February 4, 2008
On behalf of the members of League of Historic American Theatres, I urge your support of the American Theater Festival's (ATF) plans to bring unique productions and the work of America's finest not-for-profit theatres to a series of dynamic presenting venues, including several League theatres. We are confident with sufficient support ATF's efforts will enable the continued life of outstanding theatre productions to reach significantly greater audiences nationally.
... I urge you to provide the much needed support and attendance these companies
deserve. My experience with live theater has made me realize the importance
of maintaining and preserving an art form that has such a remarkable history
and impact. I believe the NJT and ATF play a vital role in enriching our society
and I look forward to their long and illustrious future.
Former President, Broward Performing Arts Center, Ft. Lauderdale
May 13, 2008
This letter is written in support of the American Theater Festival Project. I have had the opportunity to work closely with Arnold Mittelman on various projects and have had extensive discussions with him as he developed the concept for this project. I have seen first hand the quality of Arnold's work and the positive audience and critical reactions to his productions. I believe thsi project presents the opportunity to achieve a new set of benefits for regional theater, performing arts centers, and our audiences.
Thursday, December 17, 2009
Based on The Rothschilds by Frederic Morton, it tells of the rise of the Rothschild family from humble beginnings in Germany, to their founding of their financial empire and growing political influence under the guidance of patriarch Mayer Rothschild, to their assistance in funding Napoleon's defeat, and how they secure a declaration of rights for European Jews in the midst of an oppressive era. The Rothschilds was the last collaboration between Bock and Harnick. The show won a Tony Award for its original star Hal Linden.
December 22, 2008
What's a sensible age for a performer to venture a first solo show -- 21? 30?
How about 84?
Theodore Bikel -- 84 and married (again) just last month -- is ready for it. The folk singer-actor-activist has spent a lifetime performing, and now, in a rehearsal room at Georgetown University, his impressively resonant voice still sounds like thunder rumbling through a valley
March 6, 2008
Listen up. You only have until Sunday afternoon to catch the revival of The Soul of Gershwin, arguably the best theatrical revue tso play South Florida in years, at Parker Playhouse.
Subtitled The Musical Journey of an American Klezmer, this is not a Gershwin concert, although there are impeccably rendered Gershwin tunes. It's not a stuffy resurrection of klezmer tunes, although you'll hear that style played here with rollicking drive and raucous zest.
David Cooper, New York Jewish Examiner
If this review seems spare it’s because I hope you’ll see Motti Lerner’s play Hard Love (either Wednesday afternoon or Thursday evening) and want to keep spoilers to a minimum. Hanna and Zvi divorced 20 years ago when Zvi became an atheist and left their Ultra-Orthodox community. When the children they each had in their second marriages start dating they meet again which leads them to discuss their marriage and its ending.
The themes Hard Love examines include both the religious-secular divide in Israeli society and the compromises that are necessary in any marriage. The latter theme in particular gives the play its emotional depth and power; Zvi is too emotionally wounded to meet Hanna half-way. Zvi is haunted by God; his professed atheism seems like an attempt to flee a God he blames but can never elude. I am personally acquainted with several couples who agree to disagree on matters of religion, but none of them are Ultra-Orthodox, and all of them are psychologically whole and emotionally secure enough to accommodate a partner’s differences.
Hanna and Zvi are the only characters that actually appear on stage, and Mira Hirsch and David Marshall Silverman give very strong performances. The play’s two acts (between which there is a ten minute intermission) mirror each other in reverse.