Samuel Bak, who paints the past so we will never forget it, to be on display in Beverly

Samuel Bak in his Weston studio. Photo: Pucker Gallery, Boston

by Shelley A. Sackett

BEVERLY – Samuel Bak, the renowned international artist, speaks in a language of images, dreamscapes, and colors. A child prodigy and Holocaust survivor, Bak tells his life’s stories through canvases rich in symbol, metaphor and reorientation. Recognizable objects and figures appear shattered and reglued; a pear sports a smoke stack, broken teacups become surrealist landscapes, and a ruined house sits atop a mound of books.

Bak’s rich, thought-provoking works will soon be on view in Beverly. “Samuel Bak and the Art of Remembrance,“ an exhibition at Montserrat College of Art Gallery presented in cooperation with Pucker Gallery of Boston, brings together 37 paintings and works on paper created between the 1990s and today. The show runs Jan. 18 to March 4, with an opening reception to commemorate International Holocaust Remembrance Day on Jan. 27.

Persistence of Memory by Samuel Bak

His canvases tell the story of a world destroyed, a destruction he witnessed and survived. His work references Jewish and Holocaust history, challenging historical amnesia with difficult images of those times.

Yet, he does not consider himself a “Holocaust painter,” as he is often described, and despite the fact that what he witnessed during those times is the subject of many of his paintings. “I felt I have a story to tell and I wanted to touch other people. I refer to the Holocaust because it is something I know, but it goes beyond that,” he said over Zoom from his Weston home.

His paintings are meant to make the viewer wonder what happens when the world rejects equality and focuses on dehumanizing “the Other.” “My paintings ask questions. They don’t necessarily give answers because I personally don’t have any,” he said.

Despite scenes of anguish and despair, Bak also paints survivors, imbuing them with glimmers of muted hope and resilience. Rivers still run; painters still paint. The teddy bears and tea cups and humans are put back together again, but they can never be the same as our first memories of them.

Under the trees of Ponari by Samuel Bak

“I wanted to speak about the survivors, who are people who try to rebuild something that is similar to the reality that existed once, but cannot be totally reconstructed,” he said. “Somehow it is out of the bits and pieces of the horrors of the past that we can construct the sense of our being here and learn to prevent such horrors from happening again as much as it is possible.”

An only child, Bak was born in 1933 to an educated, middle-class family in Wilno, Poland. At age 3, he was a recognized child prodigy painter. At age 7, on the day after his first day of school, he and his family were deported to the old Jewish quarter of the city now called Vilna. At 9, he had his first exhibition, inside the Vilna ghetto. When the Russians liberated Vilna, he and his mother were among its 200 survivors from a pre-war community of between 70,000 and 80,000 Jews.

“The major subject of my paintings is: How was it possible such events happened? How is it I am still alive?” he said.

He and his mother spent from 1945 until 1948 in German displaced person camps, immigrating to Israel in 1948 when Bak was 15. After working and living in Tel Aviv, Paris, Rome and Lausanne, he came to America and settled in Weston in 1993.

During his 85-year career, Bak has produced over 9,000 items. Since the 1960s, remembrance and its nuances has been a major theme.

“Memory is not a folder that is downloaded onto your computer and when you want to look at it, you give a click and the folder reopens exactly as it was before,” the 88-year-old said.

Persistence by Samuel Bak

Unlike a computer folder, Bak sees the human memory as unique and individual because it also contends with our failure to remember. “We are blessed that we have the possibility to forget. This is what keeps us alive,” Bak said. It is also why, when we want to remember, we must recreate that memory.

In his paintings, Bak is “recreating the image that I have of the world in which people live today. Images that somehow seem to belong to another world attract viewers and enable me or others who speak about my work to speak of the times they represent,” he said.

His paintings have been used to educate thousands of teachers and students about the Holocaust since 1978. That year, he exhibited in a national museum in Germany that drew large groups of teachers and young students. “It suddenly opened my eyes. I thought, ‘My goodness. My paintings can do that. That’s absolutely wonderful,’” he said.

Since then, the PBS show “Facing History” has used his art for over 40 years to teach about the Holocaust, reaching millions of students in thousands of classrooms. In 2022, the Florida Holocaust Museum in St. Petersburg will mount a yearlong exhibit of his paintings to commemorate its 30th anniversary.

Montserrat will sponsor a virtual artist talk with Bak and – COVID permitting – other school groups plan to visit the exhibit. “What is happening with this exhibition at Montserrat College is not something new, but it is something I know works,” Bak said.

Annual JArts Hanukkah celebration at the MFA has a new feminine twist

Yemenite singer and songwriter Tair Haim

By Shelley A. Sackett

BOSTON – Since 2015, Jewish Arts Collaborative has brought the Greater Boston community together to celebrate Hanukkah at the Museum of Fine Arts, Boston. Despite Covid constraints, JArts, the MFA and JCC Association of North America and their JFest program have collaborated to bring an innovative and uplifting Hanukkah program into the homes of celebrants across the country with their virtual event on Wednesday, December 1, “Hanukkah: The Festival of Lights.”

This year, the tradition of partnering with local artists and communities to create an exceptional evening for all ages has a special feminine twist.

The free program will feature eight Hanukkah lamps, including six from the MFA’s Charles and Lynn Schusterman Collection, and eight international women artists for an evening of performance, education, global diversity and artistic engagement. Like an elegant wine pairing where patrons enjoy wine at its fullest potential by pairing it with the perfect food, these performances and lamps elevate and balance each other, bringing out the best in both.

German Rococo Hanukkah Lamp, about 1750 Photograph © Museum of Fine Arts, Boston

Each piece will last approximately five minutes. Slides of the corresponding lamp will appear during the presentations.

The idea behind this year’s theme germinated from brainstorming sessions between Laura Conrad Mandel, JArts Executive Director, and the MFA’s Charles and Lynn Schusterman Curator of Judaica, Simona Di Nepi.

Originally from Rome, Di Nepi studied and worked in London and Tel Aviv for 25 years before coming to the US. She became the first full-time Judaica curator at the MFA (as well as at any other encyclopedic museum in the US) in 2017. Her appointment followed the gift in 2013 of 120 decorative and ritual objects from the Charles and Lynn Shusterman Collection.

Although “Judaica” typically describes ritual objects used in the home or in the synagogue across history, geography and media, Di Nepi stresses that she takes a broader view. “Any kind of MFA material or object that is related to Jewish life, art and history can be considered as Judaica,” she said, adding that as curator, it is also her job to decide what “Judaica” means at the MFA.

