaching…Isaac then brought her into the tent of his mother Sarah, and he took Rebekah as his wife. Isaac loved her, and thus found comfort after his mother’s death.” (Gen. 24:64-67)

Rabbi Menachem Beker writes that many Jewish sages noted the superiority of early Jewish culture to contemporary mores in matters of love and marriage. Today most people think that a couple should fall in love before they decide to marry. The result is that this type of love, which is more infatuation, soon fades and couples may argue or split up if this is all that bound them.

Rabbi Beker continues that our ancestors, ‘from whose wells of wisdom we drink and through whose lives we are blessed,” thought differently. The Torah tell us that Isaac acted directly opposite of today’s  custom. First Isaac married Rebecca and then only afterward did he come to love her. 

I do not belittle romantic love, but the excited infatuation that one feels at the beginning of a relationship usually cannot sustain it for long.  Romantic love must evolve into a long and faithful commitment to one’s partner and marriage.

Dr. Morris Mandel, a columnist in The Jewish Press, wrote in his column: “Fidelity is rooted in love. The object of love is not only “union” but unity. It represents a life of truth, such as loving husbands and wives can perceive and share. It is unity in the full sense of the word. To reach that stage of complete oneness calls for unreserved absorption, both physical and spiritual. It is the job of a lifetime.” (May 23, 1977)

 Golde in Fiddler on the Roof put it even more plainly, though less poetically, when she sang to Tevye: “For twenty-five years I’ve lived with him, fought with him, starved with him. Twenty-five years my bed is his. If that’s not love, what is?”

Perhaps John Lennon wasn’t completely right when he sang: “All you need is love.” To sustain a marriage you do need love, but also a lot of hard work and compromise.

*
Rosenthal is spiritual leader of Tifereth Israel Synagogue in San Diego

This evening I had a wonderful occasion to visit with Governor Gregoire and members of the Board of Regents, faculty and other key folks for the University of Washington. As always Gregoire was thoughtful, insightful and reflective about the reality facing our state during these challenging times. She articulated, with great care, the reality of the budget crisis looming once again.

She carefully reminded us of the breakdown of the budget cuts made in the 2009-2011 biennial budget:

Low income health care: -11%
Other human services: -8%
all other: -8%
Higher education: -7%
K-12 education: -5%
(includes adjustments for tuition increases and federal recovery dollars). While those cuts were extremely painful, it is important to remember that Washington maintained it’s high bond rating unlike many states. Had we failed in that category, our costs would have increased even more.

Equally important, she outlined the reality of the looming budget crisis facing the 2010 Legislative Session–slated for 60 days–that begins in two months.

At this point the projected budget deficit is at least $1.7 billion. We should expect it go higher given that the economic crisis continues. The reasons: Reduction in revenues, tax lawsuits against the state, rising case loads and more. We as a state are, believe it or not, in better shape than most others. Yet we struggle with a consumption driven economy and a tax structure that doesn’t offer much flexibility on any front. The options are awful by any standard even when one considers a thoughtful combination of additional reductions, increased revenues and improved efficiencies.

According the Economic and Revenue Forecast Council, the Governor reported that state revenues will lag the economic recovery; job growth will lag economic recovery; unemployment will remain high; and less revenue is expected to be collected in 2009-2011 than in 2007-2009.

A 70% majority of the $31 billion budget is protected by state constitutional or federal requirements. Only $9.3 billion is ‘not protected’, a mere 22% of the general fund budget.

To put it in perspective, how big is $1.7 billion?

Here are three symbolic but legitimate examples of public services and programs that add up to about $1.7 billion:

Example one:

We could close all 34 community and technical colleges statewide that serve 470,000 students: $1.4 billion
Close Department of Commerce: $103 million
Close Department of Revenue: $218 million
Total: $1.72 billion

Example two:

Eliminate all state funding for the University of Washington, Washington State University: $1 billion
Eliminate all state funding for Central, Eastern, Western and the Evergreen State College: $337 million
Eliminate all state funding for Department of Health: $193 million
Total: $1.53 billion

Example three:

Close the Department of Corrections: $1.6 billion. (How’s that for perspective?)

Obviously, these three examples are beyond draconian and are only meant to illustrate the depth of the crisis we face. The Governor is, of course, legally obligated to present a balanced budget to the Legislature under the revenues provided–that is, she can’t submit a budget that is dependent upon new revenues to be balanced. It’s the Legislature’s job to make a decision about the value and cost of public services and to appropriate the public’s money. The Governor’s job is also to help educate the public about the reality of the programs behind these numbers. And I admire her for that Herculean effort.

