12 — THE BULLETIN — Thursday. July 12,1990
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MERE ABOUT MAJAiHE HA« NOT PIWPEAREP.'HE
BEeM KIPNAPPEP BY UNSCRUPUIjOU5 PEOPLE WHO. WANT H16 COUNFRy HARMEP/
ra£yl 7»£^ /4 r VBCAT THE ARTS; CHAMBER MUSIC FESTTVALS GALORE
The Vancouver theatre scene has never been livelier. This summer, among a wealthy theatrical menu, one
nious script from the country's leading playwright these days, Gepr^e F. Walker. Filthy Rich focuses, like
should pay special attention most of Walkef s work, on the
to the season at UBC. The class structure in societyMn
summer players are present- this particular play he makes
ing three productions until the distinction between the
Aug.7 11 in a semi-repertory 'dirty* poor and the Tilthy'
systeni. There is a Cole Porter rich. Walker has created here (closes Aug. 4)
revue (Closes Aug. 4) at Dorothy Somerset Studio and two plays at Frederic Wood theatre a Canadian premiere of Ed Thomason's The Strange Case of Dr. Jekyll and Mr. Hyde {until Aug. 11) and Filthy Rich — an inge-
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a first rate mystery in which he emphasizes how class shapes character.
The play evolves around solving a mystery—locating a missing person — and the two private eyes on. hand make a unique couple. There is Tyrone M. Power, a one time private detective who for the last 15 years has been trying to write a novel in a dirty room filled with garbage bags. Then there is the young energetic and somewhat native Jamie McLean, working his way through university, looking for the big financial break. Together they solve. the mys-tery and end up in a most amiable relationship.
The UBC production is strong throughout. Decima
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Mitchell's set is functional and insightful, and Denis John> ston's direction heightens the social issues. Among a very strong cast one should single one Troy Skog — a first-rate bad guy; Robert Sapiecha — an excellent police detective; and as Power, Kelly M. Aisenstadt (no relation that I know of, although our families must have come from the same city). All in all perceptive, insightful and entertaining theatre. It closes Aug. 8.
Music Festival (until July 20) and the Santa Fe Music Festival in Seattle (Aug. 17-26). Both make a point of programming rarely performed compositions.
In the former festival Vancouver's Rena Sharon performs together with many other M.6.T.S including Yuval Yaron, Nancy Allan, Toby Hoffman, Geoffrey Michaels, Benjamin Paster-nack, Nathan Schwartz and Eugenia Zukerman. In the lat-
GlenErikson
ARTS CLUB: Six Women (from left): Linda Boyd, Susan Anderson, Kendra Sprinkling, Charlene Brandolini, Patty Silver, Ann Warn Pegg.
Next season Frederic Wood Theatre includes a couple of plays of special interest. Arthur Miller's vl View From The Bridge iStpi. 19-29) has not been produced in town for quite a while; and You Can't Take It With Kom (Kaufman and Hart) is always a delight (Nov. 14-24). Subscriptions go very fast. Gall 228-2678 to reserve yours.
*■ ' * *
On Granville Island, Six Women With Brain Death diit searching for themselves on Arts Club main stage. But this musical revue, subtitled Expiring Minds Want to Know, gets lost on that vast stage. Written by six actresses there is not much content or context innhis revue which enjoys a solid production directed with flair by Jeff Hys-lop.
The best parts of this cabaret style show, which is repetitive to an annoying point, are the musical numbers. Not because they are so great but because the six actresses on stage (including M.O.T.s Susan Anderson and Patty Silver) do a first rate job. Unfortunately they need more entertaining material to work with. The revue would have worked much better on the Arts Club Revue stage Where it really belongs.
At the beginning one of the actresses asks: "Do you think you understand this song? If you do you are sick and you are wrong!" A good warning, because there was very little to" understand in a revue which is far too'stiff. It runs at Arts Club main stage all summer, a good production of rather uninspiring material.
♦ ■ * ■ ♦ .■
There is a wealth of five chamber music festivals between Seattle and Whistler this summer, all of which feature .exciting programs with the finest musicians. The best programming comes no doubt from the Seattle Chamber
ter festival, look for Ida Levin, Julie Landsman, Martha Strongin Katz, Marcy Rosen and many others. Call (206) 728-6411 for Chamber Music Festival and (206) 233-0993 for Santa Fe in Seattle.
