European Days of Jewish Culture

Constantly spearheading exciting projects which bring to life Judaism’s rich cultural heritage and educate the public on its integral role in the development of European civilization, The European Association for the Preservation and Promotion of Jewish Culture and Heritage (AEPJ) is now supported by B’nai B’rith Europe and 13 other organizations that have assumed the mantle of preservation in the aftermath of the tragic destruction resulting from World War II. Its visually impressive website is an enticement to hop a plane to get a look at the actual sites that are partially represented by photos depicting highlights of the 33 cultural routes mapped throughout the continent. Located in countries including Austria, Italy, Poland, Spain and Turkey, they were developed to provide an insider’s view of synagogues and other architectural treasures, some recently restored, and sites of historic interest as well as special exhibits and fine arts collections on view in local museums and archives. Assisted in the realization of its mission by important leaders and arts professionals, the AEPJ continues to revise its horizons.

For the past 19 years, AEPJ has spearheaded the annual “European Days of Jewish Culture” devoted each year to a tradition or broad concept intended to inspire a wide range of creativity, innovation and inclusion throughout the continent. Encompassing folklore and private diaries to biblical legends and Kabbalah, “Storytelling” has been designated as this year’s theme, with Sept. 2 representing the official date but in most places the celebration will commence prior to that day, and extend beyond, with cultural events including concerts, dance programs, screenings, dramatic productions, lectures and discussions produced by local arts ensembles, museums, libraries and academic institutions. For the first time, AEPJ has partnered with the National Library of Israel in the creation of a resource guide and a special touring museum show, among other initiatives.

“To Kill A Mockingbird” Coming to Broadway

After a few glitches with the estate of author Harper Lee, Oscar-winning screenwriter, playwright and movie director Aaron Sorkin is going ahead with his plans to bring his dramatic adaptation of her beloved novel, first published in 1960, “To Kill a Mockingbird” to Broadway’s Shubert Theater, slated to premiere on Nov. 1. Of course many remember the 1962 film adaptation starring Gregory Peck as Atticus Finch, a role for which he won an Academy Award.  

Sorkin, whose successful first play “A Few Good Men” later became an even more celebrated film, is often credited with the creation of iconic television shows — “Sports Night,” with its glib repartee, hidden literary references, and complicated characters, and especially the much praised “The West Wing,” the continuing saga of the idealistic, yet flawed President Bartlett and his equally committed close-knit staff — whose content is sometimes said to reflect the Jewish concern for social justice. One of the show’s two Jewish characters, Toby Ziegler, the White House communications director and the Brooklyn-born son of a Russian Jewish mobster, was among its most memorable.

Trusting Sorkin, who like Lee, had a father who practiced law, the late Southern writer had given her permission to him to write the play, but her estate had judged his treatment of “Mockingbird” to be too far afield from the original book.  Little has been revealed about the changes that were contested, but Sorkin has noted that its protagonist, the dignified attorney Atticus Finch, who bravely defends an African-American man on trial for rape in the Jim Crow South, undergoes a transformation, to ultimately realize and act on his ethical decision, a change from Lee’s reverent, albeit one-dimensional portrayal. Sorkin’s intent in endowing Atticus with more human qualities will provide contemporary audiences with opportunity for empathy.

​Cheryl Kempler is an art and music specialist who works in the B'nai B'rith International Curatorial Office and writes about history and Jewish culture for B’nai B’rith Magazine. To view some of her additional content, click here.

Arguably the most readily identifiable and popular artist of the 20th century, Marc Chagall was a man of astounding versatility. Born in 1887 in Vitebsk, Russia, he grew up and gravitated to his chosen profession during an era that celebrated the concept of Gesamtkunstwerk—stage projects in which music, dance, drama, poetry and the visual arts harmoniously combined to present a more profound experience.  One of his St. Petersburg teachers, Leon Bakst, was another Jewish master whose Art Nouveau sets and costumes for the Ballets Russes transformed the world of dance in the years before World War I. It would not be until after 1918, in Soviet Russia, that Bakst’s student would become involved with the Yiddish theatre, where he developed yet another aspect of his genius that would continue to flower until the end of his life. 
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This season, events on two continents have been inspired by Chagall’s biography and creative vision. Hailed as the winner of the annual Carol Tambor Foundation’s Best of Edinburgh Award at this year’s Fringe Festival in August is “The Flying Lovers of Vitebsk,” written by Daniel Jamieson, a co-production staged by Cornwall’s experimental Kneehigh Theatre and the Bristol Old Vic.  