Ironically, when I first campaigned for office we had a budget surplus; when I was elected we had a $2 billion deficit; when I was sworn in the deficit was $6 billion; by the end of my first session it was $9 billion–and I barely got to spend a dime.

Everyone has a moral core that goes the soul of our belief system. There are real people living real lives behind these budget numbers and these cuts. I recently visited the Aloha Inn, a highly successful transitional housing facility along Aurora Avenue in our legislative district. Many of the 55 residents live on $339 month from the General Assistance-Unemployable (GAU) program.

For me, the moral obligation of government is to care for those who have no voice, to remember those who are forgotten. Now is the time for government to step up and help. We cannot retreat into allowing so many lives to fall through the cracks. And yet, we must have the courageous honesty to make tough decisions and institute bold systems reform.

That is why we must also embrace the opportunity of this crisis–to let it pass without structural changes would be a terrible mistake that we would regret for years to come.

Some may wonder privately why I am so aggressive in my effort to reconsider our state’s technical strategy associated with a $300 million state data center as well as how we manage and operate more than $1.2 billion a year in technology. As a citizen legislator, how can I stand idly by while we build a palatial data center two blocks from the State Capitol at the same time we methodically close group foster homes?

As Tevye in Fiddler on the Roof said, “If I try to bend that far, I will break.”

Your partner in service,

Reuven.

Happy Thursday everyone! The past few days have just been go go go. Lets recap!

Yesterday I worked the AM shift again! After work at 3 I went to my second Active Release Technique appointment. As you may have learned in my About me page, I used to run all the time until I was injured last January. Doctors told me that they couldn’t find anything wrong with my leg and that I should just ’stop’ running…this is just NOT an option for me.. I feel like this is such a ‘cop out’ answer– its like trying to ‘cover’ the problem instead of trying to address it. I have tried countless forms of physical therapy and sports massage without much luck. However, I recently found Active Recovery Boston which specializes in Active Release Technique. I plan to do a full post on this in the future, but if you wish to learn more click here.

So far– things have been going great and I have had two great mini runs without ANY pain in my leg, glute, knee or IT Band! This is HUGE!!!!!
After my appointment I made my way over to the gym for a mini run, elliptical session and some weights! I felt great after! I then ran some errands and chatted with a good friend on my way back to my apartment.

After showering.. I promptly made myself a hearty snack around 6pm knowing that I wouldn’t eat dinner much before 11 pm! Why so late you ask? Well, earlier in the week mum informed me that she wanted to go see Fiddler on the Roof because the original actor was in the play and it was going to be his last time with the show! I have to admit– I’m kind of a sucker for plays/shows/broadway and all that so I happily obliged! After the show we had plans to go to our spot at the Four Seasons for dinner & dessert

Anyways– lets get to the hearty snack I depended on to get me through the show!

Strawberry oikos, truvia, Justins honey PB, banana slices and Kashi puffs. Puuurrrfect!

Something about eating peanut butter satiates me SO well and just puts me in the happiest mood! Must be those healthy fats

Here’s what I wore…

Seven jeans, Forever 21 top, Aldo Boots, silver hoops, Cartier watch, Express clutch… all about mixing the highs n lows

The play was GREAT but as soon as 10:30 hit and the curtain dropped I was EXHAUSTED! (Gotta love those 5:30 am wake ups!) I told mum n dad to go ahead to the Bristol Lounge without me… I just wanted to go home, EAT and pass out!

Once in the door I made the quickest and tastiest thing I could think of….
THE Hamburger Wrap (My all time FAV wrap combo!)
-Amy’s Bistro burger
-lettuce, onions, relish, Annie’s Ketchup and Wholefoods honey mustard.

I also had steamed broccoli and a bag of BBQ Glenny’s crisps… <3 these!

Of course I HAD to have something sweet before bed

Milk chocolate bar courtesy of Vermont Chocolates. I buy this chocolate bar at Wholefoods ALL the time! It’s delish! What is also great about this brand is that it’s made in a nut free facility– I’m not allergic to nuts but for those who are, you can eat this without having to worry about cross contamination!