Mandel asked Di Nepi to choose an array of Hanukkah lamps. “Some of the lamps are on display, but others are in storage, so this a unique opportunity to hear about them. Each of the lamps represents a different aspect of global Jewry in an effort to spotlight the diversity of Jewish culture,” Mandel said.

Italian cook Silvia Nacamulli will offer a cooking demo

After they picked the lamps, the team curated artists with connections to the stories behind the Hanukkah lamps. Their hope is that by pairing a lamp with a particular artist, attendees will be inspired to reimagine these beautiful objects of Judaica in ways that capture their imaginations and bring to life each lamp’s contemporary culture.

During the selection process, and purely by coincidence, they realized how many women’s voices they were drawn to. “We suddenly realized we had all women. There’s a theme there as well that adds special value to the evening,” Di Nepi said. “Eight nights of Hanukkah, eight lamps and eight women guests.”

Contemporary dancer Rachel Linsky was inspired by Linda Threadgill’s “Garden of Light Hanukkah lamp.

The full program includes an exciting mix of artforms, including dance, singing and, for the first time, a culinary event. Italian cook Silvia Nacamulli will do a cooking demo. Her presentation is paired with a 16th century Italian bronze lamp.

Tair Haim is a powerhouse Yemenite Israeli singer, songwriter and founder of the internationally acclaimed group A-WA who took the music world by storm with the mega hit ‘Habib Galbi’. Her performance is paired with a 1920s silver Yemeni lamp which features figures of the Maccabees and is one of Di Nepi’s favorites. “I have a weakness for the Yemenite one,” she said with a laugh when pressed to choose.

Hanukkah lamp Yehia Yemini (born In Yemen (Sana), active in Israel, 1897–1983) 1920s Yemenite Hanukkah lamp, 1920s * Photograph © Museum of Fine Arts, Boston

Boston-based contemporary dancer, choreographer and educator Rachel Linsky filmed her original piece at the Gardens at Elm Bank in Dover. It was inspired by American Linda Threadgill’s lithe and charming 1999 silver, bronze and walnut lamp, “Garden of Lights,”.

Indian Israeli singer Liora Isaac has an ardent following in Israel, where she highlights a unique look at Indian-Israeli culture. Her performance will be paired with a 20th century brass lamp from India.

Hanukkah lamp Linda Threadgill (American, born in 1947) 1999 Silver, bronze, walnut * Photograph © Museum of Fine Arts, Boston

Neta Elkayam, another wildly popular Israeli visual artist and singer of North African music, brings a Moroccan flavor to her work, complementing a silver early 20th century Moroccan lamp. The striking American Ladino singer and composer, Sarah Aroeste, will add to  the evening with her feminist Ladino rock. An elegant 17th century bronze lamp joins hr.

Israeli visual artist and singer of North African music Neta Elkayam

Rounding out the Hanukkah lamp selections are a charming 1960 silver American piece (Di Nepi will interview Massachusetts-based jeweler and metalsmith Cynthia Eid) and an ornate 1750 silver German lamp that is embellished with elaborate Rococo ornaments that support figures of Judith and David, two ancient Jewish heroes. American Mizrachi belly dancer Jackie Barzvi’s performance accompanies the lamp. “This lamp reflects the [artistic] language of the time,” Di Nepi explained. “In Germany, that language was Rococo, with its distinctive and precise motifs. Jewish materials spoke that local artistic language too.”

For more information and to register, visit jartsboston.org/event/hanukkah-the-festival-of-lights-2/

College students immerse themselves in Israeli culture

By Shelley A. Sackett

Despite anxiety over civil and political unrest – and the ever-present threat of COVID-19 – three college students from Swampscott’s Congregation Shirat Hayam headed to Israel for summer internships.

They returned in agreement on three important points: Israel is a spectacular tourist destination; the country feels like one big family; and any young adult offered the opportunity to participate in a residential program in Israel should grab it.

As part of a gap year before heading to Stanford University this fall, 19-year-old Swampscott resident Anna Levenberg spent four months living in Israel through Aardvark Israel, an international program that provides internships and volunteer opportunities. She interned at Keren Or, the Jerusalem center for children with visual impairments and multiple disabilities. She also lived on an army base for a week, volunteering with Sar-El, an organization that partners with the Israel Defense Forces.

Anna Levenberg at Mitzpe Ramon

In between, she found time to explore new places: rafting in the Golan Heights, swimming in the Dead Sea, and skydiving in Haifa. Although this was not her first trip in Israel, it was her favorite.
“Being able to live in Israel for so long allowed me to get to know the country and the culture in a way that would be impossible if I were there only for a few weeks,” Levenberg said. “The communal values in this country are so strong, and people have such a willingness to help one another. From countless Shabbat dinners at my neighbors’ homes to being begged in the Shuk to make Aliyah, I know my presence is valued in Israel.”

Ethan Keller (second from left) at a Shabbat potluck dinner with trip participants in Israel.

Jerusalem was also home base for Ethan Keller of Whitinsville, whose six-week Boston Onward Israel internship residency gave him the opportunity to get to know Israel – and Israelis – in a deeper way than his three previous shorter and more structured trips.

Although his first couple of weeks were challenging, the 22-year-old Clark University student quickly adapted and focused on the summer’s rewards, including touring the country, making new friends, and taking advantage of the chance to dig beneath the superficial.

“This trip has been life-changing,” Keller said. “Israel is a complicated place with complicated people. I’ve had some really good conversations with Israelis, and I’ve had some less pleasant ones. There are people who don’t care about or want peace, and there are those working hard for it.”

He made a Palestinian friend who, along with having a startup in Tel Aviv, is working in his community in East Jerusalem to build trust between Israelis and Palestinians. “There is a lot of hate and misunderstanding in this country and the Palestinian territories, which makes it all the more important to fight against it,” he added.

Cole Cassidy atop a camel.

University of New Hampshire junior Cole Cassidy lived in Tel Aviv and worked as an Onward Boston intern for NOX Group in its marketing department, promoting the top clubs and bars in Tel Aviv. “With a city that doesn’t sleep at night and the endless beach days with sand that makes you feel like you’re on the moon, Tel Aviv felt like utopia,” the 20-year-old Swampscott resident said.

His first trip to Israel was four years ago with the two-week Youth to Israel program sponsored by the Lappin Foundation. He appreciated the freedom of living on his own with two months to discover the country in his own fashion, all while getting an internship under his belt and exploring his Jewish roots.

