They were stars of the new music world, or would soon be. Their inclusion in the 1927 festival in Baden-Baden, Germany, meant great things would happen. In less than a decade, they would all be in the United States, sought by the Nazis, who banned their music.
It may have been cut from “Fiddler on the Roof,” but the song “When Messiah Comes,” a rueful ballad about the dashing of hopes, continues to resonate for theater director Michel Hausmann. Growing up in the Jewish community of Caracas, Venezuela, in the 1990s, Hausmann saw how the much-anticipated presidency of Hugo Chavez turned viciously against the Jewish state, as well as against the Jews of his own nation — leading the bulk of the Jewish population to depart for South Florida and Israel.
Dov Seltzer’s music lifts Folksbiene’s inventive romp of a play sky high.
Special To The Jewish Week
Subtlety was never a hallmark of the Yiddish theater. Born of the intensity of diasporic Jewish life, it was bold, brash and in-your-face, built on an unstable, unpredictable mix of comedy, music, dance and drama.