Even that nickname came from a Jew. The phrase Great White Way is attributed to Shep Friedman, columnist for the New York Morning Telegraph, and refers to a stretch of Broadway between Union Square and Madison Square that in 1880 was brightly illuminated by arc lamps. When the theatre district moved uptown, the name was transferred to the Times Square area.

Menorah pays tribute to the Jewish contribution to Broadway at its fundraiser, New York, New York, which includes a clips program highlighting great Jewish musicals set in New York City, from “West Side Story” to “The Producers.”

We thought you’d enjoy learning more about some of the famous shows celebrating New York which we’ll be showcasing Sunday night.

• Did you know that “West Side Story” was originally conceived as a Romeo and Juliet love story with a Jewish gang at war with anti-Semitic New York homeboys? Jerome Robbins initially proposed that the plot focus on the conflict between an Irish American family and a Jewish family living on the Lower East Side during the Easter-Passover season.

Presumably, Puerto Ricans are better dancers, and made more sympathetic rivals for The Jets. Yet the entire creative team remained Jewish, with a script by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim and choreography by Jerome Robbins. The film version won ten Oscars in its eleven nominated categories, including Best Picture, as well as a special award for Robbins. The film, directed by Robbins and Robert Wise, holds the distinction of being the musical film with the most Academy Award wins, including Best Picture. The soundtrack album made more money than any other album before.

• Did you know that a Jew born in Russia whose earliest memory is of his house being burnt to the ground during a pogrom wrote the emblem for urbane New York sophistication, “Puttin’ on the Ritz,” just as he penned the yuletide anthem “White Christmas?”  Irving Berlin, widely considered one of the greatest songwriters in American history, wrote an estimated 1,500 songs during his 60-year career, including the scores for 19 Broadway shows and 18 films, with his songs nominated eight times for Oscars.

• Did you know that Fanny Brice’s son–in-law, Ray Stark, created the show immortalizing the famous singer, actress and comedienne? Stephen Sonheim was originally hired to do the score for “Funny Girl” for actress Mary Martin, but decided he did not want to do the life of Fanny Brice with Martin because she wasn’t Jewish. Carol Burnett was approached but declined, saying “I’d love to do it but what you need is a Jewish girl.”

Barbara Streisand was performing at the Bon Soir in Greenwich Village when the producers went to see if she might be right for the part. Despite the fact that Streisand was wearing clothes out of thrift shops, which became the impetus for “Second Hand Rose,” Stark hired her on the spot. When it came time to cast the screen adaptation, Streisand was Stark’s first and only choice to portray Brice onscreen. Columbia Pictures wanted Shirley MacLaine but Stark insisted if Streisand were not cast, he would not allow a film to be made at all.

Streisand went on to share the best actress Oscar with Katharine Hepburn (“Lion in Winter”). Streisand’s first comment when handed the Oscar statuette was “Hello, gorgeous,” the first line in the film.

• More trivia: That line was repeated by Max Bialystock in Mel Brooks’ musical, “The Producers.” The title of Max’s latest flop in that film is “Funny Boy,” a musical adaptation of “Hamlet.” Brooks also satirized Florence Ziegfield’s style of musical extravaganza and use of busty showgirls in his famed staging of the notoriously tasteless and hilariously offensive song, “Springtime for Hitler.”

Come enjoy some of these musical moments at New York, New York, this Sunday, September 18 at 5:30 pm. The evening also includes a silent auction, fabulousNew York ethnic food, a trivia contest, prizes, dancing, a slide show of New York sights, and a soundtrack of New York standards.

The fundraiser honors Professor David Shneer, and a portion of the proceeds will fund a scholarship for the Program in Jewish Studies at CU.

Deadline for registration is September 15. Don’t miss the fun! Visit www.boulderjcc.org to register.