At first, he was surprised that all stores are closed on Shabbat. “It was definitely an odd adjustment to remember to get groceries or anything I needed Friday before sunset. I was also surprised that the culture is so friendly and outgoing. It felt like one big family here in Israel and within the community,” Cassidy said.

He was struck by the many occasions when being a Jew in a Jewish country collided in powerful ways, for example during a trip to Mitzpe Ramon in the Negev for a Shabbaton. “Celebrating Shabbat in the desert under the most thrilling night sky where you are able to see every star was incredible,” he said.

Without hesitation, all three would offer the same advice to young adults considering an internship in Israel: Do it!

“Israel is unlike anything you will ever experience,” Cassidy said. “You can come here and feel like family instantly, not just like a tourist. This is the home of our people and the connection you will feel to our homeland is unbelievable.”

Levenberg recommends going out of your way to meet new people. “Talk to Israelis in the street; ask English speakers where they are from, and chat with your waitresses. My time in Israel has shown me the true power of Judaism. I love living in a place surrounded by Jews who are so proud to be Jews, who influence you to learn more about your religion and culture. It has been such a moving experience being able to connect with my religion alongside my peers from all around the world.”

Volker Keller’s research emphasizes the importance of compassion in a diverse society

by Shelley A. Sackett

2021 Obermayer Award winner Volker Keller with Holocaust survivor Daniel Barnea, during Mr. Barnea’s return to Mannheim in 2014.

Volker Keller grew up in a postwar Mannheim marked by a culture of forgetting. On October 22, 1940, over 2,000 Jewish residents of Mannheim were deported from the city to concentration camps in France. Only a few survived Auschwitz and other extermination camps, their next and final stop.

Yet, he was born in 1954 into a household that never discussed “wartime.” When others brought up the topic, he saw how his parents seemed to change somehow, as if they were uncomfortable. Jews were an unusual theme at this time, and whenever documentaries about the war aired on television, his parents sent him out of the room.

Although he was only a little boy, Keller knew he didn’t share his parents’ feelings of discomfort around this topic. On the contrary, he felt a spark of curiosity. The flames from that spark would ignite Keller’s passion and shape his calling for the rest of his life.

Throughout his school years, Keller paid careful attention on the rare occasions when people voiced opinions about the Nazi era. “Some said what happened was terrible, while others spoke almost lovingly about Hitler,” he says. “My interest in history came from wondering how such an injustice could have happened. But when I asked about the “Shoah”, I received evasive answers.”

He started college with a determination to learn about the Nazi era on his own. He concentrated in German studies and took courses in Yiddish language and culture and the history of Mannheim. When he began working as a journalist, he covered local historical themes. That was when he realized there was very little to read about Mannheim’s synagogues. “There were two buildings, but no one knew anything about them,” Keller says.

He decided to fill that void himself. He researched the topic and published the first of many articles in 1982, paving the road of what would become his mission and legacy — volunteering his time to single handedly create a Jewish remembrance culture in Mannheim.

From his college days to his recent retirement from his jobs as teacher and school principal (rector) , Keller has been documenting the life, rich culture and history of Mannheim Jews from its early days to its brutal end. Throughout these many decades of research and commemoration, he placed special emphasis on the relationships he developed with “Shoah” survivors and the families of the victims.

In 1986, when Mannheim first extended an invitation to native Jewish families to visit the city, Keller made sure he was able to meet them. Among the visitors were Asher and Ester Goldman Ariav, who travelled from Israel. Later, they helped him in his research for his first books, sharing photos, memories and insights. “My late parents were extremely impressed by Volker’s deep commitment and extensive efforts to commemorate the former Jewish community in Mannheim,” says their daughter, Edith Ariav-Chazan. After her parents’ deaths, she kept in touch with Keller. “I am similarly impressed by his important commemorative work, all in addition to his busy schedule as a teacher and later principal of an elementary school,” she says. The two families remain close; Keller has visited Ariav in Israel and he arranged a tour of Mannheim for her and her family in 2014.

Over more than 40 years, Keller personally met with scores of survivors and families to learn firsthand of their experience and preserve their testimony. He published five books and countless articles with the goal of documenting the Jewish community’s rich history and significant contribution. “I don’t want Judaism to be associated with the “Shoah” alone. It is a fascinating religion and culture. The general history of Mannheim cannot be separated from the history of its Jewish community,” Keller explains.

One of Keller’s first projects was to create a comprehensive record of the Jewish victims of the “Shoah” and their fate. He organized and led a youth group in the 1990s called “Searching for Traces” that scoured archives and documents for clues on Mannheim’s deportees. They painstakingly contacted survivors and family members. In 1995, the group’s findings were published in a document titled, “Suddenly They Were Gone,” and shared with the city, survivors and families of the victims.

Mannheim, Germany. November 14th, 2009. Two people walking at night by the Mahnmal Memorial. Commemorative sculpture for the Jewish victims of the Nazi Holocaust in Mannheim “Planken” shopping street.

The document had a powerful and far-reaching effect. Not only did the list permanently commemorate the victims in Mannheim by name, it also inspired and triggered the creation of the Memorial to the Jewish Victims of National Socialism in Mannheim, a stunning memorial built by the city and unveiled in 2003. Designed as a glass cube, it has over 2,000 names the Searching for Traces team discovered eternally etched in its walls.

“The Talmud says, ‘A person is only forgotten when his name is forgotten,’”  Keller says. “I believe that commemoration work is extremely important. The awareness of historical and cultural issues is what makes us human. Preserving the memory of the victims of the Nazi era is critical to prevent history from being repeated.”

In the course of his extensive research, Keller came across documents that confirmed the existence of several “Jewish Houses” in Mannheim where Jews were forced to relocate in the 1930s. Essentially mini ghettos, the largest, on Grosse Merzelstrausse 7, had housed 76 residents until their deportation in 1940. Keller contacted survivors who were former residents for details and testimony and in 2003, he published an article that described the history of the house and included personal testimony by several surviving residents.

Among those Keller contacted was the Barnea (ne¢ Heilbronner) family from Israel. Uri Barnea and his late brother Daniel were born and raised in the house, and in 2012, when Keller suggested they help construct a memorial for its Jewish residents, the brothers embraced the idea.  Keller led and managed the effort; he drafted the text for the memorial, negotiated with the city, and oversaw the design and construction of the memorial stele. It stands at BismarkPlatz in Mannheim, some 50 meters from where the Jewish House once stood. The stele has two glass panels, one telling the story of the house and its tenants, the other listing its 76 residents.