Incorporating expressive movement and dance, as well as Ian Ross’ music and songs orchestrated for an onstage band, this multi-disciplined work depicts both the romance of Marc and Bella, the woman who became his muse and the subject of many of his masterpieces, and the cultural roots that sired the artist’s unique perception. Despite the poverty, bleakness and violence of the shetl, the horror of World War I, and finally, the turmoil and suffering caused by the Russian Revolution, the artist forged an alternate reality, a joyous fantasy that continues to affect the visual and performing arts. “Flying Lovers’” sets, costumes and cast enervate Chagall’s dream world while the cruelty of real life is always at hand.  The play’s final scene depicts Chagall’s response to Bella’s death in 1944.  Acclaimed by critics and audiences, “Flying Lovers” is touring the United Kingdom through the spring of 2018, and will open in New York, probably later next year.

On view at the Los Angeles County Museum of Art (LACMA) until Jan. 7, 2018, is the first exhibit focusing on Chagall’s later stage works.  Curated by Stephanie Barron, with an installation designed by LACMA’s artist-in-residence, an innovative opera director and set designer Yuval Sharon, “Chagall: Fantasies for the Stage” surveys the Russian master’s involvement with ballet and opera spanning the decades initiated by his arrival in New York from Nazi-occupied France, and continuing through 1967.
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On display are films, studies and sketches, as well as the original costumes, sets and backdrops from four Chagall productions: “Aleko,” danced in 1942 by the company now known as the New York City Ballet; famed impresario Sol Hurok’s 1945 revival of Stravinsky’s “Firebird;” the 1956 Paris Opera staging of Ravel’s “Daphnis and Chloe” ballet, and the artist’s beloved treatment of “The Magic Flute” which debuted at the Met Opera during its first Lincoln Center season
 in 1967.   

Visitors will also be able to see Chagall’s paintings and drawings focusing on the subject of theatre, furthering enhancing their understanding of his creative process, and the significance of the performing arts within the context of his oeuvre.

It’s a familiar arc: A Jewish community is attacked or threatened by anti-Semites, after which recriminations and regrets are publicly aired and the Jewish world wonders what could have been done differently to ensure Jewish safety.
 
And then there is Gothenberg.
 
This Saturday—not coincidentally Yom Kippur—the neo-Nazi Nordic Resistance Movement (NRM) will march through the coastal town of Gothenberg, Sweden, spreading its anti-Semitic hatred on the holiest day of the Jewish year. During the Holocaust, it was customary for the Nazis to carry out atrocities on days important to the Jewish calendar. The added benefit to the NRM of holding its hate march on Yom Kippur is that it is the day when even Jews who rarely worship are likely to attend synagogue.
 
Gothenberg authorities have already changed the NRM’s planned route to avoid proximity to the town’s synagogue, prompting 60 Nazi supporters to demonstrate in the city center on Sept. 17. The protesters railed against immigration and knocked down a woman who confronted them about their message. A spokesman for the NRM subsequently said that the group might choose to ignore orders to change the route of the march.
 
The NRM’s history of violence and intimidation suggests that whether Saturday’s march passes immediately by the synagogue or not, the threat posed to the Jewish community is real. The group openly espouses anti-Semitism and racism and has spoken admiringly about Adolph Hitler. Group members have advocated for mass deportation of refugees and immigrants. This summer a Gothenberg court sentenced three men with ties to the movement for carrying out bomb attacks on refugee shelters.
 
The presence of a majority of the city’s Jews in the center of town this Saturday increases the likelihood that they will become targets of the NRM’s hostility. It is also probable that some Jews, fearing for their safety, will opt not to attend Yom Kippur services this year.
 