Spanning three cultures and as many generations, this solo show features the Russian Front, Holocaust bedtime stories, and undercover Bridge games at the Senior Center. A unique, irreverent, humorous true story of one legacy of war and ethnic conflict from the daughter of a Jewish Holocaust survivor father and a mother who was in the Hitler Youth.

Remaining performances at Wesley Chapel, 1290 Folsom St, Boulder:

• Tuesday, Aug 23 @ 9:00 pm
• Thursday, Aug 25 @ 8:30 pm
• Friday, Aug 26 @ 7:30 pm
• Saturday, Aug 27 @ 4:00 pm

Tickets ($8.00) available at the door. Advance tickets available through the Boulder Fringe Website at www.BoulderFringe.com.

Sample review from Rollo W:

Great! I saw this show in San Francisco recently, but it’s even better here at the Boulder Fringe! Very well written and charmingly performed. Annette Roman’s family history is a karmic bagel-schnitzel of Truth, way stranger than fiction. (You just can’t make this stuff up!) Don’t be put off by the swastikas. This show is unexpected and thought-provoking. Truly a Fringe “main course” with lots to chew on.”

More reviews at Annette’s BIFF page.

Boisterous and brash, marked by musicality and precision, the production now playing at the CMF has the bracing kick of a vodka shot. It leaves you a little short of breath, slightly stunned – and wanting more.

Efim Zvenyatsky, director of the famed Gorky Theater in Vladivostok, and a Russian Jew, has been in Boulder the past few months with some members of his troupe preparing the production as part of a cross-cultural collaboration funded in part by the Opaline Fund of the Jewish Community Endowment Fund.

I had the pleasure of meeting Efim for lunch just before the show’s sold-out and enthusiastically received opening night in the University Theater. CSF Producing Artistic Director Philip Sneed graciously arranged the meeting at Efim’s request, and joined us for a wide-ranging conversation about theater as well as Jewish life in our two nations.

Photo by Glenn Asakawa/University of Colorado

A cosmopolitan and gracious man with a lively sense of humor, Efim was born in Birobidzhan, where his parents had been forced to reside when the Soviet Union formed the now-notorious Jewish Autonomous Region. Stalin relegated this remote and inhospitable territory to Jews, ostensibly to pursue Yiddish cultural heritage within a socialist framework.

Nothing at all grew there for the first 5 years, Efim noted. He still has family there, although part of his family now lives in Israel. Efim (whose name is the Russian equivalent of Chaim) explained that his mother was a cashier in a movie house and his youthful aspirations were fueled by the movies he saw there. At 16, he discovered the railroad tracks and left to make his life in theater. He was among a prestigious class of prominent Russian directors at the Moscow State Institute of Theater, and went on to direct across Russia as well as to become head of the Gorky in 1984.

Asked about anti-Semitism in Russia today, Efim noted that it was wide-spread and insidious, although it did not affect him personally because of his celebrity status. “I am one of the ‘good’ Jews who is useful and so they are proud of me,” he said through his translator, who also happens to be his daughter and an opera singer. Philip Sneed wondered if Holocaust denial existed in Russia and Efim laughed. “Whole of Ukraine!” he said with no need for translation.

Much of the conversation centered on the differences between theater in Russia and America. Here actors seem to treat their work as a profession, he observed, while in Russia actors regard it as an art. Russian actors tend to be better trained, he added, although that has been changing in recent years.

While he bemoaned the restrictions of the “metal curtain,” when American writers were banned and their work was unknown to the public, he also noted that with capitalism today theater has become more commercial and state funding cuts have resulted in a deterioration in quality.

Today, all the big Broadway shows are translated and staged in Russia by Russian companies that tour the country. Virtually all American culture is now available, he happily reports.

Efim has been working with Philip Sneed on numerous cultural exchanges, and Sneed and several CSF actors have performed at the Gorky. Gary Alan Wright, who co-stars as The Mayor in “The Inspector General,” acted in a hugely popular bi-lingual production of “Noises Off” at the Gorky.