I recently found out that one of my gyms locations has a location near me that opens at 5:30 am– this morning I decided to see if I could squeeze in an elliptical session before work at 7, because I had SOOO much to do after work! I woke up at 5, strechted a bit and made my way through the still-dark city streets! Once at the gym I powered through 40 minutes on the elliptical, showered & got ready and hauled my behind to work with just enough time to eat a Fage & Kashi “mess” and be at the desk at 7:01 am. (1 minute late!!!)

It REALLY woke me up this morning and gave me a lot of energy for my day I LOVE working out first thing in the morning… the only downside was that I had to RUSH to make it to work & that my duffle bag had all my shower/makeup products in it not to mention snacks, lunch and a change of clothes! It was soooo heavy!!

After work I made my way over to the oh so fabulous Newbury st for a hair appt ..just a color, no cut– come on did you really think my hair was naturally this color

I walked into my apartment around 5:30 FAMISHED!!! I knew JUST what I wanted to make myself…. the main component of my craving?

I mixed this guy with a PB chip vitamuffin!

The yogurt was just OK– it was my first time trying this yogurt and I didn’t find that it tasted very “pomegranatey” but it WAS delicious with the vitamuffin

One of my guy friends informed me that he and his partner would be at the Bristol Lounge for drinks around 6 and asked me to meet him! This was PERFECT because I had actually talked my pops into going here tonight since I was too tired yesterday and I missed out when he n mum went after the play. Therefore I happily obliged! At the BL I sipped on Riesling, munched on nuts and chatted it up with the guys!

My dad arrived around 7 and we ordered dinner!

We noshed on bread, butter and hummus spread & I started out with my FAVORITE appetizer– JUMBO shrimp cocktail!

For my entree I had JUMBO scallops seared plain (I LOVE the taste of scallops with just a squirt of lemon!), along with asparagus and roasted baby beets! (Sorry no pic). I ended the meal with a pot of fresh chamomile tea.

Once at home I was STILL hungry and had a major chocolate attack! Here is just SOME of it (milk chocolate Wholefoods raisins)…

I also had a few Almond M&Ms (LOVE) and some carob coated raisins… I may have also had a mini dark chocolate Toberlone!

Some Random Insight….

Today I got to thinking about being ‘comfortable’ in life. For the better part of my life I have felt very comfortable in terms of knowing WHAT to expect, WHO I could depend on, and what the next day would bring. I knew that after middle school was high school and then after high school I would go to college. After college– I felt VERY UNCOMFORTABLE– I had NO clue what to expect!! Ever since I started working full time– I have had a MAJOR wake up call– all of a sudden I feel constantly ‘uncomfortable’ and ‘uncertain’… However I don’t think this is a bad thing in the least…

Kabbalah as well as some Eastern Religions (i.e. Buddhism), enforce the belief of finding ‘comfort’ in the uncomfortable… that we must realize the physical world is not TRULY who we are– that we are a PART of something LARGER. We must realize that constantly ‘pushing’ ourselves and feeling that sense of ‘uncomfortableness’ is when we REALLY GROW.

When was the last time you felt ‘uncomfortable’ with a certain situation— did you find it made you stronger in the end?

That’s all for now– have a great evening!!

Each week, The Broadway Critic will be featuring the news that you don’t want to miss! A lot has happened since we posted about A Million Dollar Quartet and the resurrection of Carrie.

• Yes, that’s right! The Addams Family Musical starts previews on Friday, November 13th, 2009 in Chicago. With a cast that features Nathan Lane, Bebe Neuwirth, Terrence Mann, Carolee Carmello and Kevin Chamberlin, you can be sure that it’s going to be fantastic. (Well, that’s what I thought about Memphis and that didn’t work out.) You can check out this awesome video of The Addams Family getting into costume and make-up for a Vanity Fair photoshoot. It’s all a bit too kooky, mysterious and spooky for the cast to look so much like the cartoon. We are hoping for some great reviews.
• Big news hit twitter like wild fire on Tuesday when it was announced that Denzel Washington was coming back to Broadway. He will be starring in Fences, according to The New York Times. It’s kind of fun to see big Hollywood stars performing on Broadway but only if they are really good. Can Denzel deliver better than Jackman/Daniel do? (Not that the A Steady Rain’s box office has suffered by any means by Jackman/Craig’s performance.) Playbill.com says, “Fences will begin rehearsals this February with an April 2010 opening, Variety is reporting. Denzel has signed on for a 14-week run through mid-July.” Hopefully, he won’t get “mercury poisoning”.
• The producers of American Idiot are searching for a new Johnny, St. Jimmy, Will, Tunny and Whatsername. We are hoping that they are just looking for replacements/understudies, because all five of those characters should not be replaced. We have an idea who will be replaced when it finally gets to Broadway, but we don’t think it will be any of those five (maybe, but not willing to bet on it). The producers have confirmed that American Idiot will go to Broadway, just no one knows when or where. I hope it’s soon. (Be sure to get tickets for closing weekend!)
• It was announced yesterday that Harvey Fierstein will be replacing Chaim Topol as Tevye in the touring production of Fiddler on the Roof. Am I the ONLY one that doesn’t want to see Fierstein play Tevye? Come on… anyone? I think I’ll skip this tour in San Francisco.
• Be sure to check out these pictures from the new production of Ragtime.