The inauguration ceremony in March 2014 was attended by over 100 community members and 30 members of the Barnea family, including then 85-year-old Daniel. His son, Nir Barnea, credits Keller’s efforts with helping the family transition away from avoidance of painful memories. For years, his father did not want to talk about the “Shoah” and refused to visit Mannheim. The pain was too great. “I internalized his pain and also shunned Germany. It was Keller’s compassionate approach and genuine interest in my father and uncle Uri’s experience that helped my father change his mind,” he says. Nir, too, changed his mind, and he joined the other family members who travelled to Mannheim.

In a message shared at the unveiling, he said, “The best answer we can give to the terrible years of the Nazi regime and the “Shoah” is to stand together with members of the community, in front of this memorial with a message of tolerance, peace and compassion.”

After the unveiling ceremony, Keller coordinated with the Karl Friedrich Gymnasium in Mannheim and he and Daniel Barnea gave a presentation about Daniel and Uri’s life during the Nazi era. For almost all of the teachers and students who participated, it was the first time they had met a Holocaust survivor from Mannheim.

Keller’s insatiable appetite for research next led him to another Jewish house which served as a Jewish senior home. Furnished with a Mikveh (Jewish ritual bath) and a synagogue, the house at B 7,3 boarded its elderly residents from 1939 until 1942, when they were deported to death in Auschwitz. Keller described the house, still standing and in use today, in an article, and spearheaded forming a team to devise a memorial plaque best suited to the building. He authored emotionally moving text for the plaque that included testimony of one of the residents, who took her own life rather than face deportation.

In November, 2015, Keller and Deacon Manfred Froese, a tireless advocate for tolerance and human rights who has collaborated with Keller for over two decades, unveiled the memorial in a ceremony attended by 70 people. “Volker Keller is one of the most profound experts in the field of research into the history of the Jewish community in this area. What distinguishes him is that in addition to his careful historical work, he places a clear emphasis on maintaining contact with people of the Jewish faith,” Froese says.

Schoschnana Maitek-Drzevitzky, Chairperson of the Jewish Community of Mannheim from 2011 to 2016, couldn’t agree more. “Volker Keller has become a friend to the Mannheim Jewish Community, and is close to our heart. He touches on topics few dare to deal with. His work has put the former Jewish history back into the middle of everyday life in the city,” she says.

His books, articles, tours and workshops have also left indispensable trails for future generations to follow, particularly his publications on the three hundredth anniversary of the Mannheim Klaus Synagogue (The World of Mannheim Klaus) and the Jewish Cemetery (Bet Olam- The Jewish Cemetery in Mannheim). Keller’s “Pictures of Jewish Life” and “Jewish Life in Mannheim” caught the eye of Dr. Norbert Giovannini, author and 2020 Obermayer awardee, as he started his work on Heidlelberg’s Jewish history. “The visual material that Keller has collected and saved is extraordinary. I know that such treasures can only be attained if there is a deep relationship of trust between the researchers and the people they come into contact with,” he says.

Keller’s extensive work to research and commemorate the Jewish community in Mannheim was strictly voluntary. He regularly integrated students from his elementary school (Grundschule) into his history work and involved interested community members in his remembrance projects.

“I hope my students, readers, and community learn how fragile our democratic gains are. Everything we take for granted today, human rights, freedom, protection of minorities, tolerance of others, and taking dissenters seriously, must be fought for every day,” he says.

Keller is cautiously optimistic that his work to uncover and preserve Jewish history, culture and contributions in Mannheim has affected the city’s residents. “I don’t want to get my hopes up. But I think even small contributions can have an impact on people, even if it takes a lot of time. The interest of many people is there, but you have to awaken and motivate it. Especially young people are very responsive to topics that concern the past, but also explain their situation today,” he says.

Keller offers this advice to young people today asking themselves how to best make a difference and help end prejudice and intolerance. “ I would first ask, prejudice and intolerance toward whom? Tolerance of enemies of democracy is problematic. But any racist, ideological, sexist or religious intolerance must be fought. There are so many examples of functioning plurality in past and present times. Emphasizing and reminding people of these positive role models is the task of democratic education.”

Shirat Hayam families adjust b’nai mitzvah plans in the time of COVID

by Shelley A. Sackett

Despite Covid-19 and the unpredictability of surges, declines and shifting Massachusetts social gathering rules, eight Shirat families celebrated Bnei Mitzvah over the course of this past year. Five held services at CSH with fewer than 25 guests; two held services in their homes with clergy support online, and one family held the service in their home with Rabbi Michael present.

(L-R)  Kay (age 11), Sara (Ewing), Nat and Jay Mahler

Nat Mahler had the distinction of being CSH’s first Covid-19 Bar Mitzvah. Scheduled for March 21, 2020, it was exactly eight days after everything in the state shut down, including CSH. The Mahler family decided to have the service in their living room. They borrowed a Torah and siddurim from CSH and Rabbi Michael officiated. Nat’s paternal grandparents, aunt, uncle and cousins attended and everyone else connected via Zoom, “which was a novelty back in the day!” Sara joked. For Kiddush, Jay’s parents brought bagels.

They were saddened that Sara’s family couldn’t travel from out of state, that the service could not be in the synagogue and that the evening celebration had to be cancelled. “At first I felt disappointed, but I soon realized that I had to rise to the occasion and do my best,” Nat said. Fortunately, he was able to have all his Bar Mitzvah lessons in person. “Studying for my big event went well and I was more than prepared thanks to my awesome tutor, Jan Brodie.”

For Sara and Jay, having an actual Torah in their house was very special, a flip side of Covid-19 restrictions. “Also, the service was very intimate, special and a unique experience that will stand out in everyone’s memory,” Sara said. “And, our cat Pepper was able to attend!”

At first, Jeremy Sorkin, whose spring Bar Mitzvah was postponed until October 11, 2020  was worried that he might have to learn a new parsha when his original date was moved. But when Rabbi Michael suggested he keep the original parsha as an importance part of maintaining the significance of his Bar Mitzvah, he was greatly relieved. Although it was difficult to continue his lessons virtually, his tutor Jan Brodie and Aunt Nancy Sorkin spent countless hours preparing him during the fall. “This gave me so much confidence for performing the service on my big day,” Jeremy said.


