North Shore Music Theatre’s ‘Oklahoma’ Is A Rollicking Kick Off to its 64th Season

 

thumb-nsmt-oklahoma-ensemble-1_2

The cast of Rodgers and Hammerstein’s OKLAHOMA! at North Shore Music Theatre thru June 16, 2019. Photos © Paul Lyden

By Shelley A. Sackett

Just when the cold, wet slog of spring 2019 was about to wear down all hope that summer would ever arrive, NSMT comes to the rescue with a first-rate production of the 1943 classic, Richard Rodgers and Oscar Hammerstein II’s ‘Oklahoma!’ Perfect for theatre-in-the-round staging, this Broadway masterpiece has everything: a snappy, foot-stomping score, impressive choreography and a captivating story that is more complex and bleak than many may remember.

Under the direction of Mark Hartman, the orchestra is spot on. The opening overture is an immediate reminder of all the hits that came out of this show (‘Oh, What a Beautiful Mornin,” ‘The Surrey with the Fringe on Top,’ ‘I Cain’t Say No,’ ‘People Will Say We’re in Love,’ and, of course,‘Oklahoma!’) and last Wednesday night, the near capacity audience lip synched to almost every song. But when cowboy Curly McLaine (played with a perfect mixture of cockiness and aw-shucks-ma’am by the talented Blake Price) entered the stage astride an actual horse, the crowd predictably went wild with appreciation.

Born into a prosperous German Jewish family in Queens, New York City, composer Rodgers was the son of Mamie and Dr. William Rodgers, a prominent physician who had changed the family name from Rogazinsky. Librettist/lyricist Hammerstein II was also born in New York City.  His father was from a Jewish family, and his mother was the daughter of Scottish and English parents.

“Oklahoma” was their first collaboration and the first of a new genre, the musical play, which they created by melding Rodgers’ sophisticated style of musical comedy with Hammerstein’s innovations in operetta.

The narrative is simple on its face. Set in the Oklahoma territory in the 1900s, the musical lays out the story of two sets of lovers. Curley and the feisty, independent farmer Laurey Williams (played by the gifted Madison Claire Parks, whose dazzling singing is a delicious treat) are as in love as they are stubborn about not admitting their feelings to each other. They are early settlers building new lives on the wild frontier, and their pioneering spirits unsurprisingly clash.

Laurey’s Aunt Eller (played with zest by the buoyant Susan Cella) has some of the script’s best lines as she tries to knock some sense into Laurey and Curley, using every trick she knows short of actually knocking their heads together. The chemistry between the actors feels real, and their voices blend beautifully during their one duet, “People Will Say We’re in Love.”

thumb-nsmt-oklahoma-laurie-curley-1_orig

Madison Claire Parks (Laurey) and Blake Price (Curly).

 

Ado Annie Carnes (the Olive Oyl-like and spectacularly hilarious Melissa Carlile-Price), one of Laurey’s friends, and her boyfriend, cowboy Will Parker (Sean Bell, a terrific tap dancer) are the other couple. Or, at least they were. While Will was away on a trip to Kansas City, Ado Annie has fallen for the peddler Ali Hakim (the fine Cooper Grodin), who is a ladies’ man with zero intention of marrying her. Carlile-Price is a side-splitting enchantress, stealing every scene she is in.

But all is not innocence and trivial entertainment. Meatier topics like patriotism, impending statehood, and a spirited rivalry between the local farmers and cowboys provide a backdrop of danger and excitement. Add to the mix Jud Fry, the creepy farm hand that harbors nefarious designs on Laurey (darkly played by Alex Levin, whose baritone is operatic), and the plot truly thickens.

Mara Newbery Greer’s choreography elevates the show to greater artistic heights. In particular, the tap dancing in “Kansas City” and the dream sequence, “Ballet” (Bella Calafiura is a standout as Dream Laurey), are superb.

If there is any criticism of the production, it is that there is too much of it. At 3 hours, it is uncomfortably long, especially Act I (105 minutes).

Nonetheless, if you’re looking for an evening of thoroughly entertaining, (mostly) light summer fare, “Oklahoma!” fits the bill.

 

‘Oklahoma!’ is presented by North Shore Music Theatre, 62 Dunham Rd., Beverly, through June 16. Visit nsmt.org/ or call 978-232-7200.

 

 

 

Advertisements

‘The Nature Plays’ Bring Mt. Auburn Cemetery to Life in a Spectacular Plein Air Tour de Force

 

Namesakes

Ed Hooperman (as Louis Agassiz), Jacob Oommen Athyal (as Elizabeth Agassiz) and Theresa Hoa Nguyen (as Jane Gray) debate their legacies in “Namesakes.”

 

Reviewed by Shelley A. Sackett

This review first appeared in The Theater Mirror. theatermirror.net/ All photos by Corinne Elicone.

 

Mt. Auburn Cemetery and its rich, natural environment is a heaven-made set for Playwright Patrick Gabridge’s spectacular first set of five site-specific one-act plays, collectively titled, “The Nature Plays.” Each ten-minute play touches on a topic germane to its particular setting in the 174-acre cemetery, which is also an arboretum and National Historic Landmark District.

