Performing Arts

One of the highlights of our work at the Jewish Women’s Archive is uncovering hidden histories. In our This Week in History profile this week, we are looking back at silent film star Theda Bara.

Years ago, when I was working on my undergraduate thesis on Yiddish film, I attempted conversation about the subject at cocktail parties (well, at that point they weren’t yet cocktail parties, but there were definitely M&Ms) –

“Yiddish? Film? What? Like Yentl?”

No. Not like Yentl. They’re in Yiddish! And most of them were originally Yiddish theater productions. Molly Picon? ... No?... Nobody?... Nevermind. Is it hot in here? Pass the M&Ms.

In a recent session of my comedy class for Jewish high schoolers, I instructed the students to re-do a scene in the style of the "Tonight Show with Johnny Carson." I might as well have said "gee willakers" and put on my newsies cap.

This past weekend I saw a documentary film called Who Does She Think She Is?. The film profiles five female artists who are also mothers, as well as several commentators including Tiffany Shlain, creator of The Tribe, and Courtney Martin author of Perfect Girls, Starving Daughters and contributor to Feministing.com.

Yesterday I attended a workshop on themes of social justice in Jewish music. I was given a music packet that included songs by Bob Dylan, Peter Yarrow (of Peter, Paul, and Mary), Pete Seeger, Jeff Klepper, the stud-of-a-Jewish-Rockstar Rick Recht, and E18hteen (the modern Jewish rock band founded by Dan Nichols). "E18hteen" sings that catchy song "Kehilah, Kedoshah" which is all the rage in Reform Jewish camps (I'm not going to lie -- I dig this song despite its cheesiness).

I've always had a soft spot for Joan Rivers. Once, as a student at Barnard, (BC '98), Rivers's Alma Mater, I was highlighted by a Barnard publication for my work as a comedian, and was noted to be "the next Joan Rivers." Erroneously, this allowed me to believe that we were secret best friends, and that if ever I was to meet Joan -I would say "Hello, I am the next You; we are best friends, yes?"  Also erroneous is the claim itself - there is no "Next Joan Rivers" - she is irreplaceable  (nor do I come close).

Seventy-one years ago today, Broadway got a little bit feistier when 27-year-old choreographer and dancer Anna Sokolow made her debut with several politically and socially charged compositions.

Anna Schön, a 23-year-old graduate of Barnard College, is a present-day radical dancer of another kind.

If I ever had any doubt about whether "the ordinary" mattered, Beautiful Hills of Brooklyn drove such doubt away. Based on a true story, and adapted from the play by Ellen Cassedy, Beautiful Hills of Brooklyn is a life portrait of Jessie Singer Sylvester, a retired elderly Jewish woman living on a pension in 1976 who is confronting the changes in her life and in her beloved Brooklyn neighborhood.

Last night I watched Joanna Rudnick's intimate and informative documentary, "In the Family," about the BRCA genetic mutations that cause a predisposition to breast and ovarian cancer. Using her own story as the framework for the film - she learned that she is a BRCA mutation carrier at age 27 - Rudnick speaks with cancer survivors, doctors, genetic counselors, other "previvors" like herself, and family members about what it's like to know that your body is, as she puts it, a "time bomb."

Crossposted on JVoices

Two years ago this week, the indomitable Blu Greenberg, who is best known for her feminist work within Orthodox Judaism, was honored with Hadassah's highest honor

Ah, Fanny Brice. The name alone evokes the image of a Jewish woman on-stage in glamorous costume, making fun of herself. Well, that and, of course, Barbra Streisand singing “People.” This week marks the 98^th anniversary of Ms. Brice’s iconic debut in Ziegfield’s Follies as “Sadie Salome,” her breakthrough role.

It's unlikely that Emma Goldman predicted her legacy would inspire the name of an activist folk music duo, but perhaps she did. Over the weekend, I had the delight of seeing Emma's Revolution, a "musical uprising of truth and hope from award-winning, activist songwriters" perform with feminist folk music pioneer Holly Near.

With Passover fast approaching, now is a perfect time to think about the many roles of courageous women in historical and contemporary quests for freedom.

As a start, check out the Jewish Women's Archive's resource on Jewish midwives which highlights Shifra and Puah, two women who play a critical part in the Exodus story through their acts of resistance in sparing the lives of Hebrew male babies born in Egypt.

Filmmaker Michal Goldman's At Home in Utopia is a new documentary that traces the history of these "Bronx utopias," focusing on the United Workers Cooperative Colony, or simply "The Coops."

On February 21, 1942 (sixty-six years ago yesterday) Wanda Landowska -- a Warsaw-born Jewish musician with a mastery of the harpsichord -- made history with a performance of Bach's "Goldberg Variations" at New York's Town Hall. It was the first time in the 20th century that the piece, originally written for the harpsichord, was performed publicly on that instrument. A student of Landowska's later remembered that hearing her performance was "like being in front of one of the greatest wonders of nature."

I spent the last week of December encamped in a Catskills hotel with about 425 klezmorim, dancers, artists, students, and lovers of Yiddish from around the world. We had gathered for the 23^rd annual KlezKamp, a music and culture extravaganza organized by Living Traditions, a nonprofit dedicated to Yiddish cultural continuity and community. During the day, we took classes on everything from Hasidic dance to world Jewish foodways; at night, we danced to the newest and oldest in Ashkenazi music in the hotel ballroom with its famous gold lamè curtains.

Anyone who was charmed by Jennifer Grey in Dirty Dancing and Ferris Bueller's Day Off could not help but mourn the loss of Jennifer's face after her nose job, (and other facial re-constructions).  What Grey thought to be "enhancements" only resulted in dried up acting gigs and disenchanted fans. 

On Saturday night, I saw Judy Gold's one-woman show 25 Questions for a Jewish Mother.

The title of her show was inspired by her quest, in partnership with playwright Kate Moira Ryan, to interview more than 50 Jewish mothers around the country, of different ages and Jewish backgrounds.