Where are the next great composers of Jewish liturgical music coming from? Who will be the 21st century’s Lewandowski, Carlebach, Friedman, someone whose music will leave an indelible mark on the spiritual growth of Jews in America and across the globe? Needless to say, there is no single answer to those questions, but if anyone is looking harder for the next voice of the Jewish spirit than Cantor Ramon Tasat, we’d like to meet him or her.
Bernstein (in the fall) and Zorn (in the spring) at NY City Opera.
Special to the Jewish Week
When George Steel became the New York City Opera’s general manager and artistic director a year and a half ago, it was as if someone had given a particularly ardent fantasy baseball buff the keys to Yankee Stadium.
“I have a list of some 20 or 30 operas I’m dying to do,” he says, easing back in his office chair in the company’s offices below Lincoln Center. “I’m constantly daydreaming and imagining seasons, which artists to attach to each project. We’ve sketched out the seasons through 2017-‘18.”
“This is What They Sang.” Gavin Kostick’s new Off-Broadway play, set on Yom Kippur, about five generations of a Jewish family in Belfast. Presented by Belfast’s Kabosh Theatre Company as part of an Irish theater festival. Runs from Sept. 19-29 at the Synagogue of the Arts, 49 White St. in Tribeca. For tickets, $30, call SmartTix at (212) 868-4444 or visit www.smarttix.com.
SEPTEMBER 12-Jan. 30: “Shulie” is a 37-minute experimental film by Elisabeth Subrin, a new sort of docudrama in which Subrin creates a shot-by-shot remake of a documentary about ’60s feminist Shulamith Firestone. The result should call into question the whole procedure of “direct cinema,” itself something of a ’60s phenomenon. The Jewish Museum (Fifth Avenue at 92nd St.). For information, go to www.thejewishmuseum.org or call (212) 423-3200.
‘Nuremberg’ and ‘Robert Lifton: Nazi Doctors’ at Film Forum.
Special to the Jewish Week
Two new documentaries being shown back to back as part of Film Forum’s fall schedule — “Nuremberg: Its Lesson for Today” and “Robert Lifton: Nazi Doctors” — shine yet another light on the ghastly enormity of the Nazis’ crimes and our inability to grasp those barbarous acts.
They make an odd couple, to be sure, but the story of their relationship is one of the most moving in contemporary drama. In Alfred Uhry’s “Driving Miss Daisy,” which will staged on Broadway next month, a fiercely independent, elderly Jewish widow in Atlanta, Daisy Werthan (Vanessa Redgrave), develops an unlikely friendship with her black chauffeur, Hoke Colburn (James Earl Jones).
I sat waiting for her on a bench on a traffic island situated between the northbound and southbound lanes of Broadway, about a block away from the Upper West Side mikveh. Wearing my Shabbat clothes, with a yarmulke on my head, I felt self-conscious, acutely aware of the questions I would ask if I saw someone like me, openly Orthodox, sitting and watching the traffic at the onset of Shabbat when I should have been in shul davening.