Until next week…

One of my favorite musicals, Fiddler on the Roof is full of little bits of simple wisdom. We watched the movie last night, and I listed a few of my favorite lines…just for fun ~

————–

“Tevye: [to God] As the Good Book says, ev…[chuckles]
Tevye: Why should I tell You what the Good Book says?”

————–

“Villager: An eye for an eye, and a tooth for a tooth.
Tevye: Very good. That way the whole world will be blind and toothless.”

————–

“Tevye: As the good book says, if you spit in the air, it lands in your face.”

————–

“Perchik: Money is the world’s curse.
Tevye: May the Lord smite me with it. And may I never recover.”

————–

“Tevye: As Abraham said, “I am a stranger in a strange land… ”
Mendel: Moses said that.
Tevye: Ah. Well, as King David said, “I am slow of speech, and slow of tongue.”
Mendel: That was also Moses.
Tevye: For a man who was slow of tongue, he talked a lot.”

————–

“Avram: (gestures at Perchik and Mordcha) He’s right, and he’s right? They can’t both be right.                                                                                                                                                                                                                               Tevye: You know… you are also right.”

On Friday night, Husband and I ventured out to the beautifully restored Boston Opera House to see the musical, Fiddler on the Roof. The production is billed as actor Chaim Topol’s farewell tour in the role of Tevye, which he has performed about 2,500 times and garnered numerous awards (He was the first Israeli actor ever to be nominated for an Academy Award for his role of Tevye in the original motion picture).

Topol was absolutely amazing and just a joy to watch. Between sitting in probably what is the most beautiful theatre I’ve ever stepped foot in and enjoying three hours of theatrical entertainment, it was a night well spent. Two thumbs way up!

On a side note, Mum was telling me that as a kid growing up in Boston, she used to watch movies at the Boston Opera House because in her days, it was a movie house. Wow, what a place to watch a movie!

Image taken from here.

BroadwayWorld recently published an interview with Michael Kunze about his musical adaptation of Rebecca, which is aiming for an English language transfer to the a major commercial centre like the West End or Broadway. Kunze takes great pains to try and distinguish his work from traditional Broadway fare, so let’s take what he says, put it under a microscope and see if it holds up. The boxed sections below are all quotations from the interview.

The dramamusical is a tool to make clear that this is not a typical Broadway-type musical, which is more a musical-comedy. In what I do, we do drama with music. The way I write the shows is that I basically write the drama, of course with the music in mind, but the music is something that comes next, like a movie. The music is a very important element, but the most important element of the drama is the story, so the music really serves the story, and the music doesn’t really have a right in its own beside the story, like a number that is just made for the music and the dance.

Huh? It seems that Mr Kunze hasn’t seen any musical since 1926. He doesn’t seem to be aware of – for example – Show Boat, South Pacific, Sweeney Todd, Marie Christine, The Light in the Piazza. He doesn’t seem to be aware that musical theatre in the American tradition extends beyond the tradition of musical comedy that was dominant until the 1940s, but which made way for the Rodgers and Hammerstein musical play, in which music is most certainly in the service of the drama and for the various forms of the concept musical, in which the music is often related most clearly to the ideas that are being communicated in the show from the very moment of its inception. Even if we look at the musical comedies that have appeared after the Rodgers and Hammerstein revolution, many are far more integrated than their counterparts in the 1920s and 1930s. So I’m left to wonder whether this is a case of ignorance or self-importance.