Photos by Patrick Campbell for CU Communications

On July 15 and 16, Boulder audiences will have the chance to experience a bi-lingual performance, when several Russian actors join the American cast. It is amazing how much audiences understand from the context, intonation and physicality, Sneed notes.

This exceptional collaborative venture has been underwritten by a grant made possible by Jorian Schutz, whose family founded Blue Mountain Arts, the festival’s primary sponsor. Jorian is the brother of Jared Polis, Boulder’s Congressman and longtime supporter of Jewish life in Boulder. The philanthropic spirit as well as the spirit of service run strong in the family. Boulder JCC audiences may recall that their mother, Susan Polis Schutz – now a filmmaker as well as a poet – presented her documentary on depression last fall.

Boulder is fortunate to have such high level cultural offerings, and it is gratifying to see audiences respond so warmly to “The Inspector General.” The acting is uniformly excellent, with stand-out performances by Lanna Joffrey and Jamie Ann Romero as the Mayor’s wife and daughter team, and CSF veteran Stephen Weitz in the title role. I always get a kick out of Sam Sandoe, who I have been enjoying in character roles for the past 35 years, although the entire ensemble is exemplary. The set and costumes are vividly imagined by the Russian designers, taking us on a journey through time that underscores the play’s universal message and timely theme.

The Shakespeare Festival has been presenting plays by other authors for some time. Gorky’s play deals with assumed or hidden identity, as so many of the Bards do, and is a sharply observed satire of government corruption, personal misdeeds and the foibles of human nature. “The Inspector General” is a natural fit, and a definite hit.

For tickets, visit coloradoshakes.org.

- Note:  I am pleased to share this related information provided by the Colorado Shakespeare Festival.

In the summer of 2011, Colorado Shakeespeare Festival will host a company of Russian artists—a director, actors, and designers, as well as their translator—at the University of Colorado, Boulder. The Russians, from the Maxim Gorky Theatre in Vladivostok, are coming to Boulder through a cultural exchange program that will impact not just the University but the Metro community as well. The exchange was made possible through generous grants from the Opaline Fund, the Boulder Arts Commission, the University of Colorado President’s Fund for the Humanities, and the University’s Faculty in Residence Summer Term (FIRST) program.

The program will include a production of Nikolai Gogol’s play, The Inspector General, performed by Russian and American actors, a university class in the Stanislavsky theory of physical action available through the University’s Continuing Education and Professional Studies Department, and lectures or forums at the Boulder Public Library, free of charge and open to the public.

The Maxim Gorky Theatre, the largest and most influential in Eastern Russia, is a wellspring of acting talent and innovation. Founded in 1932, the theatre is famous for its acting and directing talent and as an educational resource. Its repertoire includes world classics, Russian classics, and contemporary plays by Russian and foreign playwrights. The Gorky has toured in Russia, as well as abroad, in China, Japan, South Korea, and the U.S.

Master Teacher/Actor Aleksandr (Sasha) Zaporozhetc, who will teach the Stanislavsky course, and the Gorky’s Artistic Director and Executive Producer, Efim Zvenyatskiy, who will direct The Inspector General, have received highest state honors in Russia, as well as recognition in Western Europe. The Colorado Shakespeare Festival’s producing artistic director, Philip Sneed, and Zvenyatskiy have collaborated for 17 years and have produced six successful projects: three in Russia and three in this country.

CSF plans to partner its staff, actors and directors with their Russian counterparts for mutual learning. The Russians are interested in “best practices” in American theatre—the most efficient and effective techniques for producing a play. Likewise, CSF is interested in what works for the Russians. One-on-one conversations and first-hand observation are excellent ways to convey and absorb one another’s insights and professional values.

Sneed said,

There is no better way for human beings to understand one another than to work closely together in an art such as theatre. Within a remarkably short period of time, individuals begin to understand one another’s working styles. Differences of culture are set aside to achieve a common goal, and even language is no barrier. Stereotypes that rob us of our common humanity are set aside. That is the value of cultural exchange.