American Jews are still reeling from the experience of a white supremacist march in Charlottesville, Virginia, last month that led to one death and 19 injuries. Some of the marchers stood in front of the local synagogue with guns, forcing worshipers to leave through the back door.  Hate mongers carrying flags and posters bearing swastikas shouted “Heil Hitler” and “blood and soil,” a Nazi slogan.  Will Gothenberg become another Charlottesville? Only Swedish authorities can ensure this does not happen.
 
In a letter to Prime Minister Stefan Löfven, B’nai B’rith has urged the Swedish government to stop the Nazi march from occurring on Yom Kippur.  This is not a matter of suppressing free speech.  The city of Gothenberg has maintained it’s powerlessness to stop the event from taking place. But what about the government’s obligation to maintain public order and protect its citizens from threats and intimidation by hate groups?  At the very least, the march could take place on a different day, when violent attacks are less likely to result.
 
It’s often said that hindsight is 20-20.  But there is something to be said for keen foresight, as well. Sweden’s neo-Nazis are preparing to descend on Gothenberg this Saturday, as the town’s Jewish community braces itself for what is supposed to be a day of introspection and atonement but figures instead to be one of fear and dread, perhaps violence as well.
 
To Swedish authorities, the message should be clear: Don’t let it happen.  Protect your citizens.  Ensure public safety.  Don’t make the day after Yom Kippur one on which the world asks, “How could this have been avoided?”

Of all art forms, it is perhaps opera that provides the richest experience for its audience. From start to finish, staging an opera requires the participation of composers and writers, musicians adept at revealing emotional states and motivations using both their voices and their bodies, instrumentalists, choreographers, dancers, and artists capable of creating build sets, costumes and special effects that enhance the meaning of the score, as well as the message behind the story and text, its libretto.
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Gaining popularity in the 18th century, opera developed as its venue changed from productions staged in private for the wealthy, to a public venue, the opera house, where it gained popularity, as legions of devotees, attended performances in theaters throughout Europe. In the United States, and in South America, opera companies toured through large cities, and even in far way away outposts like mining and logging camps. During the 19th century, the Jewish opera and operetta composers were often household names, celebrated throughout the world.

Today, those who are still drawn into this world by Giuseppe Verdi’s dramatic and robust music and poignant narratives will quickly recognize the similarities between his works and those of the now largely forgotten, but thrilling and beautiful operas of Giacomo Meyerbeer (1791-1864), the most famous composer of his time, whose tremendously difficult music can only be sung by performers at the top of their game. While his operas, including “Les Huguenots,” “Le Prophète” and “L’Africaine,” are no longer part of the standard repertory, Meyerbeer’s reputation is enjoying a revival, in part due to a new CD of scenes and arias in French, German and Italian recorded by the internationally known soprano, Diana Damrau.

While others converted to achieve success, Meyerbeer, born Jacob Beer near Berlin to a wealthy banking family, remained true to his faith, despite the anti-Semitism he encountered throughout his career. Influenced by Gioachino Rossini and other early 19th century masters, he went on to write the scores to dozens of works, whose libretti, created by important playwrights of the era, often draw on historical incident. In most of his operas, Meyerbeer’s protagonists are tragically affected by prejudice and persecution. Αs the conductor Leon Botstein has commented “he keeps the audience on edge…by not releasing them from the fact that they are half on stage and half in their seats,” meaning that the dramatic events they are viewing mirror the conditions of our own century. This observation aside, Meyerbeer’s lush, beautifully orchestrated instrumentals and thrilling and dramatic arias will be the main attractions for new devotees.