The plays run through June 9 with another series of five short plays, “The American Plays,” scheduled to run September 14-22.

Gabridge, who is also Mt. Auburn Cemetery’s Artist-in-Residence, chose the topics based on “whatever interested him.” The result is five works, each stunning in its whimsicality, creativity, craftsmanship and depth. They seamlessly blend big-picture topics like global warming and the role the present plays in shaping history and legacy with slapstick and zingy one-liners.

Courtney O’Connor directs and cast members, all members of Actors Equity Association, include: Lisa Tucker, Jacob Athyal, Ed Hoopman, and Theresa Nguyen.

Over the course of the 75-minute production, the audience travels about a mile from site to site with the actors, wandering from pond to gravesite to secret mushroom trove to birding hot spot to sheltered glen. Chairs are set up at each site and there is not a bad seat in the house.

 

Patrick MAC umbrella close up

Patrick Gabridge, Playwright and Mt. Auburn Artist-in-Residence

 

Last Saturday at 5 pm, the stroll through the park-like setting was as magical as the plays themselves. Gabridge was on hand to offer bug spray and a brief introduction to the 35 people lucky enough to have scored a ticket to the sold out show.

The five plays are: “Hot Love in the Moonlight,” about the strange mating habits of spotted salamanders (“but it’s also a play about choosing to have children in a dangerous world,” Gabridge told Theater Mirror); “Namesakes,” which shows the 19th century naturalists Asa Gray and Louis Agassiz confronting the impermanence of their legacies; “Sworn to Secrecy,” a peek at the hidden world of mushroom hunters; “Cerulean Blue,” about the inner lives of bird watchers; and “Love and Loss in the Glade,” a play about healing and loss told through the words of three trees.

 

Hot Love

Jacob Oommen Athyal (as spotted salamander Jeremy) courts Theresa Hoa Nguyen (as spotted salamander Samantha) in “Hot Love in the Moonlight.”

 

Along with a natural soundtrack of chirps and tweets, bird recordings of warblers, orioles and warbling vireos chime in during the bird-watching play.

 

The Nature Plays - Cerulean Blue2

Ed Hooperman (as deaf birdwatcher Dan) and Lisa Tucker (as blind birdwatcher Leanna) share their observations in “Cerulean Blue.”

 

Each play provides both charm and a deeper message, and the actors clearly revel in delivering their clever lines. “So much life in a place dedicated to the dead….I never expected to feel so much less lonely here,” one bird watcher tells another.

Playwright Patrick Gabridge is an award-winning writer of historical and contemporary stage plays, novels, audio plays, and screenplays. His short plays have been produced more 1,000 times in theaters and schools in 14 different countries around the world and appear in various anthologies. His recent site-specific works include “Blood on the Snow” and “Cato & Dolly” for The Bostonian Society/Old State House, and “Both/And: A Quantum Physics Play” for the MIT Museum.

In 2018, Gabridge launched Plays In Place, a new company that works in partnership with museums, historic sites, and other cultural institutions to develop and produce site-specific theatrical plays and presentations to help engage, entertain, and enlighten visitors in new and vibrant ways.  Gabridge’s Mount Auburn plays are presented in partnership with Plays in Place as one of the company’s inaugural projects.

The Theater Mirror caught up with Gabridge, who answered these questions.

TM: How did you decide on the topics for “The Nature Plays?”

G: One of the cool things about being artist-in-residence at Mount Auburn Cemetery is the freedom we get to choose what to create, and also the richness of the history and environment of the place. There are 100,000 people buried there, but it’s also a world-class arboretum, an important stop on the migratory bird pathway. It has lots of interesting wildlife and some very smart programs to get people involved with science and nature.

As I got to know the Cemetery, it quickly became apparent to me that I’d have to write about BOTH history and nature. There was just so much to write about, so many different elements, that I decided to write two series of plays. And even then, The Nature Plays cover quite a bit of ground. The plays themselves also have different styles and takes on their subjects. I love the ability to experiment and play, and I think the audience is going to have a good time, too.

 

TM: What are the challenges of working/performing in an outdoor environment? What are some of the rewards?

G: The hardest thing about outdoor work is unpredictability, especially around weather. We’re fortunate at Mount Auburn in that we have an indoor rain backup space, at Story Chapel. You also have a lot less control over passersby, random environmental noise, etc., that you don’t have to worry about in the controlled space of an indoor theatre.

However, the rewards are great. We get a vividly real, three-dimensional environment, better than any set we could ever create. In Mount Auburn, we get an incredibly beautiful venue in which to perform and it comes with great spatial depth that we can use.

One thing I love about site-specific work like this is that it’s super intimate—often the audiences and performers are quite close. The formal barrier that exists between actors and audience in a traditional space is much more permeable, much less rigid. This enables more engagement, and I don’t necessarily mean the actors are talking to the audience, but there’s a sense of connection that’s deeper. This kind of experience often has great appeal for people who are less comfortable in a formal theatre environment. There’s a sense of shared experience, even among the audience themselves, that creates a memorable and engaging event.

