Posted: Mon, 07/07/2014 - 17:13 | Posted by: Emily Snyder | Well Versed
Katharine McLeod and Jamie Geiger in “The Religion Thing.” Jimmy Ryan

There are two things you should never discuss: politics and religion.

However, those are really the only two things worth talking about.

Posted: Mon, 07/07/2014 - 13:38 | Posted by: Diane Cole | Well Versed
The Kennicott Bible, Corunna, Spain, 1476; The Bodleian Library, Oxford. Courtesy of The Morgan Library & Museum

I don’t often swoon in public, but the Morgan Library’s current exhibition “Marks of Genius: Treasures from the Bodleian Library” left me breathless.  It was dizzying, standing before 57 magnificent artifacts representing 2,000 years of intellectual and artistic accomplishment, from cultures, countries and religious traditions that ranged from around the world in place and time.  And among them are several of particular Jewish interest.

Posted: Tue, 07/01/2014 - 18:27 | Posted by: Gloria Kestenbaum | Well Versed
© 2009 Miriam Mörsel Nathan, “Prague 1941” Gum Transfer, 30” x 44”

How do you transcribe memories that aren’t your own and pain you never felt?  These are the subjects that Miriam Mörsel Nathan addresses in her moving and elegiac works, ”I First Saw the World Through a Mosquito Net…,” now on exhibit at the Bohemian Benevolent and Literary Association.

Posted: Wed, 06/18/2014 - 12:03 | Posted by: Elizabeth Denlinger | Well Versed
Samantha Maurice as Cecilia and Yelena Shmulenson as Sonia in "Money, Love, and Shame!" Erik Carter

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.

Posted: Fri, 06/13/2014 - 10:04 | Posted by: Emily Snyder | Well Versed
Joseph Menino as Shylock and Imani Jade Powers as Jessica in “The Merchant of Venice.”  Allison Stock

"The Merchant of Venice," like many of Shakespeare’s middle “comedies,” is often considered a problem play: the language is dense, the final courtroom scene fraught with near-tragedy, and for even the most casual observer, the language is steeped with anti-Semitic vitriol.