(L-R): Jeffrey, Amanda, Jeremy, and Amy Sorkin

When Jeremy’s parents, Amy and Jeffrey Sorkin, moved the original May 23, 2020 date to Columbus Day weekend, they never imagined they would be having a virtual Bar Mitzvah, but as the date approached, it became evident they would. In October, there was a 25-person limit on indoor gatherings, and their immediate family could be accommodated with friends and family watching from afar. Even with the technical challenges of shulcasting, Amy and Jeffrey were able to find a silver lining. “Our family was able to focus on what the true essence of a Bar Mitzvah celebration is- a very meaningful service conducted by Cantor Alty (Rabbi Michael was sick), a thought-provoking Dvar Torah by Jeremy and dancing the hora with our close family. It was truly a memorable experience for our family,” they said.


Hannah and Vivian (age 10) Schwartz

Two weeks later, on October 24,2020  Hannah Schwartz also celebrated her Bat Mitzvah at CSH with a small family group and more than 100 others watching on Zoom. The weekend included a Shabbat dinner in an indoor/outdoor setting, a hybrid service Saturday morning, a drive-by parade after the service for local friends, a boxed Kiddush lunch outside, a Saturday night festive dinner and Sunday brunch- and lots of careful quarantining, testing and masking for those participating in person.

For Hannah’s parents, Janna and George Schwartz, the biggest challenges were the unknowns every step of the way, and they are grateful to everyone at CSH who helped them navigate the unchartered waters. While they missed many people, they felt blessed to have been able to integrate many personal elements into the ceremony, from Hannah’s sister Vivian playing Siman Tov on the piano to her cousin’s receiving an in-person Aliyah to her grandparents presenting her with her tallis. “Jews have endured carrying on our traditions despite difficult circumstances throughout history. This was ours- and one to be cherished,” Janna said.

For Hannah, though, the virtual experience was disappointing. “Not everyone was there. It didn’t feel like a ‘normal’ Bat Mitzvah, but it was a special family gathering and we made the most of it,” she said.

Liora Ragozin, whose September 25, 2020 Bat Mitzvah also took place in the CSH sanctuary with many others watching and participating virtually, missed having her cousins with her, but said that because her family (including her parents, Rabbi Michael and Sarah Ragozin and siblings Noam and Aliza) and friendship circle are small, “it felt good to celebrate the way we did. My favorite part was giving my Dvar Torah. I enjoy public speaking – when it’s in English!” she added.

Jake Dubow initially felt let down that his December 12, 2020 Bar Mitzvah didn’t turn out as planned. “For my whole life, I had been talking with my family about a big Bar Mitzvah and party,” he said. Instead of the 400-guest in-person ceremony in the sanctuary, sleepover with all his camp friends and a celebration at Boston’s Hard Rock Café, he had a small service with 17 guests in an open-sided tent in his Swampscott yard without his paternal grandparents, who couldn’t make it from Canada and Florida. Even the clergy were zoomed in.


(L-R): Jonathan, Jake, Rachelle and Charlie Dubow

Jake had started studying with Jan Brodie before the pandemic and felt grateful for the in-person lessons prior to having to shift to virtual tutoring. “Studying was hard work, but I was very diligent. Although I was nervous, I was also excited to show off my hard work on my Bar Mitzvah day,” he said.

For his parents, Rachelle and Jonathan, the vagaries of Covid-19 were even more daunting. Rachelle grew up with a mother who was (and still is) a professional event planner and a grandfather who was a kosher caterer, so celebrating simchas in a “big” way has always been in her blood. They had already shifted  gears, with plans to still celebrate on Jake’s actual Bar Mitzvah date (also Shabbat of Hannukah) at CSH with Rabbi Michael and Cantor Alty, but with only 17 live guests and the rest of their friends and family virtually. Then, on December 8, CSH indoor rules changed, prohibiting any gatherings in the building. The Dubows pivoted to the tent, hardly missing a beat.

The family Kiddush was shared on Zoom, with Jake and his younger brother, Charlie, leading the prayers, followed by an outdoor pop-up and drive-by for well-wishers. “We had music playing and an amazing vibe going, so despite being outside and masked, it felt like a slice of normal,” Rachelle said.

Her biggest challenge was missing her in-laws and sister and her family, but the many rewards softened that blow. Because of Zoom, many friends and relatives were able to join from Israel, France, Canada and the US. The Wednesday before the Bar Mitzvah, two Torahs arrived at their home. “Just having those scrolls in my home elevated us spiritually in a way that is hard to describe. But most of all, it was the pride, the immeasurable, indescribable pride we had in our son who had worked so hard and handled all the pivots and little disappointments with such grace,” she said.

Like his fellow Covid-19 Bnei Mitzvah celebrants, Ned Jefferies was at first disappointed that his January 9, 2021 would be on Zoom instead of in the sanctuary, and then he was doubly disappointed that instead of Zoom (where he could have seen those watching), there were so many guests that they had to use Zoom Webinar. “It was cool seeing everyone’s messages in chat, though,” he said.


(L-R): Jennifer Mazur (Cat’s mother), Cat, Tom, Sophie, Ned, Yelena Jefferies and Joe Mazur (Cat’s father)

For his parents, Cat and Tom Jefferies, the event was actually wonderful, with Tom’s family in England and their friends all over the world able to join them. “For many, this was the first Bar Mitzvah they had ever been to. We were really touched by how meaningful they found it and it felt wonderful to be able to share it with them,” Cat said.

Although Cat admits they were nervous about the technology, J.R. Young, Rabbi Michael, Cantor Alty and Barri Stein all advised them. Family members were able to Zoom in and read Torah, take Aliyahs and read prayers “from California to Canada to England – and it all went smoothly!” Cat said.

Kiddush was Ned’s favorite dish, pesto pasta cooked by his grandmother, Jennifer Mazur. The eight family members sat around the kitchen table and then ran out to do a Mitzvah drive-by at CSH.

Having the Torah in their home was very special and a highlight of the weekend and a true family event. They set it on a 19th century tablecloth that had travelled to the US with Cat’s grandmother, and placed one of Tom’s paintings behind it. “We could really feel the love of our family, friends and the congregation during this momentous occasion,” Cat said.

JCC’s International Jewish Film Festival presents a virtual array of history, culture, and inspiration

by Shelley A. Sackett

MARBLEHEAD – The Jewish Community Center of the North Shore International Jewish Film Festival is celebrating its eighth year – and second straight virtually due to the ongoing COVID-19 restraints – with a diverse menu of 13 films inspired by Jewish history, culture, and values.

The festival runs from April 5 through April 25 and includes prerecorded and live Zoom conversations with filmmakers.