 

TM: What do you hope audiences will take away from the experience?

G: I hope they’ll see Mount Auburn a little differently than they did before. That the specific spots where we perform will have a new resonance for them. I hope that they’ll be drawn to visit again, and when they do, they’ll look at the birds and trees and the place with a new curiosity, and also with a sense of belonging. They’ll know something about this place, and I hope they’ll feel like they’re a part of it, and it’s a part of them, in some small way.

 

TM: What initially inspired you to develop site-specific works?

G: I started creating site-specific plays in Colorado, in 1993. I had co-founded Chameleon Stage, with a bunch of other writers and a director friend, and we had no money, but wanted to experiment with creating new short plays. So we made plays for wild spaces in the mountains of Colorado, just west of Denver. It was called ‘Theatre in the Wild.’ It was so much fun we did more of them, toured a tiny bit (to Aspen and Golden), and then did Asphalt Adventures, a set of parking lot plays. I learned a lot about creating and producing site-specific plays.

TM: Anything you want to add?

G: I hope people will also keep an eye out for the second set of Mount Auburn plays, which will be in September.

THE NATURE PLAYS (30 May to 9 June)

Mount Auburn Cemetery, 580 Mount Auburn Street, Cambridge, MA

617-607-1980 or mountauburn.org

 

Teen Legacy Fellows preserve and perpetuate the memory of the Holocaust 

by Shelley A. Sackett

In April 2018, Jody Kipnis and Todd Ruderman visited Auschwitz with their dear friend David Schaecter, a 90-year-old survivor who spent over two years of his youth in this indescribable death camp. “While standing in front of David’s bunker, he turned to us and said, ‘Hear me, understand me, and let me tell my story,’” Kipnis said. By the end of their trip, she and Ruderman began to understand what their friend was asking.

“The imminent passing of survivors will occur during your and our children’s lifetimes,” Ruderman explained, noting the alarming results of a survey conducted by The Conference on Jewish Material Claims Against Germany that showed the Holocaust is fading from global memory. “While no one alone can change this disturbing trend, by the conclusion of our visit, Jody and I committed ourselves to do what we could to assure this does not happen.”

The two made a pledge while standing in the Auschwitz concentration and extermination camp in Poland on Yom HaShoah in April 2018. “We promised each other that the words ‘never again’ would no longer be a call to prayer, but a call to action,” Kipnis said.

When they returned home, they conceived of Holocaust Legacy Fellows (HLF), whose mission is preserving and perpetuating the memory and lessons of the Holocaust for future generations by inviting teens throughout Greater Boston to meet survivors, learn about the Holocaust and make the trip to the places that forever changed Kipnis and Ruderman’s lives. Kipnis and Ruderman are its co-directors and funders.

By coincidence, Kipnis’s daughter, Gann Academy student Gillian Pergament, was on the 2018 Y2I trip and told Lappin Foundation Executive Director Deborah Coltin about the Holocaust travel program her mom and Ruderman were interested in starting. “I said I would love to know more and asked her to tell her mom,” Coltin said. She and Kipnis connected within days of her returning from the Y2I trip and, together with Ruderman, their ideas came to fruition.

“Debbie is an expert on teen travel and engagement. With her help, we pulled this together in just three months,” Kipnis said. She and Ruderman also enlisted the assistance of the Lappin Foundation (which has run the Youth to Israel program since 1971) to administer and implement HLF, and hired Coltin as education and program development consultant.

David Schaecter shows his tattooed number from Auschwitz.

Kipnis said HLF is in the process of becoming its own stand-alone non-profit organization.

Eligible teens for the 2018-2019 HLF pilot year needed to be juniors in high school; have participated in an organized Israel experience; be able to attend all pre- and post-trip meetings; agree to complete all homework assignments; and not have previously participated in an organized Holocaust educational trip to Poland.

As HLF Educator, Coltin, who has three decades experience teaching the Holocaust, created the curriculum, and will be one of the staff on the fully subsidized August 4-13, 2019 Poland and Berlin trip. She plans all meeting lessons, teaches the classes, and schedules survivors to speak to the teen Fellows.

“The curriculum reflects the human face of the Holocaust. The Fellows meet survivors in person, the last generation to do so. They bear witness to the Holocaust by hearing the survivors’ testimonies about their lives before, during and after the Holocaust, and what the enormous price in particular Jewish people paid for such hatred that went unchecked,” said Coltin.

The 16 inaugural Fellows represent Lynnfield, Middleton, Newburyport, Beverly, Arling­ton, Marblehead, Newton, Needham, Framingham and Swampscott. “I wanted the participants to be from ‘Greater Boston,’ not just one area. These kids have a responsibility to preserve and perpetuate the lessons of the Holocaust for future generations. How else will we get the word out?” Kipnis said.

After attending an orientation and hearing survivor Schaecter speak last October, nominated teens wrote a paragraph describing why they wanted to be a Fellow. “In the aftermath of the Pittsburgh shooting, it is more important than ever that we continue discussing the Holocaust. I want to be part of the movement that ensures that nothing even close to it ever happens again,” wrote Dina Zeldin, a junior at Newton South High School.

