As a writer, Frankiel is co-author of the recently published \”Minding the Temple of the Soul,\” as well as \”The Voice of Sarah,\” an elegantly written response to the notion that traditional Judaism is the sound of only men talking.
The author has managed to pack an awesomely dense amount ofclichés, stale humor and annoyingly cute literary mannerismsonto each page, but the end product is curiously weightless.
Paintings from Terezin are on exhibit at the Jewish Federation Building
For the next few weeks, you will be hearing about girls and sex. \”Oprah,\” \”Leeza,\” \”Charlie Rose,\” The New York Times, even The Jewish Journal — media great and small will focus airwaves and inches on a topic that, while hardly new, rarely gets serious, sustained attention.
Rabbi Baruch and Michal Finkelstein are developing a sex-education curriculum for Jewish day schools.
Chances are, there are not many singer-songwriters whose oeuvre contains subjects as disparate as the \”Shecheyanu\” and a visit to the dentist. But such is the nature of Craig Taubman\’s career.
In \”Ragtime,\” the part of Tateh, a widowed, immigrant Jew who comes to New York with a young daughter in tow, is in many ways a role that is especially close to the heart of actor John Rubinstein.
After the countless ads, fluff pieces and an advance press packet thick enough to choke a horse, the question hung in the celebrity-studded lobby of the Shubert Theatre last Sunday evening: Could \”Ragtime\” pull it off?
Doctorow was wary when the call from Toronto came four years ago. Garth Drabinsky, the maverick theater producer who runs his company like a 1930s movie mogul, had a proposition: He wanted to turn Doctorow\’s 1975 best seller, \”Ragtime,\” into a musical. Drabinsky had won Tonys and made millions with \”Show Boat\” and \”Kiss of the Spider Woman,\” and wanted to repeat with \”Ragtime.\”
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