A genre which is continually evolving, operas about recent history are being created by a new generation of men and women who are attracted by what it can convey, and impart relevance to those who connect with it. Scheduled for its world premiere by Denver’s Opera Colorado, in Jan. 2018, Gerald Cohen’s “Steal a Pencil for Me,” inspired by the real life love story of Dutch Holocaust survivors, is set in the Westerbork and Bergen-Belsen concentration camps.  Cohen, whose previous vocal and instrumental output has been honored with the Cantors Assembly’s Max Wohlberg Award for distinguished achievement in the field of Jewish composition, is also a celebrated cantor. “Steal a Pencil for Me” will be staged in New York, at both the Morgan Library on April 23, and at the Jewish Theological Seminary on April 26, where Cohen will take part in a discussion with composer Laura Kaminsky, whose opera “As One,” deals with transgender issues.

It hardly mattered that few of the players representing Israel in the World Baseball Classic last month knew the Hebrew terms for balls and strikes. Nor did it cause concern that only two of them possessed Israeli citizenship.
 
What mattered was that the team, compromised mostly of American players of Jewish descent (persons who are eligible for Israeli citizenship could play for the team), willed and plucked its way to the second round of the international championship. In doing so, they captivated the baseball world and provided both Israeli and American fans with that most irresistible of all sports narratives:  an underdog story.
 
Who were these guys? An compendium of has-beens and never-weres (only two of the team's players appeared on a Major League roster last year), Team Israel was ranked 41st in the world and tagged by ESPN as the "Jamaican bobsled team of the WBC." The ace of their pitching staff, 38-year-old Jason Marquis, hadn’t played organized baseball since June 2015. Catcher Ryan Lavarnway spent last season in the minor leagues with two different clubs, but as a Yale alumnus, he helped cement Team Israel’s place as the most educated squad in the WBC.
 
And yet they won—all three of their qualifying games, all three of their first round games, and a second round game against Cuba in the Tokyo Dome, witnessed by a visiting B'nai B'rith delegation waving Israeli flags and Purim groggers.
 
The players wore t-shirts that read "Jew Crew." During the pre-game playing of "HaTikvah," the Israeli national anthem, they would remove their game caps and don matching blue kippahs.
 
But what particularly captured the team ethos of cheekiness and unflappability was its designation of the kitschy life-sized doll "Mensch on a Bench" (the players called him Moshe) as the team's mascot. One player referred to Moshe as "a metaphysical presence" within the team.
 
They defeated more highly regarded squads from three different continents before succumbing to the Netherlands and Japan. What is also significant, though, is the fact that they competed on equal terms against teams who saw the matchup with Israel not as an opportunity to stoke Israel's political isolation—as is so often the case in international gatherings—but simply to play ball.
 
Israel's supporters view the Jewish state as blessedly unique, a source of intense pride. But what they want for Israel on the international stage is for it to be treated like any other country, subject to the same rules and standards. The WBC offered the Jewish community, and the world, a glimpse into a present and future in which Israel takes its rightful place among the nations and generates little controversy or backlash for doing so. No boycotts, no demonstrations, no extra security precautions. May the best team win.
 
Team Israel was a 200-1 underdog in 2017, but how can you not like their chances in the next WBC tournament, in 2021. 200-1? Feh. According to Mensch on a Bench creator Neal Hoffman, "We've faced worse."

Several went on to become the first female Ph.Ds in their field; one was named Harvard’s first woman professor. Personal details, garnered from Sobel’s examination of diaries and letters, bring these heroines to life, revealing a picture of their brilliant accomplishments and perseverance, despite menial pay, long hours and grueling tasks—endured in the heat, snow and rain. “The Glass Universe” has been widely praised by both critics and writers including Geraldine Brooks, impressed by the book as “intellectual history at its finest” and by its author for “conveying complex information with ease and grace."

For her extensively researched “A More Perfect Heaven,” Sobel focused on the life of 16th century Polish astronomer and physician Nicolaus Copernicus, who also provided the inspiration for her first play, “The Sun Stood Still.” Commissioned by the Manhattan Theatre Club and staged in Denver, New York and Los Angeles, its script imaginatively treated the events that led to Copernicus’ decision to publish his groundbreaking theory of the cosmos, in which he asserted that the planets rotated, not around the earth as was believed, but the sun. Now published in more than 28 languages, “Longitude” is another of Sobel’s books to be dramatized, in theaters and on English television. The story of 18th century clockmaker John Harrison’s life and arduous quest to perfect the marine chronometer, a device to pinpoint a ship’s location at sea, starred Jeremy Irons and Michael Gambon.

