Maurice Sendak, the beloved and celebrated maker of children’s books, was much more than "Where the Wild Things Are." At his death in 2012, more than 10, 200 pieces of his work – drawings, watercolors, manuscripts, proof copies and more – resided at the Rosenbach Museum in Philadelphia. The museum had hoped that this situation, which let them stage no fewer than 72 Sendak exhibitions since 1970, would continue. However, Peter Dobrin of the Philadelphia Inquirer recently broke the news that not only did Sendak leave the materials to the Maurice Sendak Foundation, but the foundation’s trustees have asked for their return to Sendak’s Ridgefield, Connecticut home, set to become a museum of sorts itself.
Yiddish melodrama popped up last week, just yards from the elevated tracks of the 7 train in Queens, at a theater so discreet its name is Secret. Target Margin Theater there presented Allen Lewis Rickman’s enormously enjoyable translation of Isadore Zolotarevsky’s “Gelt, Libe, un Shande” – “Money, Love, and Shame.” Once, perhaps, a play with both pain and laughter, the passage of time has rendered it pure comedy.
Keep an eye out for future productions of Noémi Schlosser’s wry theater piece "Traktorfabrik." I was lucky enough to catch a staged reading of part of it recently as part of the Emerging Artists Theatre’s New Works Series.
The majestic Bartos Forum at the New York Public Library was nearly packed on November 6th for The Yiddish Heart, directed by Target Margin Theater’s David Herskovits, the first in a series of evenings aimed at bringing to life the collections of the Library’s Dorot Jewish Division. The crowd was interested and enthusiastic, but unless they read their programs carefully, they were at first a bit confused. This was because before the formal program, there was an informal one and this first program was, essentially, a three ring circus.
For over sixty years, readers of the Sunday New York Times bent over the first page of the Arts & Entertainment section, looking for the Ninas – the name of Al Hirschfeld's daughter, which he worked into his drawings. The triumph in solving those simple puzzles was addictive; once you knew to look for them, you could never turn away. An exhibit of his drawings and many objects from his own collection,“The Line King’s Library,” is now on view at the Library for the Performing Arts in Lincoln Center.
Don’t go to this exhibition in a hurry; and don’t go with children; but if you have the slightest interest in mathematics or Jewish history of the twentieth century, then go. Seeing “Transcending Tradition: Jewish Mathematicians in German-Speaking Academic Culture” at the Center for Jewish History is like reading a short illustrated book mounted on plywood, but your patience will be rewarded. Where does the interest lie for the non-mathematician? In the characters of the people whose histories it tells; and for the glimpses of people at work on fundamental problems.
Broadsides were never meant to survive. Defined as a single printed sheet posted in public, broadsides convey immediate information about a vast number of subjects: changes in the law, upcoming weddings or bnai mitzvot, the details of a death or a funeral, the arrival of the circus, just to name a few.