“I hope to gain a new level of knowledge about the Holocaust and use that in my community, my country and someday even the world. I want to bring a sense of hope in such a dark trip,” Max Foltz, a junior at Newburyport High School, wrote.

For Coltin, the HLF trip will be her first time traveling to Poland and Berlin. While she admits that going to these sites so deeply connected to the Final Solution is “way out of my comfort zone,” she is thankful for the opportunity to open up and learn more.

“The Holocaust journey should be personal. We will be learning our history, our story. Knowing who we are as Jews puts us in the best possible position to support and promote the mission of Holocaust Legacy Fellows,” she said.

“Jody and Todd had a phenomenal idea and they followed through. Our community is truly blessed,” she added.

For more information, visit https://holocaustlegacyfellows.org/.

Stellar ‘The Return’ marks Israeli Stage’s final production

by Shelley A. Sackett

 

“I think I may have done something wrong,” the Jewish Israeli character known as Her says to the Palestinian Israeli character known as Him. “I want to understand and make it right.”

“The Return,” the provocative and extraordinary two-character play performed by Israeli Stage at the Boston Center for the Arts Calderwood Pavilion through May 19, slowly unravels the mystery of love and betrayal that underlies the relationship between these two very human beings trapped within a politically complicated country. Their backstory is a roadmap that examines Israel’s establishment and its contemporary social and political order through a Palestinian lens.

Because it is impossible to avoid spoilers in a full-throated review, broad brushstrokes must suffice. The writing (Palestinian-Israeli Hanna Eady and American Edward Mast), acting (Philana Mia and Nael Nacer) and directing (Guy Ben-Aharon) are brilliant. The set design (Cristina Todesco) and lighting (Jeff Adelberg) are powerful, yet unobtrusive, subtly evoking an interrogation room. And the post-performance moderated dialog last Saturday evening was as thought-provoking and engaging as the play itself.

The 65-minute intermission-less show is a product of the ongoing 20-year collaboration between the Seattle-based playwrights, who met through mutual friends soon after Mast returned from his first trip to Israel. The two talked a bit that night. The next day Hanna asked Mast if he would be interested in teaming up on a project he had in mind. “Aside from being a good playwright, Ed is an activist for human rights,” Eady said.

That project became their first play, “Sahmatah: Memory of Stones,” based on interviews with refugees from the Palestinian village destroyed during the Arab-Israeli War of 1948. In 1998, it was produced in Arabic in the Masrahal-Midan Theater in Haifa, and on the ruins of the village of Sahmatah in the Upper Galilee.

Eady, who holds a Bachelor of Fine Arts in theater from the University of Wisconsin and a Master of Fine Arts in drama and directing from the University of Washington in Seattle, grew up in Buqayah, a small village similar to Sahmatah, also in the Upper Galilee region of Israel. “A mixed population of Palestinian Druze, Christians, Muslims and Palestinian Jews lived there together for thousands of years. In 1948, Israel was established and the harmony of their life in the village was destroyed,” Eady said. A large part of his family fled and are now scattered around the world in five continents.

His intent in writing “The Return” is twofold. “I would like the audience to feel the tragic reality of daily life of the Palestinian people, to see they are deprived of the most simple and natural thing in life, which is normal human contact,” he said. He also wants theatergoers to notice the play’s message of hope and spread it. “A good play changes attitudes and motivates the audience to take action,” he added.

Mast, who grew up in California, was “a very typical uninformed passive supporter of Israel” when he befriended a Palestinian coworker. “Through their eyes, I began to see things differently,” he said. He and Hanna have much in common. They both act and direct, and are compatible personally, politically and artistically. “We know a lot of beloved people who are in danger every day because of a system that places one people in power over another.”

When Guy Ben-Aharon founded Israeli Stage in 2010 as a 19-year-old Emerson College student, his goal was to expose American audiences to Israeli plays. Over nine seasons, the company has become known for its commitment to diversity, empathy and building community bridges through shared dialogue. “It’s so easy to exist in echo chambers, and have our own thoughts and opinions regurgitated for us. It is much more challenging to confront dualities and a multiplicity of experiences,” the Israeli native said.

“The Return” marks the last play of his company’s final season, and Ben-Aharon is “really glad” to share this Palestinian-Israeli perspective on the reality in Israel and the Palestinian territories. “It is the very first time we will have done that in nine seasons’ worth of work. We’re not trying to change hearts and minds as much as we’re trying to open them. Just a little bit.”

The Calderwood Pavilion, Boston Center for the Arts is located at 527 Tremont St., Boston. For tickets, visit IsraeliStage.com or call 617-933-8600.

Pastries for Pesach

SWAMPSCOTT – Sara Winer stood in her recently redecorated kitchen emanating the serene aura of a person who is in the right place at the right time. “My kitchen is my happy place,” she said as she took a loving glance around the gray-toned sleek yet warm sanctuary, which has been kosher since the day she got married 49 years ago.

The Swampscott baker comes from a long matrilineal line of bakers, starting with her Russian Bubbe Sara, for whom she is named. She is renowned for her creative and delectable creations, which are decidedly not low-calorie. “There really is no substitute for butter if you want a rich cookie or cake,” she said.