Among numerous others, the award that Sobel received from Germany’s Rhein Foundation in 2014 was given to honor her “scientific knowledge and literary talent” and “for giving the history of science a human face”. A sense of wonder continues to characterize both her books and her own sensibility. Frequently travelling long distances to experience solar eclipses, she has noted:

More than a dozen years ago, William Kentridge's “9 Drawings for Projection,” a series of highly personal animated films focusing on South African society under apartheid, was screened for audiences in museums around the world. It was then that the artist, working since the 1990s, rose to international fame. Today, he continues to demonstrate his genius through multi-disciplined projects, many of which incorporate music, dance, poetry and drama.  
 
Born in 1955, Kentridge was the son of Johannesburg lawyers who devoted their lives to fighting for the rights of victims brutalized by South Africa’s system of segregation. Later on, Kentridge and his wife, a physician, became activists who placed themselves in great danger by taking in and offering medical assistance to men and women hiding from the police. The artist’s own experiences are at the heart of his imagery; his Jewish heritage and values are implicit, but certainly perceived, and ever present. A printer, filmmaker, poet, dramatist and stage director, Kentridge has been influenced by wide variety of sources, including Javanese shadow puppet theater, German Expressionism, 19th century medical illustration and non-traditional art like graffiti. 

Projects completed within the last two years have touched the lives of millions. In late 2015, Kentridge’s Metropolitan Opera staging of Alban Berg’s “Lulu” plunged audiences into Weimar, Germany’s nightmarish decadence. Garish color, skewed sets and crass pantomime revealed the persona of the opera’s central character, a prostitute, while projected visuals—period currency, newspapers with prophetic headlines, photos of world leaders, and the artist’s own animations, drawn and then erased before the viewer’s eyes—distilled the essence of a world on the verge of cataclysm. A finishing, and most frightening touch, was the box-like, cartoonish mask encasing the head of the principal dancer. 

This year, Kentridge executed a site specific work, on view 24 hours a day, which is intended to draw attention to the neglected and polluted condition of the Tiber River and its environs. In the 1640 feet long “Triumphs and Laments,” silhouettes of Rome’s military leaders, political despots from ancient times to the presentand the people they have conquered, exploited and enslaved, parade silently across the high stone river embankment. The process was unique; the monumental figures were blasted out of the biological detritus and garbage that has accumulated on these natural walls. Without conservation, the figures will be overtaken by more growth, and will eventually disappear.   

Kentridge’s world is not all gritty. Only recently, elegance has prevailed as the famed men’s haberdasher, Ermenegildo Zegna (EZ), unveiled Kentridge’s new tapestry, “Dare/Avere” (Credit/Debit), commissioned for its beautifully designed New Bond Street, London, location.  Inspired by documents in the store’s archival holdings, the artist’s design brings together attributes which distill EZ’s 106 year history: an antique Italian map, an old accounting ledger referencing the work’s title, a sewing machine, the store’s trademark label. In characteristic Kentridge style, the dapper silhouette of Ermenegildo, who founded this family business, makes his entrance as part of the foreground procession.  ​

Josh Kun

Slated to receive a stipend of $625,000 over the next five years, Josh Kun is a cultural historian who was selected as one of 23 new MacArthur Fellows announced in September. Kun is a brilliant academic, journalist and NPR broadcaster who has mounted exhibits at museums, including the Getty Foundation and the Skirball Center in Los Angeles and Long Beach’s Museum of Latin American Art. The 46-year-old scholar is based at the University of Southern California, where he teaches at the Annenberg School of Communications and serves as director of the Popular Music Project at the school’s Norman Lear Center. 