In Vancouver Leila Getz's Chamber Music Festival has some exciting programs this year, although not much of the unknown. Opening night (July 30) features Prokofiev's Overture on Hebrew Themes and artists include one of the leading cellists in the world these days, Steven Isserlis — as well as Sharon, Eugene Osadchy and Israeli violinist Carmit Zori. Caterers this year are Deiectables and remember this is a festival that usually sells out on subscriptions. Call 736-6034 to place your order for one of the city's most exciting musical events, a festival no music lover should miss.
The Victoria International Festival runs until Aug. 17 and features an intriguing combination of chamber compositions. Among artists are Daniel Heifetz, Harvey Shapiro, Yuri Mazurkevich,. Dana Pomerants-Mazurke-vich and Joseph Bloch. Call 1-386-6121 for tickets and information.
Last but not least is the second Whistler International "Mozart Festival. With a basically Amadeus program* it is basically sold out to local hotels. Among performers are Eli Eban, Sharon Kahan, MichaeL Rosenberg, Geoffrey; Michaels, as well as Wendy Stuart with daughters Fiona and Jessica. Call 986-6838 for information.
Friendly election
NEW YORK — Samuel Eisenstat was elected president of the America-Israel Friendship League, succeeding Herbert Tenzer. jta
The Jewish Quiz
QUESTIONS:
(I) Which Jewish woman served as Minister of Foreign Affairs and Deputy Prime Minister of Romania?
(2) Which Soviet Foreign Minister was also-an Ambassador to the U.S. in the40's?
(3) Which Governor of the World Bank became the Foreign Minister of Brazil?
ANSWERS:
(1) Anna Pauker.
(2) Maxim M. Litvinov.
(3) Horacio Lafer.
Edmond Lipsltz
ThaMqimttom andan«iv0i« ara ffoffl 64(KI QuesUons About Judaism and the Jewish People Ay Edmond K Llpt/lz fJESI. EdueaHenal Pnduef, Down-iriow). Dr.Up$tU would b9pltm$0d to neolw commmft, or to eomldoryour own JewltliQulM quntton* tor future e<aumn$. Writo to Mm, e/o The Jewish Western Bulletin.
HOLOCAUST MUSEUM
From Page 5
Yet the representatives of other Nazi victims wanted their people commemorated, too.
In theend, Wiesel produced a formula that helped balance the debate: All the Jews were victims, he said, but not all the victims were Jews, hence, all would be represented in the museum.
If Elie Wiesel was able to mediate the dispute between Jews and non-Jews, he was less successful in managing the daily operations of the overall project so he turned to the developers.
Initially, Meyerhoff and Abramson saw the project as a charitable activity but they soon gravitated toward playing more active roles. Although Wiesel welcomed their participation, the developers aroused his suspicions. Wiesel and many Survivors began to feel they were losing control over the project. As a result, the issue of which decisions could be made without consulting the Council became the focal point of the struggle between the two groups.
In the end, after threatening to quit, Abramson and Meyerhoff prevailed, and it was Wiesel who resigned. Two months later, Meyerhoff was named chairman and he set out to unify the Council.
Virtually everyone involved in the project was enthusiastic about plans for the design of the building. James Freed, a partner in the New York firm I. M. Pei ^ Partners, was named architect. After a visit to Auschwitz in 1986, Freed, a German Jew who escaped the war, had an epiphany of sorts. While
walking near the site of the crematoria, his foot kicked up some earth, exposing small pieces ot human bones.
Freed was moved by the fact that even four decades later, the earth refused to absorb the evidence of the foul crimes committed there. He said he then knew.how the museum should look. His design bridged the gap between the Councirs dreamers and builders, and the plan was approved unanimously.
After a decade of scjuabbling and false starts, the museum has survived its painful birthpangs. Construction is expected to take two more years — three years in all — and cost $60 million. Now, as the museum rises on Washington's National Mall, its presence bears witness to Elie WieseFs warning for those who would forget history. In his book, A Beggar in Jerusalem, a character escapes execution only to be taunted by his executioner: "One day you'll regret it. You'll speak but your words will fall on deaf ears. You'll try to incite people to learhfrom the past... but they will refuse to believe you."
This museum is being built so that future generations will have to believe.
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