Finally succumbing to repeated suggestions from friends, Winer decided it was time to test the waters and start a baking business. She launched “Sara’s Baked Goods & Specialties” last Passover, when she decided to offer a few of her personal favorites items to a few friends.

Baking for Passover can be challenging and tedious because no leavening agents are used, Winer shared. She makes sure all ingredients are kosher for Passover and she uses only her Passover dishes and cooking implements. “I buy eggs five dozen at a time,” she said.

This Passover, she again is selling desserts and kugels. Some she can bake in advance and freeze; others, like her chocolate-dipped meringues and sponge cake, are made just prior to delivery. New to this year are the vegetable farfel kugel and her personal favorite, Passover granola, loaded with nuts, coconut, raisins and honey.

The response so far has surprised her. “I always think people could do this themselves, but they either like what I make or don’t have that same excitement about baking,” she said.

Creativity is also in her genes. Her mother, sisters, nephews and son excelled in painting, photography and animation. Winer tried her hand at fine arts, but found her medium – and her calling – in baking. “It is also therapeutic, meditative, and fun. It satisfies my need to give, to nurture and to care for my family and friends,” she said as she poured a cup of tea and set out a plate of her favorite cookies: hermits, pecan sandies, chocolate chip and poppy seed.

The science of baking fascinates Winer, and she loves working with yeast. “A couple of ingredients and voilà! You have a challah!” she said with a broad smile.

She worked for 18 years as a sales rep at Rivkind Associates, a large printing company in Stoughton, and gifted her clients with baskets of handmade cookies at the holidays. “They all came to look forward to it every year,” she said.

After retiring in 2013, she had a lot of time on her hands, which translated to a lot of time for baking. Friends celebrating birthdays receive cupcakes or a cake, and her mah jongg friends know not to eat dessert on game nights, because Winer always provides an assortment of homemade goodies. “My freezer is literally full of cookies, cakes and breads,” she said.

Although Winer’s nuclear family is a great reservoir of talent, she credits her mother-in-law, Ida Winer, as the biggest source of her inspiration. “She taught me how to entertain and how to make everything look nice. She just had a real flair. I like to think I am following in her footsteps,” she said.

For more information, email sewiner48@gmail.com.

This year’s Jewish Film Fest will leave you on the edge of your seat

by Shelley A. Sackett

MARBLEHEAD – Jewish film festivals are wildly popular, and according to jewishfilmfestivals.org, moviegoers had 170 to choose from worldwide in 2018 in locations ranging from Nebraska to Nepal. For the sixth year, local residents need travel only a few miles to Marblehead and Salem to view 13 films offered by the Jewish Community Center of the North Shore International Jewish Film Festival from April 28 to May 9.

While films about the Holocaust are natural candidates for a Jewish film festival, this year’s lineup features several films that – although set during World War II – are more character than history-driven. Bookending the 12-day festival are opening night’s “The Catcher Was a Spy,” a thriller starring Paul Rudd based on the true story of Moe Berg, the Red Sox catcher who became a WWII spy, and closing night’s “Prosecuting Evil,” a gripping documentary about Ben Ferencz, the remarkable 99-year-old and last surviving Nuremberg prosecutor.

Gordon Edes, an award-winning sportswriter and Boston Red Sox historian, will speak and answer questions following “The Catcher Was a Spy,” and both films include a post-screening reception.

The remaining 11 films are a well-balanced mix of documentary, drama, and comedy. In “Winter Hunt,” a riveting German contemporary psychological thriller, a young woman on a personal mission of vigilante justice goes to extremes as she seeks reprisal against a suspected ex-Nazi. Powerful performances, an edgy score, and a tight script fuel the suspense.

Jewish women are front and center in three films that look at dilemmas they face as they struggle to forge their own paths in a world complicated by religious tradition and social conformity. “Working Woman” addresses the complexity of contemporary life in Israel, chronicling the predicament faced by Orna (played by the remarkable Liron Ben-Shlush) as she juggles motherhood, marriage to a struggling restaurateur, and a meteoritic rise in the corporate real estate world. When her boss relentlessly sexually harasses her, her entire world is brought to the brink of disaster.

Life for women in pre-state Israel was no less complex, as illustrated by “An Israeli Love Story.” Based on a true story and set in 1947, the well-shot and edited film explores the relationship between an aspiring actress and a kibbutznik who is also a member of Palmach, an elite fighting force. In “Leona,” a young Jewish artist in present day Mexico City finds herself torn between her traditional, observant family and a forbidden love.

On a lighter but no less poignant note, the award-winning “Shoelaces” traces the relationship between Reuven, a surly parent, and Gadi, his charismatic adult son with special needs, as the two slowly develop a tender and life-affirming bond of devotion. The popular film is thought-provoking and unexpectedly funny.

Three documentaries reveal different facets of present-day Jewish life. “Chewdaism: A Taste of Jewish Montreal,” follows two local men on the cusp of middle age as they nosh their way through a series of classical eateries and share their community’s 100-year Jewish history. “Heading Home: The Tale of Team Israel” charts the underdog journey of Israel’s national team to the 2017 World Baseball Classic in a story of sports, patriotism, and growth.