This year marks the first time the festival has partnered with the Central Mass International Jewish Film Festival, widening its audience to include the Worcester area. Tickets are $15 for individual films, with three discount packages for six, nine, or all 13 films. Films may be purchased ahead of time or when you are ready to watch. Eventbrite is the festival’s box office and screening platform, with tickets and information available at jccns.org.

Opening Night (April 5) presents the blockbuster “Six Minutes to Midnight,” starring Dame Judi Dench and Eddie Izzard. Set in 1939 at a finishing school in an English seaside town where influential families from Nazi Germany have sent their daughters, this taut, heart-racing espionage film heats up when a teacher figures out what is going on and tries to alert British authorities.

The social justice documentary, “Shared Legacies,” uses a treasure trove of archival materials to weave together crucial historical lessons of Black-Jewish alliances, starting with the founding of the NAACP in 1909. Narrated by eyewitnesses, activists, Holocaust survivors, and movement leaders, a prerecorded conversation with head writer-director Shari Rogers and members of the ADL’s Black-Jewish Alliance is included.

Among the other documentaries, “Code Name: Ayalon” recounts the 1975 discovery of The Ayalon Institute, a secret ammunition factory built by Haganah underground youth in 1947 during the British Mandate. The David vs. Goliath story includes interviews with surviving group members and a live discussion with the film’s producer, Laurel Fairworth, on April 21 at 7 p.m.

In 1977, Aulcie Perry, a basketball legend from Newark, New Jersey, was recruited by Maccabi Tel Aviv while playing a pickup game in Harlem. “Aulcie” chronicles this inspiring story and includes a live discussion with the director, Dani Menkin, and the raffle of a basketball signed by Aulcie on April 13 at 7 p.m.

Tamar Manasseh, the subject of “They Ain’t Ready for Me,” is a force to be reckoned with. Tired of the violence that has plagued her south side Chicago neighborhood, the Black rabbinical student builds bridges between her two worlds with grassroots activism and Jewish community celebrations. This timely and moving portrait includes a live discussion with director Brad Rothschild and Manasseh on April 23 at 7 p.m.

Filmed over 10 years, “A Lullaby for the Valley” introduces Eli Shamir, an Israeli artist who paints the view from his studio overlooking the Jezreel Valley in northern Israel. Director Ben Shani documents the artist at work, neither guessing at the changes that would occur over their decade together. A live discussion with the filmmaker is April 18 at 2 p.m.

The remaining seven features range from comedy to drama to historical docudrama. “Adventures of A Mathematician” reenacts the story of Stan Ulam, the brilliant Polish-Jewish scientist who worked on the top-secret Manhattan Project to develop the atom bomb. A live discussion with the film’s team will take place on April 11 at 1 p.m. In “A Starry Sky Above the Roman Ghetto,” the discovery of a puzzling photograph sparks an Italian student to probe the history of Rome’s Jewish ghetto and the fate of one little girl.

Sparks fly in the screwball romantic comedy, “Kiss Me Kosher,” when two families from wildly different cultural backgrounds – German and Israeli – collide to plan a same-sex wedding. On a more serious but no less romantic note, the historical drama, “An Irrepressible Woman,” tells the true story of Janot Reichenbach, who fell in love with French-Jewish socialist and three-time Prime Minister Léon Blum when she was a teenager and abandoned all to be by his side decades later when the French government fell to the Nazis.

“Here We Are” is the touching story of a devoted father who has dedicated his life to raising his autistic son. The docudrama “Winter Journey” features Swiss actor Bruno Ganz in his final screen role. The film blends reenactments and archival materials to relate a Jewish-German couple’s poignant pre-World War II romance and is based on the book by their son, NPR radio host Martin Goldsmith.

Finally, closing night (April 25) showcases “The Crossing,” the story of Gerda and Otto, Norwegian siblings whose parents are arrested for resistance activities. They discover two Jewish children hidden in their basement, and decide to risk helping them cross into Sweden to escape the Nazis.

For more information and to buy tickets, visit jccns.eventive.org.

Gloucester violinist helps keep the sound of Yiddish music alive

Klezmer violinist Abigale Reisman recently received a grant from Club Passim’s music fund. Photo: Bryce Vickmark

by Shelley A. Sackett

Abigale Reisman was a 19-year-old undergraduate at The Manhattan School of Music when she fell in love. The classical violin performance major was listening to a lot of Russian composers such as Tchaikovsky, Prokofiev, and Stravinsky, but something was missing. She yearned for the Jewish music she grew up with in synagogue and Jewish day school, and the special place it had in her heart.

A friend suggested she check out a genre of music she had never heard of – klezmer – and for Reisman, it was obsession at first listen. Luckily, she lived in New York City, home to some of the leading klezmorim. She booked a private lesson with violinist Alicia Svigals (co-founder of the Grammy-winning band The Klezmatics), and attended KlezKamp – a yearly Klezmer music and Yiddish culture festival – in the Catskills.

“It was a beautiful introduction to the klezmer world and I never left,” Reisman said from her Gloucester home.

Almost 15 years later, the Atlanta native is a violinist, composer, and educator. She wears many musical hats, from klezmer and classical to experimental and pop. She is a cofounder of Thread Ensemble, an experimental trio that creates music out of interactions with their audiences; a member of Tredici Bacci, which was featured in Rolling Stone’s “10 Artists You Need to Know: November 2016;” and a composer, arranger, and performer in the International Jewish Music Festival award-winning band, Ezekiel’s Wheels Klezmer Band.

Although Reisman doesn’t have a favorite musical genre (“I love it all in different ways”), she plans to focus her energy on recording a series of videos that explore the treasures of the Jewish violin, thanks to a grant from Club Passim’s Iguana Music Fund.

Her purpose is two-fold: To create and release her own interpretation of the music she loves so dearly, and to reveal to the average Jewish music listener the complex history of the violin in East European Jewish music.

“The fidl [Yiddish for violin] truly mimics the human voice, especially the cantorial sound,” Reisman said. “It speaks in Yiddish sentences and gestures. It plays pieces full of bubbling trills, moans, slides, and specifically Jewish phrasing.”

The grant money will ensure the sound and video qualities of her recordings will capture these subtleties.

Since 2008, the Iguana Music Fund has awarded gifts annually to musicians for career building projects and for those that provide community service through music. Abby Altman, Club Passim manager, said Reisman is known for being part of great ensembles. Her application stood out because it focused on her as a solo artist working in a genre she is passionate about.

