Drama Characters: 4 male, 3 female Interior Set This poignant drama about a dysfunctional Jewish family in Massachusetts is structured as a memory play. Roddy Stern recalls what it was like growing up in a family dominated by his paranoid and pathologically jealous father, a truck driver who lurked outside his house instead of working to catch his wife with other men. A long suffering and abused saint, Roddy's mother raised two children in this difficult environment. Roddy's
THE STORY: In Kipling's nineteenth-century story, Harvey Cheyne, an obnoxious rich boy, falls from the deck of a luxury liner and is rescued by a fishing boat, the We're Here, owned by a black captain, Disko Troop. Aboard the We're Here, Harvey
THE STORY: Talented and precocious, Irving Yanover, at the tender age of 10, is both a piano prodigy and, at times, a thorn in the side of his orthodox parents, who lament his unaccountable predilection for bacon. But knowing that his mother and father indulge a similar passion (while dining out at a Chinese restaurant), Irving can only question their double standard. But even more upsetting is the unhappy fate of Annie, the Yanovers' young Ukrainian housekeeper, whose romance with a young Italian immigrant is bitterly opposed by her staunchly old-world parents—even though everyone knows that Annie's father is an enthusiastic devotee of Italian opera. Happily, however, these and other problems are delightfully resolved, with wit, gentle humor and a warm sense of humanity which will endear the play to audiences of all faiths and backgrounds.
THE STORY: Famous the world over, the often bizarre and ultimately heart-warming story of Scrooge, Bob Cratchit, Tiny Tim and the others needs no detailing here. Mr. Horovitz's adaptation follows the Dickens original scrupulously but, in bringing i
THE STORY: In Martin Gottfried's words: The story is about two rats. One has control over a rich hunting ground in New York City and the other has come down from Greenwich, Connecticut, looking for an in. The power rat is reluctant to let anybody into his domain but his visitor is convincing and talks his way in, until an infant child makes his appearance. Then the country rat wants his bite, the city rat is revealed as kindhearted and they fight over the screaming baby. It is a hideously powerful conclusion to a fascinating and comic play. The play's fascination, though, is more with its treatment of rats as souls. Mr. Horovitz is not simply dealing with sewer rats in the city. He is also dealing with people-rats in their conniving for position (a subject which he has artfully treated before). The play moves from very funny parallels with social status to very grisly parallels with greed. It is superb and Horovitz has quickly established himself as a playwright of smooth technique, serious intent and great imagination.
THE STORY: Brian Levine and Eugene Jacoby, two New York lawyers and lifelong friends, are restive under the constraints of careers, family responsibilities and approaching middle age, and decide to have a last fling by escaping to Greece, and, hope
THE STORY: Preparing for his bar mitzvah, Stanley Rosen is disconcerted by his proud mother's promise to commission a chopped liver sculpture in his likeness, but even more concerned about his father's decision to change the family name from Rosen
THE STORY: In Kipling's nineteenth-century story, Harvey Cheyne, an obnoxious rich boy, falls from the deck of a luxury liner and is rescued by a fishing boat, the We're Here, owned by a black captain, Disko Troop. Aboard the We're Here, Harvey
THE STORY: As the play begins, the members of a small-town community theatre are assembling to begin rehearsals of Ibsen's The Wild Duck . Harry Budd, a local photographer, is to play Hjalmar Ekdahl (also a photographer); his real life daught
THE STORIES: TREES. Ostensibly concerned with a family innocently debating which tree to chop down for Christmas, the play becomes a parable both of man's mindless destruction of his environment and of his callousness towards other living things as
Using a cast of three to play forty sharply-drawn characters, this bold work of penetrating intelligence is based on the fanciful, explosive idea that a German Chancellor might, as an act of redemption, invite six million Jews to Germany and promise them citizenship and jobs.
THE STORY: Set in a fish packing plant in Gloucester, Massachusetts, the action of the play centers on the daily routine of the workers, mostly women, who have come to regard North Shore Fish as a way of life. But despite the ribald humor, juicy go
THE STORY: The time is 1947, and Stanley Rosen and Irving Yanover, lifelong friends now approaching young manhood, find themselves pitted against each other on two fronts. Both are piano prodigies, and will be rivals in a forthcoming, and prestigio
The study of midrash—the biblical exegesis, parables, and anecdotes of the Rabbis—has enjoyed a renaissance in recent years. Most recent scholarship, however, has focused on the aggadic or narrative midrash, while halakhic or legal midrash—the exegesis of biblical law—has received relatively little attention. In Scripture as Logos, Azzan Yadin addresses this long-standing need, examining early, tannaitic (70-200 C.E.) legal midrash, focusing on the interpretive tradition associated with the figure of Rabbi Ishmael. This is a sophisticated study of midrashic hermeneutics, growing out of the observation that the Rabbi Ishmael midrashim contain a dual personification of Scripture, which is referred to as both "torah" and "ha-katuv." It is Yadin's significant contribution to note that the two terms are not in fact synonymous but rather serve as metonymies for Sinai on the one hand and, on the other, the rabbinic house of study, the bet midrash. Yadin develops this insight, ultimately presenting the complex but highly coherent interpretive ideology that underlies these rabbinic texts, an ideology that—contrary to the dominant view today—seeks to minimize the role of the rabbinic reader by presenting Scripture as actively self-interpretive. Moving beyond textual analysis, Yadin then locates the Rabbi Ishmael hermeneutic within the religious landscape of Second Temple and post-Temple literature. The result is a series of surprising connections between these rabbinic texts and Wisdom literature, the Dead Sea Scrolls, and the Church Fathers, all of which lead to a radical rethinking of the origins of rabbinic midrash and, indeed, of the Rabbis as a whole.
THE STORY: Zuckerman, a college student, has ran over and killed a young man riding a skate board. As the play opens he is in his room pasting newspaper clippings into a scrapbook, humming contentedly, as he listens to a report of the accident on the radio. There is a knock at the door. Joanna, the fiancee of the dead man, enters in tears of accusation. After her initial tirade it's not long before they end up in each other's arms and in bed, quarreling over the amount of space devoted to each of them in the newspaper's report of the accident. Zuckerman's outrage during the quarrel is the only emotion he feels, whereas shedding tears is no problem for Joanna. But what amuses and disturbs them most is the chilling speed with which their instinctive self-concern overcomes the grief of the one and the guilt of the other. What develops is an intense new liaison between the two of them which quickly erases all memories of the departed.
THE STORIES: HOPSCOTCH. A young man and a young woman meet, apparently by chance, in a park playground overlooking Lake Quannapowitt. Their conversation, at first, is casual and impersonal--like strangers meeting for the first time. But gradually su
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