With the revival of his musical about a Jewish cabaret comedian, writer-director Pavel Cerny feels he is giving the current generation of Los Angeles audiences a taste, in English, of the kind of Yiddish theater that flourished a century ago on Second Avenue in New York.
When Zubin Mehta takes the stage at the Disney Concert Hall on Oct. 30 to conduct the Israel Philharmonic Orchestra (IPO), most in the audience will know that they’re hearing a world-class orchestra. Very few will realize, however, that the IPO’s founding was integral to the origins of the modern Jewish state. That beginning not only inaugurated the arts in Israel, but it was coupled with the saving of untold numbers of Jews from the Holocaust. Now that story is being told on the big screen in director Josh Aronson’s “Orchestra of Exiles,” in first-run screenings at selected Laemmle theaters beginning Nov. 2.
If you take Israel out of the equation, there’s little in the Jewish world that gets people as riled up as the idea of intermarriage.
For Academy Award-winning actor Tim Robbins, who founded Actors’ Gang and serves as its artistic director, presenting plays that are relevant to our time is paramount for the company. To that end, the Culver City-based theater’s current offering is the U.S. premiere of “Oy,” a tale set in 1995 of two German-Jewish sisters, Selma (Mary Eileen O’Donnell), age 89, and Jenny (Jeanette Horn), age 86, who have accepted an invitation to visit Osnabrück, the town in Hanover, Germany, where they were raised and which they left as Hitler was consolidating his power. Because the sisters are among the dwindling number of survivors with recollections of the Nazi era, the town’s mayor has invited them to come to bear witness to that history for the younger generation.
“When I told my son I was going to write a musical about the Holocaust,” playwright and Holocaust survivor Lucy Deutsch recalled, “he raised both arms and screamed, ‘Mother, how can you do that? Those two words don’t belong together!’
Malka and Abraham Jura faced a Solomonic decision in late 1938, as the Nazis were tightening the vise on the Jews of Vienna. The couple hoped to send their three daughters to safety but were able to wrangle only one place on the Kindertransport ferrying a limited number of Jewish children to London. After much agonizing, the Juras decided to give the spot to 14-year-old Lisa, a remarkable piano prodigy.
Somewhere in Creede, Colo., en route to a mountain cabin in Santa Fe, N.M., Mandy Patinkin is above 10,000 feet. “If I sound stupid, it’s because there’s no oxygen up here,” he says.
The notorious attorney Roy Cohn (Barry Pearl), onetime counsel for Sen. Joseph McCarthy, deals with his demons in Joan Beber’s surreal play, “Hunger: In Bed With Roy Cohn,” currently running at the Odyssey Theatre. Beber, who is having her first production in Los Angeles at age 78, places Cohn in a state of limbo, a purgatory of the mind, where he is nurtured by a sexy maid (Presciliana Esparolini) and haunted by significant figures from his past, including his mother, Dora (Cheryl David); hotel heir G. David Schine (Tom Galup); Ronald Reagan (David Sessions); Barbara Walters (Liza de Weerd), who remained a loyal friend because Cohn had once helped her father; and convicted spy Julius Rosenberg (Jon Levenson).
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