Author Archives: Judi Herman

Thoughts on the centenary of artist Charlotte Salomon

Pamela Howard’s costume designs from Charlotte – A Tri-Coloured Play with Music for Paulinka Bimbam, the fictional name Salomon gave her opera singer stepmother in Life? Or Theatre?

Yesterday, Sunday 16 April, marked Charlotte Salomon’s centenary. I find myself imagining what the trajectory of her life – and art – might have been had she survived the Holocaust. Would she have rebuilt her life and perhaps settled in Amsterdam, where her parents had taken refuge during the war, and raised a family with her husband, fellow refugee Alexander Nagler? Would she have gone on to become a well-known artist and perhaps a grandmother and great-grandmother, founding a dynasty of artists? Perhaps she would now be celebrating her centenary. Her stepmother, the renowned mezzo soprano Paula Salomon-Lindberg, lived to celebrate hers, dying at the age of 102 in the year 2000.

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Review: How to Succeed in Business Without Really Trying ★★★ – Guys and Dolls meets Mad Men in musical satire on big business

New Yorkers Abe Burrows (Borowitz), Willie Gilbert (Gomberg) and Jack Weinstock did not invent the title of their 1961 musical satire on big business. It’s actually based on this best-selling lampoon of contemporary office life in 1950s USA, disguised as a self-improvement handbook. Clutching the book he consults on every step of the corporate ladder he climbs from window cleaner to chairman of the board, their anti-hero J Pierrepont Finch really lives up to the book’s subtitle, “The dastard’s guide to fame and fortune”. Burrows had worked with Frank Loesser on Guys and Dolls and the marriage of witty, amoral book with jaunty music and slick lyrics ensured the show’s award-winning success.

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Review: Filthy Business ★★★★ – Sara Kestelman keeps it in the family in Ryan Craig’s new Jewish comedy

Families – can’t live with ’em, can’t live without ’em. Matriarch Yetta Solomon has no intention of allowing a single member of her family to escape from Solomon Rubber. Craig’s title is clever – rubber is self-evidently a filthy business. You can almost smell the huge bales and coils of the stuff looming from every shelf downstairs and off every table upstairs on Ashley Martin-Davis’s towering two-tier shop set. Yetta is not afraid of playing dirty either, from reeling in a reluctant phone customer with the promise of “a special one-time-only deal” (actually almost double the asking price) to micro-managing a Machiavellian insurance scam, with violence thrown in that almost makes this feel like Yiddishe (as against Scandi) noir.

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Allons enfants de la Patrie! France during and after WWII provides fertile soil for rich drama, music and art this year

What links London’s latest hit musical An American in Paris, a revival of Incident in Vichy – an Arthur Miller drama not seen in this country for 50 years – and the centenary of the young German artist Charlotte Salomon, who continues to enchant more than 70 years after she perished in the Holocaust?

The clue is in the titles of the theatre pieces. Arthur Miller’s Incident in Vichy concerns the fate of 10 men detained in Vichy, France, at the height of World War II in 1942, when Vichy became notoriously synonymous with the French government of Marshal Pétain that collaborated with the Nazis. An American in Paris, freshly adapted from the much-loved Gershwin movie musical, is reimagined with a story set in the City of Light in 1945, in the immediate aftermath of the war. The heroine is a young Jewish ballerina safely hidden by Parisians, while her parents have disappeared in wartime Provence. And the young German artist Charlotte Salomon, escaping Nazi Germany to take refuge in the South of France, was herself arrested in Villefranche in September 1943 aged just 26 – within a month she had been murdered on arrival in Auschwitz.

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Review: Incident at Vichy ★★★★ – Rarely-performed Arthur Miller is 90 minutes of mounting tension in wartime France

Set in the detention room of a Vichy police station in 1942, Miller’s drama explores the ways paranoia among those detained by the Nazis could descend so easily into guilt and fear, making it all too easy for the perpetrators of the Holocaust. Ten men wait to be called. At first, the strained and nervous discussion is about why they might be there (a random pick up, routine check on their papers), but it soon emerges that some (or most) are Jews who have fled German-occupied northern France for the southern, ‘unoccupied’ Free Zone.

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Review: An American in Paris ★★★★★ – A glorious evocation of the City of Light illuminates the stage

A lone figure limps into the light on a bare stage. Wounded in action, GI Adam Hochberg, confides his life, loves, hopes and fears and takes the audience back to newly-liberated Paris, 1945. David Seadon Young’s sardonic, worldly-wise American Jew in Paris is the first surprise in a show that adds depth to the light-as-air story of the much-loved film – without losing any of its charm and vitality.

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Review: A Dark Night in Dalston ★★★ – A night of discovery at Park Theatre that will keep you guessing

Some years back, I interviewed Rabbi Jonathan Black for radio, making a cameo appearance in EastEnders conducting a Jewish wedding. Not already a viewer, I duly researched by watching an omnibus edition and learned how you ‘gotta talk’. Jewish (non-Orthodox) playwright Stewart Permutt did his research by consulting a Charedi friend. So there’s a real authenticity about his protagonist Gideon – what brands of bread and crisps he can eat (Kingsmill and Walkers) and what he cannot drink from (glass).

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Review: TAU film students’ shorts are long on talent and originality at the 10th anniversary showcase

Roads by Lior Geller

This was the 10th anniversary of the Tel Aviv University (TAU) Trust’s gala UK showcase for students of The Steve Tisch School of Film & Television. Almost every Israeli film produced in the last 10 years has been made by alumni of the school and the evening gives an opportunity for four aspiring filmmakers to show their developing talent in a series of shorts.

This year the chosen films represent not only life in contemporary Israel for both Arabs and Jews, but also a documentary and a surrealist feature. There’s no doubting the creativity and originality of the work and it’s not surprising that previous entries and their directors have gone on to be recognised internationally.

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Review: The Wild Party ★★★★ – Loud, lively and lovely, The Wild Party lives up to its name

What better way to open The Other Palace (formerly St James Theatre) than with a wild party? Michael John LaChiusa’s musical takes on Joseph Moncure March’s 1920s poem and paints an unglamorous picture of the dissolute decade with a cast of unsympathetic and pitiless characters. Guys and Dolls it ain’t!

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Review: Death Takes a Holiday ★★★ – Magic realism in 1920s Italy makes for a haunting musical

Lush romantic stories are bread and butter to composer/lyricist Maury Yeston, and he writes scores to match. His elegiac music conjures time and place and whether the place is the doomed Titanic ocean liner or Grand Hotel Berlin 1928, the first half of the 20th century seems to be his preferred time.

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