It really isn’t something that I’ve invented. Jesus Christ Superstar [and] the other Andrew Lloyd Webber stuff, if you exclude Cats, follows the same kind of basic idea. Well, Andrew would never say that the music only serves the story, but that’s what it really is. He uses the music to tell the story, and that’s what all dramamusicals do.

All right, so he seems to know something about British musical theatre and deems it of a high enough standard to rank alongside his “dramamusicals”. But is it true of Andrew Lloyd Webber’s musicals that the music serves the story? Without engaging in an elaborate discussion on the matter, I’d be willing to bet that there is at least one example in each of the Lloyd Webber musicals where the music does not serve the drama fully. Off the top of my head – and to keep in line with the example Kunze himself cites – there’s “King Herod’s Song” in Jesus Christ Superstar, although the newer, rock-flavoured arrangement does help its cause somewhat. So it seems that perhaps the music does not need a particularly profound dramatic agency for it to serve the drama in these “dramamusicals”, which of course contradicts Kunze’s original thesis, that ‘the music doesn’t really have a right in its own beside the story’. What other purpose does a song like “You Can Get Away With Anything” in The Woman in White, for example, have if it doesn’t really serve the character and the humour comes not from the lyrics but from a pair of rats that clamber in and out of the actor’s costume? Or is Kunze saying that the music in a case like this still serves a dramatic purpose, even though the song as a whole is a failure because of the lyrics?

I think all the shows that concentrate on a dramatic story are dramamusicals. Billy Elliot is a dramamusical. Wicked is a dramamusical. I just want to distinguish where theatre is more theatrical than in a classical Broadway musical which is based on the vaudeville tradition, on dance, on spectacular things happening, and this is not what I look for…. I think (Wicked is) a milestone in the development of the musical, because in the history of the musical, this show will be regarded as the first one that really combines the European tradition with the Broadway tradition.

Now I’m just beginning to chuckle. Wicked being taken as a prime example where the music exists in service of the drama? The book of Wicked was forced to fit in with Stephen Schwartz’s ideas regarding the way the story should be told. The book in its best moments is competent, but completely falls to pieces in the second act, completely ignoring the very concept that Maguire had in the first place: to fill in the gaps of the story behind The Wonderful Wizard of Oz without contradicting the basic mythology in that particular book in the series and its iconic movie musical adaptation and thereby offer a different perspective on the story. Winnie Holzman, spurred on by Schwartz, creates a story that prides itself in tying itself all up very neatly, but it does so with little sense of logic and the songs that punctuate the book become less and less credible as dramatic building blocks as we speed towards the final curtain. This doesn’t even begin to engage with ideas around the way the music is orchestrated, which separates it out even further from the given circumstances of the show. It doesn’t even work to access the show from the perspective of post-modern deconstruction, which is surely the very point of creating a musical of this nature, because the choices are so inconsistent – and in contradiction to Kunze’s view on the show, constructed around “spectacular things happening” rather than on any firm set of dramaturgical principles. Perhaps Wicked is a milestone, but it’s not one that develops musical theatre as an art form. In what is commercial, yes; in what is popular, sure. In what artistically successful and dramatically compelling; most certainly not. And I’m still not clear on what specifically European musical theatre traditions are incorporated into this hybrid form, but based on what Kunze has said about the “dramamusical”, I’m convinced they do more harm than good.

I believe in drama as the key entertainment in theatre, and I think I’m not the only one who does. I didn’t even invent the name dramamusical, that was invented by a journalist. I just think it’s more European because I think the tradition of opera with the highly dramatic stories lent more to that kind of art-form, and I think that also our audiences in Europe, and I really include here in England, are more interested in going to theatre and have a real theatrical experience, a real emotional experience at last, not just an entertaining evening, but something they can discuss after the show.

Well, at least Kunze displays some humility by admitting that he did not come up with the idea of a dramatically integrated musical. I wonder who the journalist who coined the term is; I’d love to have a look at what he has to say about this potent new musical theatre form he has identified….

The comparison with opera that follows is not one that works for Kunze’s argument either. Opera by its nature is led by the music; it is music theatre rather than musical theatre and, as long as it is technically well-performed, opera often manages to be excused in its shortcomings as drama. This is, of course, a generalisation as there are operas, particularly those that are more contemporary that do integrate dramatic aspects more successfully into the theatrical whole and certainly even many traditional operas have a strong narrative and thematic thrust – but they are still led first and foremost by the music, hence the prominence of the composer and the conductor in any discussion of any opera.