“Sustainable Nation,” shown in partnership with CJP as a free community event in honor of Israeli Independence Day, follows three visionary Israelis as they bring water solutions to an increasingly thirsty planet.

Poland and France are the settings for the rest of the line up. “Who Will Write Our History” is a documentary set in 1940, after Nazis sealed 450,000 Jews in the Warsaw ghetto. The story of Oyneg Shabes, a group of journalists, scholars and community leaders who resolved to fight Nazi propaganda with pen and paper, is told through writings, new interviews, rare archival footage and dramatizations.

In her deeply personal documentary, “Chasing Portraits,” filmmaker Elizabeth Rynecki travels to Poland to find the remaining work of her great-grandfather, a prolific impressionistic painter who captured scenes of pre-war Jewish life.

“A Bag of Marbles,” based on a true story, follows two young Jewish brothers as they fend for themselves, making their way through German-occupied France to reunite with their families.

Many films have post-screening guests who will speak to issues raised by the films.

For information and to buy tickets, visit jccns.org or call 781-631-8330.

An interview with Joan Nathan

What do you plan to speak about at Friends of Hillel Library event?

I plan to speak on the revolving “bagel” of Jewish cooking from King Solomon’s times to our times.

What do libraries mean to you?

I love libraries. They mean history, finding nuggets of history, for me Jewish history, I love the quiet of them and the fact that everyone can use them, and what they reveal in wonderful books.

What current trends do you see in Jewish cooking?

Jewish cooking is really hot right now, especially Israeli cooking in New York, LA, Berlin, Paris, and many small places in between. Of course, much of it is due to what I call the “Ottolenghi” phenomenon – this wonderful Israeli chef, living in London and using pomegranate paste, date jam, chickpeas, etc. in his colorful cuisine. It raised the idea of Israeli cooking and I believe inspired all kinds of chefs and restaurateurs. In LA there is Bavel; in New York there is Nur, Mint Village; in Philly there is Zahav; in New Orleans there is Saba; and in Buenos Aires there is Meshuganah. Out of this is also coming Diaspora cuisine in restaurants everywhere.

Any “words of advice” to young Jewish people?

Learn as much as you can now. When it comes to cooking, go to your parents and grandparents and watch them cook and ask them their stories and the stories of the foods that are in your family. Write everything down and make a little booklet out of them or do a paper for a class on them. You will keep them and learn from these recipes for the rest of your lives.

Anything else you’d like to add?

Every Jew has his or her own history. Food is so much part of it because of the repetitive: Enjoy it, celebrate it, and learn from your table what the history of each ingredient is. Food is just as important as music or prayer and in many families it is absolutely the last to leave our culture. Catch the recipes for you and the next generation.

Hillel to honor Knopfs

by Shelley A. Sackett

MARBLEHEAD – Every year since 1987, the Friends of the Hillel Library have recognized members of the community for their commitment to learning and the pursuit of knowledge by presenting them with The Edith Bloch Award. This year’s recipients, Swampscott residents Diane and Eddie Knopf, will be honored at “Food: The Ultimate Connector,” a celebratory event to be held on Sunday, May 19 at 6 p.m. at the Epstein Hillel School in Marblehead.

“All of us who have had the opportunity to work alongside Diane and Eddie Knopf have seen first hand that their dedication to the North Shore Jewish community literally knows no bounds,” chairs Maura and Paul Copeland said in a press release.

Edith Bloch was a founding member of the Friends of the Hillel Library and was renown as a consummate teacher and committed mentor.

The Knopfs have made an impact on their community in many areas. For 11 years, Diane was Director of Community Engagement at Epstein Hillel and has volunteered in a number of positions, including as president of the JCC of the North Shore and chair of the JCC’s Jewish Book Month Speaker series. Eddie served on the Temple Beth El-Temple Israel merger committee and on the executive board at Congregation Shirat Hayam, where he is a regular at morning minyan.

Both earned MBAs, Diane from Northeastern University and Eddie from Boston University, and met at a Christmas Eve party in 1987. “I had a broken ankle and was in a cast, and he had a horrible cold,” Diane recalled with a laugh.

They married the following Thanksgiving, and Diane moved from Brookline to Swampscott, where Eddie had been living since 1978. Their daughter Elyse graduated from (then) Cohen Hillel Academy in 2004 and went on to Washington University in St. Louis.

To the Knopfs, libraries and education are synonymous and have long been part of their lives as students and adults. Diane and her mother, a 2nd grade teacher, established the Miller/Knopf Resource Library at Simmons University, both their alma maters. “Libraries matter to us,” she said.

Cooking, entertaining and travel matter to them too, and choosing Joan Nathan as the evening’s speaker reflects that. The award-winning cookbook author, PBS television host and newspaper and magazine contributor has won the James Beard Award twice, co-founded New York’s Ninth Avenue Food Festival under then-Mayor Abraham Beame, and received an honorary doctorate from the Spertus Institute of Jewish Culture in Chicago.