Some of the results we hope to achieve will be to expose our CU students in Theatre, Germanic and Slavic Languages, and other disciplines to new creative and cultural experiences and to one of the most influential acting techniques ever developed. With Sasha, students will work on scenes from Chekov and other playwrights. Students will simultaneously have the opportunity to watch Efim direct rehearsals of The Government Inspector. The play, though written in 1832, is a trenchant satire on the hypocrisy, greed, and self-delusion of petty officials and wealthy individuals. Its focus is startlingly modern.”

Bud Coleman, Chairman of CU’s Theatre & Dance Department, also remarked,

For over 75 years, the Maxim Gorky Theatre in Vladivostok has been one of Russia’s premiere professional theatres. We are honored to have artists from the Gorky working this summer with the Colorado Shakespeare Festival and teaching for the CU Department of Theatre & Dance. This is a rare opportunity for Coloradans to experience some of the rich Russian theatrical legacy that brought us Chekhov, Gorky, Pushkin, Gogol, and the acting theories of Constantin Stanislavski. Observing senior artists performing a Russian classic along with American actors will greatly enhance the students’ understanding of how Stanislavsky’s theory is put into practice. Other results of the cultural exchange will be to introduce members of the community to these highly creative Russian artists and have the artists learn about how we live and think.”

For more information on the Colorado Shakespeare Festival, visit our website.

Ami Dayan

The Denver Center Theatre Company is presenting a free staged reading of Iddo Netanyahu’s new play, “A HAPPY END”, directed by Ami Dayan.  The reading will be held on Thursday, May 5th, 2011 at 7:30 pm at the CU Boulder Theatre Building (on campus on the south side of the Norlin Quad.)

FREE! Reservations: AHEonSTAGE@gmail.com

Berlin 1932, days after the elections which will soon bring Hitler to power. Mark Erdmann is an acclaimed Jewish physicist, the head of the atomic lab at the University of Berlin. His wife Leah, an avid consumer of the city’s rich cultural life, is having an affair with Mark’s young German assistant. The signs of impending danger are increasing, but the power of self-delusion persists as the Jewish couple ponders whether to seek an unknown future outside Germany or to stay put and succumb to a fate known to us in hindsight.

“A Happy End” was first produced in Italy, labeled there by a national critic as “oxygen for the Italian theater.” It has since been produced in Tel Aviv to great success and critical acclaim.  A talkback with the creative team will follow the staged readings. We look forward to your input as we prepare for a US premiere.

The reading is co-sponsored by Maya Productions, Theatre Or, and The Boulder International Fringe Festival

Hosted by the CU Department of Theatre & Dance

Beau Jest

The play has a very sweet Jewish theme – Sarah is a nice Jewish girl with a problem, her parents want her married to a nice Jewish boy. They have never met her boyfriend,a WASP executive names Chris Kringle. She tells them she is dating a Jewish doctor and they insist on meeting him. She plans a dinner party and, over the heated protests of Chris, employs an escort service to send her a Jewish date to be Dr. Steinberg. Instead, they send Bob Schroeder, an aspiring actor who agrees to perform the impersonation. Happily, he is extremely convincing in the role, and Sarah’s parents are enraptured. Soon, even Sarah falls for Bob.

Among the ensemble cast are community members Rich Schad as the Jewish father, Abe, and his wife, Miriam, played by Miriam Paisner.

Show dates start Friday February 25th, and the play runs through Saturday, March 12th. Evening performances start at 7:30 PM and Sunday matinee time is 2:00 PM. Ticket costs range from $10.00 to $15.00. Tickets may be purchased on line at coal creek’s website, ccctheater.org.

I am looking forward to playing Abe, the father. In third grade, I wanted to play the Jewish father in a school play, but my dad wouldn’t let me – he wanted me to have a speaking part.

Wishing you all, break-a-leg.

