By the time that Kutsher’s Country Club fell to the wrecking ball in May, the Catskills were already long past their prime as a Jewish vacation paradise. In fact, the popularity of the “Jewish Alps” was already waning in the 1970s, when “The Gig,” Doug Cohen’s new musical about a group of amateur jazz musicians who land a prized booking in the Borscht Belt, is set.
Miriam Borenstein, 27, had a great line about online dating. Saul Daiell, 33, joked about teaching. But in the end, “High-Powered” Howard Newman took home the title of Funniest Jewish Comedian in the annual contest sponsored by The Jewish Week.
Last fall’s survey of Jewish Americans by the Pew Research Center, which found increasing numbers of American Jews eschewing religious labels, triggered a chorus of commentators, galvanized a debate about Jewish identity, and pitted huge segments of the Jewish community against each other.
As an aspiring jazz pianist growing up in Israel, it was Anat Fort’s cherished dream to play with the great drummer Paul Motian, who anchored what is considered to be one of the most influential trios in all of jazz.
For sale: A rabbinic voice from the past calling for peace in the Middle East.
This week, Kestenbaum & Company is auctioning a 1954 handwritten letter from Rabbi Isaac Halevi Herzog, then Chief Rabbi of the State of Israel, to Professor Abraham Isaac Katsh, written to congratulate the scholar on the publication of his “excellent” book, “Judaism in Islam.” Rabbi Herzog expresses the hope that the close connection between Judaism and Islam “may help to promote the cause, the sacred cause of peace between Ishmael and Israel!”
Three years ago, Natalie Gerber was undergoing treatment for breast cancer, while her friends and family were running a 5K race in her honor. This year the 30-year-old mother of three will be running the race herself as a testament to her recovery and in gratitude to those who helped her.
Standing in the midst of a long line on Friday afternoon, as it wrapped around Lexington Avenue at 55th Street and reached all the way toward Park Avenue, one saw curious passers-by wondering what the attraction was. Especially when people in line referred to their having “the hottest ticket in town.”
While its central motif is a precariously perched violinist, “Fiddler on the Roof” has about as tight a grip on the Jewish — and non-Jewish — imagination as any work of popular culture. This was abundantly in evidence on Monday night, at the jubilant celebration of the 50th anniversary of the iconic musical, orchestrated by the Folksbiene Yiddish Theatre.