Born in Providence, Rhode Island, she is the mother of three grown children and lives in Washington, D.C. and Martha’s Vineyard with her husband, Allan Gerson.

Nathan will speak about her culinary exploration of Jewish cooking from around the world and sign copies of her latest cookbook, “King Solomon’s Table,” after a light dinner reception featuring recipes from the book. The event is open to the community and is free of charge, although registration is necessary.

Diane readily admits Eddie is the cook in the family. “He first got involved watching his mom and aunt cook,” she said. His favorite dishes to cook are chili, chopped liver, and turkey and stuffing for a big crowd. Diane’s favorite dishes to eat are “all of the above” plus Eddie’s locally famous popovers.

They love entertaining and bringing people together for an evening of food and camaraderie and share the responsibilities seamlessly. Eddie handles the majority of cooking and cleaning up and Diane organizes, decorates and plans the menu, which often features ethnic foods. “I am a very experimental eater, perhaps because my mom instilled in me a love of traveling the world,” Diane explained.

The Knopfs are in awe of Nathan’s accomplishments and couldn’t be more thrilled that she is the featured speaker at their honorary celebration. They share her beliefs that food has the power to unite people, especially during challenging times. Born in Tiverton, R.I., Diane’s link is also personal. “Before all the current famous Israeli/Jewish chefs, there was Joan from Providence, the leading expert in Jewish cooking who embraced and promoted Jewish cooking in America,” she said with just a hint of her native Rhode Island accent.

Salem Film Fest spotlights local filmmakers, adds new Peabody Black Box Theater venue

Hail,Satan!

Salem Film Fest will feature HAIL, SATAN? on Sunday, March 31 at 7:15 pm at The Cabot Theatre in Beverly.

 

By Shelley A. Sackett

 

On Friday, March 29, from 5:30 – 7:30 p.m., Salem Film Fest, one of New England’s leading all-documentary film festivals, will launch its 12th year with a kick-off party at Salem Arts Association at 211 Bridge St. Visiting filmmakers will be on hand to mingle with filmgoers prior to the first two features of the 70 short- and full-length film fest

 

“SFF always focuses on our filmmakers—we do everything we can to make their visits easy, fun and rewarding,” SFF Co-Founder and Director Joe Cultrera wrote in the program liner notes. Filmmakers are scheduled to be present at more than half the screenings, affording audiences the opportunity to learn about the documentary process and engage in intimate, thought-provoking conversations.

 

SFF2019 runs from March 29 to April 4, with films from around the globe screening at CinemaSalem, the Peabody Essex Museum, and the National Park Service Visitor Center in Salem; The Cabot and Endicott College’s Manninen Center for the Arts in Beverly, and the new Black Box Theater in downtown Peabody.

 

Salem Trolley will provide free weekend rides between cities so filmgoers can easily journey through 2019’s stellar lineup. A complete schedule of films, filmmaker receptions and music events, plus information on how to buy passes and individual tickets is at salemfilmfest.com.

 

One half dozen films this year are by filmmakers or about subjects with local connections.

 

Salem is well known for its historical connection to witchcraft. With Lynn native and director Penny Lane’s Hail, Satan?, its contemporary roots in sorcery may eclipse even the Salem Witch Trials for notoriety. The film’s subject is The Satanic Temple, a non-theistic religious organization with active chapters worldwide that is headquartered in Salem on Bridge St. Its co-founder, Lucien Greaves, is the film subject. Lane’s SFF North Shore Spotlight film questions the meaning of religious expression in a secular nation when The Satanic Temple campaigns to place a Satanic monument on the Arkansas State Capitol lawn. Greaves will answer questions after the screening on Sunday, March 31 at 7:15 p.m. at The Cabot.

Councilwoman

COUNCILWOMAN is SFF opening night film on Friday, March 29 at CinemaSalem at 7 pm.

 

Opening night’s Councilwoman is the first feature documentary directed by Watertown, MA-based Margo Guernsey. The film is at CinemSalem at 7 p.m. on Friday, March 29, and tells the story of a Dominican immigrant and hotel housekeeper in Providence, Rhode Island, who wins a coveted City Council seat. Guernsey has worked as a freelance director and producer in the Boston area since 2012 and will be on hand for a post-screening Q&A.

Marcos Doesn't Live Here Anymore

MARCOS DOESN’T LIVE HERE ANYMORE will screen on Wednesday, April 3 at 8 pm at CinemaSalem.

 

Filmmaker and Tufts University alumnus David Sutherland (Kind Hearted Woman, The Farmer’s Wife) has won over 100 international awards and citations for his films. On Wednesday, April 3 at 8 p.m., the New England premiere of Marcos Doesn’t Live Here Anymore will screen at CinemaSalem. Sutherland tells the heartbreaking story of Elizabeth Perez, a decorated Marine veteran, who fights to reunite her family amidst the trauma caused by America’s immigration policy after her undocumented husband is deported to Mexico. Sutherland will be on hand for a Q&A.

CAMOUFLAGE: VIETNAMESE BRUSH STROKES WITH HISTORY will screen on Saturday, March 30 at PEM at 10:20 am.