Rich Schad

The creators of “13: The Musical” understand the dilemma well. Evan is about to embark on this rite of passage into adulthood, but all he can think about is how to get kids to come to his party. Much to his indignation, Evan has been swept out of his cool New York City life and plopped down in the middle of nowhere, also known as Indiana.

But Evan is about to learn a lesson in maturity. He will grow up a little in the space of two acts and over the course of 18 (chai!) songs. What does it mean to become a man, he wonders? It means doing the right thing, he discovers, not to anyone’s surprise. He also finds out that tsuris is just part of growing up. It’s painful but there’s no other way to get there.

Under the direction of Angela Gaylor and David Ayers, “13” is a high-spirited romp through puberty, with all its clichés and truisms. There’s nothing remarkably novel about the musical’s well-worn plot, but the lively staging and terrific performances make for a very enjoyable theatrical experience.

The best thing about “13” is that the actors are all very close to the age of the characters they play. There are no grown-ups in the play – and no kids with wigs and fake pot-bellies playing them. The actors are free to let loose as they express the qualities of the early teen years:  exuberance and flirtatiousness, sarcasm and scorn, and a lot of insecurity that is behind it all.

The second best thing about “13” is the talent of the teens in the production, who do equally well singing and acting – and have fun with the lively choreography. These young actors are obviously benefiting from being part of Parlando’s Broadway in Boulder Studio. The professionalism of the production is quite astounding, especially considering the age of the performers.

The shows are double cast, so there’s not much point singling out actors since I have not seen their counterparts. But Zach Litner, a sophomore at Fairview, did an excellent job capturing the gawky teenage angst of Evan. Jimmy Bruenger, who is 12 and attends Denver School of the Arts, was also terrific as the sad-sack kid on crutches. (The joke is that Evan becomes part of a three-some of outcasts: “a geek, a crip and Jew.”)

“13” may not be a “10” but it gets high marks for sheer audacity. Or should I say chutzpah?

The final performances of “13” are November 12-14 at Boulder High School. Tickets to “13 the Musical” are available on line at http://www.parlando.com. A portion of each ticket sale will be donated to There With Care, a Colorado-based philanthropic organization, which is committed to helping families with critically ill children.

“13” is a new musical by Jason Robert Brown, which is about a kid named Evan Goldman who moves to Appleton, Ind. after his parents split up. It’s about Evan finding his real friends and staying true to himself. It’s a very up-beat show with a live band and great music. That’s all I can say without giving away the hilarious plot!”

Broadway’s hit teenage musical, “13 the Musical” is coming to Boulder. The show is about 13-year-old Evan Goldman, who is uprooted from his hometown and starting a new junior high, as he tries to get the in-crowd to come to his bar mitzvah.  Performances have already been held in the Crossroads Theatre in Denver and in the Broomfield Auditorium in Broomfield. “13 the Musical” star Ethan Cohen answered 4 Questions from Boulder Jewish News.

What made you interested in acting?

I got interested in acting in 5th grade, during our school play, “Oliver.” After that show, I knew it was something I wanted to continue to do.

What’s it like being a Jewish actor?

It’s pretty easy when the show is about a Jewish kid having his Bar Mitzvah!

Besides acting, what else do you like to do?

In my spare time, I love to listen to music, play guitar, play Ultimate Frisbee and of course, sing.

What’s your biggest challenge in acting or in life in general?

My biggest fear in theater is probably learning to not get too down when I don’t get a part or have a good audition. Also not caring what people think of me on stage or off stage.

“13 the Musical” is playing at the Boulder High School auditorium on Friday, November 12, 2010 at 7:30 p.m., Saturday, November 13, 2010 at 2:00 p.m. and 7:30 p.m., and Sunday, November 14, 2010 at noon and 7:30 p.m. Tickets to “13 the Musical” are available on line at http://www.parlando.com. A portion of each ticket sale will be donated to There With Care, a Colorado-based philanthropic organization, which is committed to helping families with critically ill children.