Hofesh Shechter often gets annoyed when people only see Jewish or Israeli references in his choreography. “It’s a very interesting, conflicted way the world sees Jews,” he told me a while back. “People [in England] refer to me as Jewish rather than Israeli. There’s this pigeonhole, this file that says ‘Jewish’ on it.”
Ohad Naharin, the Israeli choreographer, is so synonymous with his home country that I often forget he did much of his formal training in the United States. In New York, in fact, at both the School of American Ballet and Juilliard. I get a vivid reminder of that this weekend, when Juilliard’s remarkable ensemble of student dancers performed his work “Secus,” from 2005.
When I saw that the new issue of The New Republic had Robert Alter reviewing a new work by Nathan Englander, I instinctively thought it’d be of Englander’s new translation of the Passover Haggadah. Given that Alter is a widely admired translator of the Hebrew Bible, it was only natural for me to assume as much.
When Arthur Miller’s “Death of A Salesman” first opened on Broadway, in 1949, Brooks Atkinson, The New York Times’ chief theater critic, could not have been more enthusiastic—“masterly,” he called, “heroic” and “superb.” It is safe to say that the same adjectives can be used to describe the current Broadway revival that opened this week. Philip Seymour Hoffman, in the lead role of Willy Loman, brings renewed complexity to a classic American character who
Umberto Eco's latest novel, "The Prague Cemetery," has received tons of attention. But few reviewers have added anything interesting in their criticism, other than the usual banal stuff (not necessarily untrue) of it being "boring" or "over-stuffed" or intellectually ambitious, but less successfully executed. If you want something interesting, check out Neal Ascherson's take in The New York Review of Books. He actually has plenty
On October 20, Amos Oz's latest book--his 14th--will get released in the United States. But it's been out for at least a month in England, and the reviews have been strong. The wordisthat it's a moving, sparely written short story collection dominated by a sense of loss.