Kun envisions his hometown of Los Angeles—and America as a whole—as a tapestry whose rich and varied coloristic shadings in the visual, performing and culinary arts result from the fusion of his city’s multicultural heritage. Describing his publications including the 2006 “Audiotopia,” a study of Jewish, Latino and African-American multi-cultural music and “You Shall Know Us by the Trail of Our Vinyl” (2008), exploring the iconography of the covers of over 400 Jewish music recordings, the MacArthur Foundation states that Kun, “brings to life forgotten historical narratives through finely grained analyses of material and sonic manifestations of popular culture.”

Much of this “sonic manifestation” has been realized through Kun’s efforts as one of the founders of the Idelsohn Society for Musical Preservation, named for the composer of “Hava Nagila” and sponsored by “Reboot,” an organization dedicated to contemporary Jewish living.  With a mission dedicated to the rediscovery and reassessment of niche music including the Latin-Jewish music craze of the 1950s, unknown to generations. Restoring classic recordings including “Mazel Tov,” “Mis Amigos” on DVD, the Society also assembles and produces new DVDs, including “Black Sabbath,” a selection of Yiddish songs, prayers and chants performed by African American artists from Cab Calloway to Aretha Franklin. Another release includes music by Black composers inspired by and incorporating Jewish melodies and liturgical elements. 

The Society also partners with other institutions in presenting concerts, producing documentaries, and even opening a pop-up Jewish record store in San Francisco. Visitors to the Idelsohn web page are able to read about the men and women associated with the genre’s evolution. They can also access digitized versions of songs like “It’s a Scream How Levine Does the Rhumba,” a title which certainly distills the essence of Kun’s passions, not to mention providing a little kitschy and light-hearted whimsy.

Fittingly appropriating the jargon associated with sound engineering, Kun said: “I strive to be a scholar who crossfades (to make an image or sound gradually emerge on top of another which is, conversely, fading into silence) disciplines, who slides between and creates conversations between multiple publics, who diligently works with archives in order to animate them in new ways, and who follows historical and critical clues to excavate and learn from points of intersection.”

Simon Schama

Reinventing the cultural landscape of history through an innovative approach and thinking outside of the box is not relegated to the domain of younger scholars. Hailed as a “splendid” book “seething with ideas” by The New York Times, and ranking high on its list of recommended nonfiction is “The Face of Britain: A History of the Nation Through its Portraits.”  Simon Schama, a noted English art historian, is best remembered by American audiences as the writer and narrator of the 2014 PBS documentary series “The Story of the Jews.” His new book was written as a compendium for a 2015 English television show that he hosted at the National Portrait Gallery. The book is organized thematically, focusing on paintings, sculptures, drawings, graphics and photos of men and women from all walks of life—from Queen Victoria and Sir Winston Churchill to Hogarth’s memorable panoplies of 18th century urban dandies and criminals—whose depictions became synonymous with their deeds, and determined the way they would be treated by posterity. Assessing the often primal and voyeuristic immediacy of modern portraits and self-portraits of icons like John Lennon or Lucien Freud, Schama provides an analysis of the contemporary viewer in a nutshell: “we come into the world wide-eyed, ready to stare.”  

​Art critic Benjamin Binstock writes that Simon Schama is today known for his books on history and culture which display his trademark “sparkling prose and… brilliant capacity to synthesize information.” Born in London to immigrant parents, Schama studied the Talmud as a teenager, and went on to receive his degrees at the University of Cambridge. His award-winning publications include “Citizens,” a history of the French Revolution, “Two Rothschilds and the Land of Israel” and “Landscape and Memory.” Introducing new audiences to the visual arts and history through his radio and television broadcasts in Europe and the United States, Schama received the Commander of the British Empire (CBE) from Queen Elizabeth II in 2001. ​

Most of my professional life has been spent creating and running programs for B’nai B’rith International, having spent the last 39 years as a member of the professional program staff.  I cannot look at a newspaper, magazine article or television show without thinking about how the subject can be utilized as a program. As social media brings this content to us at a rapid fire pace, I get this information even faster. The challenge is putting this content into perspective and seeing that there are some issues that will always be relevant for a program that will interest a B’nai B’rith audience. 

As the years go by, the specifics may have changed, but I see each program taking form as a six point star (especially since it makes a very nice visual on a power point presentation!).