“We’re excited to see what she creates when she is in complete control of the material,” Altman said.

Reisman’s target audience for her videos is both the casual Jewish music listener and the next generation of serious klezmer violinists. Although most contemporary audiences think of the clarinet as klezmer’s dominant melodic instrument, for hundreds of years the violin was the epicenter of Eastern European shtetl music. Reisman wants to introduce this fidl-centric music to those whose only exposure has been to the 20th century jazz-influenced clarinet-centric version of klezmer.

She also wants to provide serious klezmer violinists with 21st century videos that contain both archival repertoires and clear views of the technical aspects of playing klezmer. Reisman recalled she didn’t know where to turn to when she started to play klezmer fidl. The only archival recordings she found were scratchy and difficult to decipher. She wants her videos to make it easier for violinists to get an immediate sense of the music they could play. “I also want to lure them into listening to the archival recordings,” she said.

Ashkenazi Jewish culture has played a large part in Reisman’s life since she was a child. “It creates a beautiful community and gives me a familiar access point to spirituality, morality, and kindness,” she said. She remembers feeling especially connected to Judaism as a young Jewish day school student. “I liked following rules and they had a lot of rules,” she said with a chuckle.

COVID-19 has been hard for her and her musician husband, Charles Clements. Although Reisman lost a lot of summer gigs (weddings, outdoor festivals, etc.), she has been able to teach and perform virtually and has helped create an online global klezmer community.

She’s also been able to slow down and think about the future of her career and the important, constructive role artists play in safeguarding our humanity. “This is why I’ve finally been able to conceive of the start of this project that has been in the back of my mind for so many years,” she said.

To learn more and listen to Abigale Reisman’s music, visit abigalereisman.com.

From Marblehead to Hollywood, where she now makes movies that touch the soul

Filmmaker Jerri Sher and former NFL quarterback Mark Rypien on the set of “Quiet Explosions: Healing the Brain.”

by Shelley A. Sackett

Jerri Sher is no shrinking violet.

In the 1980s, she and her husband Alan, a tax accountant, were raising their family in Marblehead. Their daughters, Heather and Amy, attended Hillel Academy (now the Epstein Hillel School), and Alan volunteered as treasurer of the Jewish Journal. After teaching at Endicott College, Jerri decided to enter the business world. But, she didn’t just quietly switch careers; she smashed through a glass ceiling as the first woman to work in the transportation industry in the Northeast corridor.

Sher rose quickly in the sales and marketing department at Guaranteed Overnight Delivery, where she was trained by Tony Robbins, the top life coach and business strategist. “The male-oriented industry of transportation was difficult because people were not used to dealing with a woman, so I had to prove myself to be better than any man,” she said from her Los Angeles home.
Sher learned on the job, and she learned fast, negotiating freight contracts for Fortune 500 companies such as Gillette and Raytheon. “Little did I know that all of the skills I was learning were getting me ready to be a producer,” Sher said.

Sher’s schooling and first career were in the arts. The Fall River native earned a bachelor’s degree in fine arts degree at the University of Massachusetts Amherst and a master’s in art education from Springfield College, where she later became its youngest professor. Despite a demanding schedule in the trucking business, her creative drive never slowed down. With no formal training, she wrote a novel about a woman in the trucking business. “The Twig Painter,” a medical thriller that became a screenplay, fused her two careers – art teacher/painter and trucking sales representative – and wet her appetite for her third: movie screenwriter, director, and producer.

She dove in, determined to learn as much as she could about the filmmaking process. She helped out on any movie set that came to the North Shore and before long, one director recognized her business smarts and creative skills and told her she should set her sights on being a producer rather than “just” an art director.

Although a member of the elite LA-based Directors Guild since 1998, she had no access to its benefits from Massachusetts. After successfully producing several movies for others, she decided it was time to direct her own. “I was in my mid 50s when I said, ‘let’s move to LA,’” Sher said.

That was 18 years ago.

Other than missing friends and family, Sher found Hollywood spectacular. Despite never attending film school, her career flourished as she finally had direct entrée into the hub of the industry’s network. “I knew I was right where I was supposed to be,” she said.

Although Sher faced obstacles as a woman in another male-dominated industry, she already had overcome that challenge once and never let it bother her. “I am proving myself in this industry and am climbing to the top of the ladder despite the discrimination,” she said. “The word ‘no’ did not exist in my vocabulary. I had all the tools I needed to make films and thrive.”

Sher has since completed 22 film and television projects, including “Santa Monica Cares Step Up,” which earned her 2014 Emmy awards for directing and producing. This short documentary film, about a homeless man rescued by charity, was the highlight of Sher’s career. “It made me realize I only wanted to work on projects that would positively influence society,” she said.
Her latest film, “Quiet Explosions: Healing the Brain,” is a documentary about traumatic brain injury and post-traumatic stress disorder in veterans, athletes, and others. Released last month on Amazon and Vimeo, the film explores under-publicized, non-pharmaceutical approaches that have led to complete healing in brain injury patients.

Based on “Tales from the Blast Factory,” the book by brothers Andrew and Adam Marr, the film highlights the breakthrough work of Dr. Daniel Amen (psychiatrist, clinical neuroscientist, and brain imaging specialist) and neuro-endocrinologist Dr. Mark L. Gordon, whose patients have been cured by his treatments. Super Bowl MVP Mark Rypien, Ben Driebergen (winner of “Survivor” and ex-Marine), and Shawn Dollar (champion surfer) tell their heart-wrenching stories of trauma and recovery. Podcast host Joe Rogan, an active Wounded Warriors supporter, interviews Gordon and Andrew Marr.

Although the film’s 10 characters are from all different walks of life with different clinical histories, they share one thing: at some point, each wanted to commit suicide. After watching the film together, they cried and hugged each other, grateful that others might understand the agony they had suffered.

“For Dr. Gordon, a neuro-endocrinologist, to come up with this treatment is mind boggling. Why does the whole world not know about this?” Sher asked. Her hope is her film will educate its audience ‒ especially doctors – about these groundbreaking solutions that help those with traumatic brain injury to heal.

Sher had a solid foundation in Judaism, and credits her Jewish background with steering her artistic choices and storytelling toward messages of tikkun olam (repairing the world). “I am definitely all about healing the planet and the people on it. Most of my recent projects are about healing and health,” she said.

Right now, however, she has two goals. One is for an Oscar to keep her two Emmy awards company. The second is to get the Veterans Administration to institute Dr. Gordon’s protocol. “And if we can do that, then I’ve done so much for society,” Sher said.