Then we get to what effect Kunze believes a musical should have on its audience. In his eyes, musicals like Wicked, The Phantom of the Opera and his own shows offer a rare, real emotional experience that delivers a sense of enlightenment hitherto unseen in the musical theatre canon and one to which the American musical theatre tradition holds no claim. Clearly, he’s never heard of Carousel, Cabaret or Pacific Overtures. Obviously, there is no such experience to be had in Camelot, Follies, Fiddler on the Roof.

I’ve never really engaged with Kunze’s musicals, but his work must be truly phenomenal if it is what he implies they are: impeccable examples of musicals in which all other elements are in service to the drama. I must get my hands on Elisabeth, Tanz der Vampire or this impending masterpiece of the musical stage, Rebecca, and see for myself – but they had better live up to the high expectations that Kunze has created for them….

Published by Metro

>Revere native plays second-fiddle in ‘Fiddler’ >The actress on the timeless universal message of a Russian family in their shtetl

Though set more than one hundred years ago in Tsarist Russia, “Fiddler on the Roof” is still something audiences can relate to — daughters haven’t stopped defying their fathers yet.

“The story is universal,” says Susan Cella, who plays main character Tevye’s wife Golde in the musical. “It happens to take place in a Jewish shtetl ['little town'], but it’s applicable to any kind of people in any time period.”

The synopsis and soundtrack are familiar to most, as is the show’s leading man, Chaim Topol. Topol plays Tevye, a poor milkman and father of five daughters who desperately tries to uphold tradition within the family.

“He certainly knows the show better than anyone living today,” says Cella of Topol.

Cella, who was born and raised in Revere, says the show is so accessible that local audiences “will be brought to tears.”

“I guarantee it,” she says.

“A Serious Man”  Rated R, 1 hour 45 minutes.  A Coen Brothers Film.  Distributed by Focus Features.

Friday @ 5:20, 7:25 & 9:30

Saturday @ 2:30, 4:40, 7pm & 9:20

Sunday to Thursday @ 5:45 & 7:45

Saturday @ 11am “The Lion The Witch And the Wardrobe” a live performance

Sunday @ 2pm, “Fiddler on the Roof” also a live performance.  Both shows are brought to us by Plaza Productions.  Tickets available at the box office the day of the performance.

After hearing about Epix for weeks now from Curt Marvis at Lionsgate at both #DH09 and #DMWC, I was psyched to hear this morning that they were giving away 72 hour passes to the EpixHD site this weekend.  Click here to get yours.  Great news for those of us who don’t have FiOS and want another Hulu on the scene.  Epix is a free streaming movie site stocked with the libraries of Paramount, Lionsgate, MGM – from blockbusters to classics to original programming.  Not sure what type of access any of us will have after the weekend, but hopefully we’re looking at another distribution partner for features and webisodes.  Launching with a beautifully clean interface, available to watch right now for free is Cloverfield, GI Joe, Iron Man, Spiderwick Chronicles, Flash Gordon, Love Guru, Madonna, Eat Drink Man Woman, Everybody Wants To Be Italian, Romance & Cigarettes, Dead Again, Crimes & Misdemeanors, Purple Rose of Cairo, Annie Hall, Stepford Wives, Godfather, Box of Moonlight and more.  Better selection than Fancast (Chaplin, Google Me, Hair, MacHeads, Meet the Mobsters, RIP Remix Manifesto, Supersize Me, Slacker…), Sling (Fiddler On The Roof, Heidi, Thief of Bagdad, Birth of a Nation…), Joost (Road to Bali, Bill and Ted’s Excellent Adventure, Primal Fear, His Girl Friday…), and Crackle (Johnny Mnemonic, People v Larry Flynt, Shampoo, SLC Punk, Wolf..) combined.  Actually, now that I’ve taken a second look, I’m pretty impressed with their interfaces and selections too. Enjoy!

May the Lord protect and defend you.
May He always shield you from shame.
May you come to be
In Israel a shining name.

May you be like Ruth and like Esther.
May you be deserving of praise.
Strengthen them, Oh Lord,
And keep them from the strangers’ ways.
May God bless you and grant you long lives.
May the Lord fulfill our Sabbath prayer for you.
May God make you good mothers and wives.
May He send you husbands who will care for you.

May the Lord protect and defend you.
May the Lord preserve you from pain.
Favor them, Oh Lord, with happiness and peace.
Oh, hear our Sabbath prayer. Amen.