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.
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.
British playwright Winsome Pinnock wrote \”Mules\” — about women hired to smuggle drugs on (or in) their persons — after extensive research in various prisons.
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.\”
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?
The first thing that catches the eye when meeting Sister Rose Thering is the large pendant of a Star of David intertwined with a Cross dangling from her neck.
If you didn\’t know that David Rose was one of our priceless assets, proceed to his pen and ink drawings on exhibit at the University of Judaism\’s Platt Gallery. A look at this lively body of work suggests that virtually everywhere 20th-century Jewish history was being made, David Rose was there.
Back in the heyday of the self-made Jewish movie moguls, the studios were, to a certain degree, family businesses.
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