 

On Saturday, March 30, filmmaker Bestor Cram will be at PEM for a Q&A following the 10:20 a.m. screening of Camouflage (Contemporary Vietnamese artists overcome obstacles that demand personal courage and artistic determination to document a little known side of the aftermath of America’s war in Vietnam). Cram, a Viet Nam Veteran, has over 25 years experience as director, producer and cinematographer and founded Northern Light Production, located in Allston, MA.

Also on Sunday, March 31 are:

GRIT

GRIT will screen on Sunday, March 31 at CinemaSalem at 2:30 pm.

 

Grit (directed by Western MA resident Cynthia Wade and Sasha Friedlander), the story of one of the world’s largest man-made environmental disasters — a tsunami of boiling mud that sinks 16 Indonesian villages — that transforms a teenage survivor into a political activist; and

Balian (The Healer) (directed by Boston- based Dan McGuire), which follows the 20-year rise and fall of Mangku Pogog, a “Balian” or traditional Indonesian healer who is equal parts trickster, scoundrel and saint. His “discovery” by Western tourists leads to serious consequences and McGuire returns 20 years later to learn about his fate. Both films show at CinemaSalem with filmmakers present for post-screening Q&A sessions.

 

Balian

BALIAN (THE HEALER) will screen on Sunday, March 31 at CinemaSalem at 5 pm.

 

 

Finally, SFF veterans will be relieved to know nine new Salem Sketches will be unveiled this year. The mini docs showcase portraits of the local scene with one Sketch screened before each feature film. And, new this year, there are five Shorts Blocks—and they are all free.

 

 

A complete lineup of films, listings of all events, and information on how to buy tickets is available at salemfilmfest.com.

Temple Emanu-El unveils stunning stained glass ark at rededication

by Shelley A. Sackett

MARBLEHEAD – When Rabbi David J. Meyer stood on the bimah facing a packed congregation at the Temple Emanu-El rededication ceremony on March 8, he felt like a moment of fulfillment was being shared with the entire North Shore Jewish community.

The lights came up in the newly renovated sanctuary, with its magnificent stained glass ark, and he could hear gasps of amazement. “I felt enormous gratitude for the blessings filling the moment,” he said.

Ingrid Pichler, the Swamp­scott artist who created the ark, was among the attendees at the Shabbat service who witnessed the Torahs being placed in their new illuminated home.

“It’s a very different feeling when the work is installed as it takes on its own identity, the one it was created for, in the place it was always meant to be,” said Pichler. “After months in my studio, the work has now gone home.”

Ingrid Pichler, the Swampscott artist who created the ark, working with stained glass in her studio. Photo courtesy of Ingrid Pichler

The renovation was a long road that started with discussions five years ago, as both the need and desire to update the sanctuary, social spaces, offices, and learning spaces became ever more compelling. The $1.8 million project, which addressed accessibility and inclusion, functionality, security, and the environment, also stressed artistic considerations, which is immediately evident upon entering the remodeled sanctuary.

During discussions of how to best capture the essence of their community, Temple Emanu-El members kept coming back to the idea of water. “It is fitting, especially for our synagogue which stands only steps from the Atlantic Ocean, that water is used as a visual theme for our sanctuary of worship,” Rabbi Meyer said in a statement last year.

Pichler was first contacted by Francine Goldstein, Renovation Committee chairwoman, who asked if she would be interested in submitting a proposal for the ark as part of a national search for artists. The only direction she received was that the theme was water and she had one week to come up with something.

There were no initial guidelines regarding color, shape, or content, which left it up to the artists to find their own interpretations and relationships with the theme of water and the architectural space. The committee also considered using mosaic, metal, and wood.

Pichler presented her preliminary designs, and Goldstein recalled overwhelming committee support for using glass as the medium to express the theme. “The flowiness of the glass really speaks to the whole idea of water without being too blatant,” she said.

Pichler received the green light to meet with the design team and submitted her first designs in February 2018. After a lengthy period of discussion and tweaking, the final design was approved last May.

A view of the ark from the aisle. Photo by Stuart Garfield

“Any site-specific installation has to successfully integrate the architectural space; honor the location, purpose, and light of that space and, in this case, be the focal point,” Pichler said.

Pichler admitted she was a bit apprehensive at first, since this was her first Jewish house of worship (she has created work for churches in the United Kingdom and Marblehead). However, as a visual artist working in glass, she reminded herself that she communicates through more than just words.

“The language of color, shape, texture, line, and light is universal,” she said.

Originally from northern Italy, Pichler has been working in architectural glass for almost 30 years. She cut, shaped, assembled, and fired each one of the several thousand pieces of glass for the ark.

“I consider each piece of glass as a brush stroke that makes up the final painting, and therefore I work solo,” she said. “Water for a sacred space demands a very different interpretation than water for a luxury spa or swimming pool, and my thoughts when designing and fabricating are matched accordingly.”

The stunning result evokes the ocean, waves, and flow of the tides with its hues of blues and refraction of light, accomplishing much more than just its functional goal.

“In the Torah, water is the primordial substance from which life emerged at the will of God,” said Rabbi Meyer.