1. How do we relate to Israel as Jews?
2. How can we care about and connect with international Jewry?
3. How do we define ourselves as Jew and seek an identity?
4. How do we provide for the financial needs of our family and the institutions we support?
5. How do we relate to our family as we move through the stages of our lives?
6. How we can stay happy and healthy by making a difference in the world?

​There are professional trend spotters that will look for cultural and societal trends in the world. Some are called futurists and invent terms we use without even realizing that someone has coined that phrase. In B’nai B’rith, we look at these trends as well and what we see in the news to connect issues to our audience.   

You do not have to be a trend spotter or a programmer to see these subjects as important to people. It is most likely a topic that is important to you. In B’nai B’rith, these topics are reviewed by the program centers and committees that provide content for the events that are brought to B’nai B’rith and the community audiences. 

We have also offered an interest census to help us understand what is important in programming. The topics come from the themes mentioned above, the news headlines, or as we see them defined during an election year, the topics that are on political party platforms. It may have been a recent lecture topic at other organizations or the result of the consensus of coalitions we are part of, to provide a thematic approach to a subject for the Jewish community to educate itself and act with a unified communal response.

Days ago, Queen Elizabeth II awarded the Order of the British Empire (OBE) for services to theatre and the arts to Sonia Friedman, the most acclaimed producer of her generation. The daughter of two eminent British musicians, Friedman founded Sonia Friedman Productions in 2002, and has gone on to establish a reputation as the guiding force behind literally hundreds of hits in London, New York and around the world. Winning more Oliviers—the British equivalent of the Tony Awards—than any other producer, she possesses the vision and acumen for bringing together gifted teams—directors, writers, designers and ensembles of actors—that assure success to a wide range of repertory, encompassing the mounting of classic plays like “Othello” or “Death of a Salesman,” as well as staged adaptations of films including “Boeing- Boeing,” “Legally Blonde”  and “La Cage Aux Folles,” to groundbreaking new works (“1984,” “King Charles III”) “must sees” which have quickly taken the theatre world by storm. ​

Friedman’s current productions in the West End are “Bend It Like Beckham,” a musical treatment of the feel-good movie about a girls’ soccer team, and J.K. Rowlings’, “Harry Potter and the Cursed Child,” which is a sequel to the “Harry Potter” series and the first official staging of a work by the author, is slated for an official opening at the Palace Theatre later this summer.  Replete with amazing special effects, but now using puppets instead of the live owl, whose anarchistic behavior created havoc on opening night, the drama naturally attracts legions of devotees who are eager to experience the tribulations of the adult Harry and his son as they conjoin their magic powers to defeat the forces of evil.   

Playing at the Savoy Theatre is the first revival of the musical “Funny Girl” since it made its British debut in 1966.  Remembered for catapulting the young Barbara Streisand to fame, it now features a new book by American actor and playwright Harvey Fierstein, but happily retains Jule Styne’s dynamic score, including the music for show stoppers such as “People” and “Don’t Rain on My Parade”  

The story of “Funny Girl” was inspired by the life and career of Fanny Brice (1891-1951), a singer and comedian born to Lower East Side immigrants, who rose to fame as a Jazz Age star and frequent headliner of the Ziegfeld Follies. Numbers which she popularized during her heyday included “My Man,” an American version of a French torch song whose lyrics proclaimed a street waif’s devotion to her boyfriend, a faithless and violent pimp, as well as the wistful lament “Second Hand Rose,” and the whimsical and sunny “I’m Cooking Breakfast for the One I Love.” Characteristically resorting to the stylized Yiddish inflection that was at the time was considered funny by both Jewish and non-Jewish audiences, she lampooned the contortions of a snooty Russian ballerina in “It’s Gorgeous to Be Graceful” and fused Native American ethnicity with that of her own Lower East Side persona in “Look at Me, I’m an Indian.” On radio and then on television, she starred as Baby Snooks, a snarky little girl whose sarcastic comments delighted fans nationwide. Using tricks which often bordered on blackmail, Snooks always got the better of her long suffering and harried dad.