For more information, visit jerrisher.com and quietexplosions.com.

Trayf is in Eye of the Beholder in New Rep’s ‘Trayf’

Jonathan (Nile Scott Hawver), Zalmy (Ben Swimmer) and Shmuel (David Picariello) in New Rep’s ‘Trayf’

By Shelley A. Sackett

Hasidic teenagers Zalmy and Shmuel, the main characters of the New Repertory Theatre’s “Trayf,” are, at face value, typical 1990s adolescents. They love cruising around New York City in their brand-new van, blasting their favorite music and singing along at the top of their lungs. Their good-natured banter, conversational short cuts and puppy-like rapport reveal a chemistry borne of lifelong friendship. They talk about everything, from music to families to the riddle of sex. Any mother would be proud to claim them as her budding mensches.

Yet, on another level, Zalmy and Shmuel are anything but typical teens. They have never left their insular Crown Heights, Brooklyn community and Manhattan’s secular streets, bejeweled and beckoning with the forbidden (trayf), startle them. In their Chabad-Lubavitch (Orthodox Jewish Hasidic movement) uniform of black hats, facial hair and black coats, they hardly blend in. The van they drive is a Mitzvah Tank, a makeshift synagogue-on-wheels with an ice cream truck-like banner that reads, “Mitzvahs on the Spot for People on the Go.” The music they adore is Hasidic pop/rock. These two are not trolling for babes. They have but one mission: to inspire Jews to do mitzvahs. “We’re the Rebbe’s foot soldiers going to battle in the most secular city in the world,” Shmuel solemnly declares.

New York based playwright Lindsay Joelle deftly uses this distinctive community and these two friends as the platform from which she launches her exploration of weighty themes such as commitment, identity, loyalty, tolerance and what being Jewish means (and doesn’t mean) in 21st century America. By nimbly plumbing Zalmy and Shmuel’s rich relationship, she keeps “Trayf” light, comedic and fluid while digging deeply beneath the surface.

During Zalmy’s (Ben Swimmer) and Shmuel’s (David Picariello) chatty drives into the City, their individualiities surface. Shmuel is scandalized by Times Square; Zalmy is intrigued. Shmuel is devoted, resolved and unquestioning. His is a world of bright lines: black and white, kosher and trayf. Zalmy is more open-minded and daring; he can sense the gray of a possible middle ground, and it draws him in.

Swimmer, Picariello

Joelle carefully places this tinderbox of conflict beneath the teens’ friendship. Jonathan (Nile Scott Hawver), who approaches the Mitzvah Tank looking for “spiritual belonging,” is the flint that ignites it.

Jonathan is a young man who was raised Catholic. While cleaning out some of his father’s things after his recent death, he came across his birth certificate, showing his father emigrated from Germany and was, in fact, Jewish. Convinced that exploring these Jewish roots will fill the emptiness inside him, he is drawn to the Mitzvah Tank like a drowning man to a life boat.

Zalmy is happy to take Jonathan on as a student, especially after he learns he is a record producer and might be his conduit to secular musical delights. Shmuel is predictably skeptical. “He doesn’t feel like a Jew,” Shmuel says. “Why would anyone pretend to be Jewish?” Zalmy counters.

For the first time in their decades long friendship, Zalmy and Shmuel follow divergent paths. Zalmy takes Jonathan under his wing, bringing him home every week for Shabbos. “You’re so lucky, Zalmy. With your family I feel connected. I feel God,” Jonathan says. Zalmy is just happy to receive some of Jonathan’s secular trayf tapes.

Well into the intermission-less 80-minute production, Jonathan’s Jewish girlfriend Leah Caplan (Kimberly Gaughan) shows up, angry at her goyishe boyfriend’s makeover into a full-blown Chabadnik, hat, beard and all. The granddaughter of survivors, she “knows what it means to be Jewish” and has chosen a Catholic partner on purpose. She has also just courted him through an intense period of mourning and feels betrayed by his sudden change.

Picariello, Kimberly Gaughan as Leah

Leah seems to want more of a therapy session that an intervention from Shmuel, her need more to vent than to be soothed. Shmuel, however, sees a parallel with his relationship with Zalmy and his tone and body language suddenly shift and soften. He tries to comfort and calm her and to get her to see what he is only beginning to embrace and understand. “There is no love, only acts of love,” he tells her, quoting the Rebbe.

From here, the characters’ paths diverge, merge and change course in ways both predictable and surprising. Picariello and Swimmer bring a chemistry and effortlessness to their roles that is helped by Joelle’s character development and dialogue. She is not as successful with Jonathan and Leah. They are two-dimensional, cardboard props, more symbols than flesh and blood. Their role is one of foil rather than relatable people.

Celine Rosenthal’s direction keeps the play moving and her choice to put Zalmy and Shmuel as front and center as the script allows is a wise one. Grace Laubacher’s set is minimal but effective, the Mitzvah Tank its main focal point. The backdrop of a Manhattan skyline has a Marc Chagall shtetl feel, an acknowledgment to Crown Heights as a bridge between the Chabad’s Eastern European birthplace and its modern digs. Whether intentional or not, it’s a nice touch.

For Joelle, “Trayf” is the culmination of over five years’ research that started with her friendship with a former Chabadnik who shared with her how he had “dipped his toe into the secular world” until he finally broke from his roots and embraced a secular life.

She hopes the audience leaves wondering what each character will do next as they embark on their transformative journeys. “I’m most drawn to Shmuel’s newfound understanding that ‘acts of love’ include giving friends space to change and grow, and that true friendship transcends ideological beliefs,” she said.

A version of this review appeared in the Jewish Journal (jewishjournal.org).

“Trayf”. Written by Lindsay Joelle. Directed by Celine Rosenthal. Scenic Design: Grace Laubacher. Lighting Design: Marcella Barbeau. Costume Design: Becca Jewett. Sound Design: Aubrey Dube. Stage Manager: Jenna Worden. Produced by New Repertory Theatre in partnership with Jewish Arts Collaborative, 321 Arsenal St., Watertown through November 3.

 

What one Jewish educator did on her summer vacation

 

Yeshivagroup photo

Group photo of the Yeshiva students. Janis Knight is in the back wearing a hat

 

Lunchtime at the Yeshiva

Lunchtime at the Yeshiva is still study time.

 

Veiled OrthodoxJewish women fashion mannekins1

Mannequins illustrate women dressed in full Orthodox cover at the Israel Museum exhibit.