Back in 2004, the horror-flicks mogul Sam Raimi was riveted by a Los Angeles Times article headlined “A Jinx in a Box?” which recounted the strange history of a wine cabinet brought to this country by a Polish concentration camp survivor. The box contained “allegedly, one ‘dibbuk,’ a kind of spirit popular in Yiddish folklore,” the article said — as well locks of hair, a rock, a dried rosebud, a goblet and coins.
The famed Holocaust memoir, translated into Khmer, strikes an all-too-familiar theme for a people who felt the genocidal wrath of a despotic regime.
Cronenberg will direct the United States premiere of the opera based on what is perhaps his best-known work: his 1986 remake of the 1958 film, "The Fly," which in turn was based on a 1957 George Langelaan short story.
The documentary complements the audio from the trial with visuals of the Nazi era and death camps and features extensive in-person interviews with prosecutors and others involved in the trial.
Looking forward, Harran dreams of establishing a visiting scholars' program at the university and growing the Holocaust library's small collection, although raising the needed money might prove difficult, she said, given her distaste for fundraising.
This chilling Jewish folk tale hails from a cycle of stories about the great 16th-century mystic, Rabbi Isaac Luria of Safed, in what is now northern Israel, said Howard Schwartz, a top Jewish folklorist and professor at the University of Missouri-St. Louis.
7 Days In The Arts
Bruce. Bruce Goldman.
On my machine, he sounded like a cross between Super Fly and Tony the Tiger. Infusing "This is B.G." and "What's the d-low?" with a closing trilled, "Have a grrrrreat day."
It is Monday afternoon at Universal Studios, and the place is swarming with camera-toting tourists, screaming children, beleaguered adults and bored-looking park staff. Prison-garbed Beetlejuice is flashing his blackened teeth as he amuses tourists with his banter, and the cheerful strains of the Universal Studios theme music are being piped loudly through the sound system, camouflaging upsets and distress with ersatz melodic joy.
"There was no shouting or wailing," recalls a Nazi army veteran in wonder after watching Polish Jews digging their own graves before being machine-gunned. "There was a deadly silence."
At one point in the play, "Kabbalah: Scary Jewish Stories," a yeshivabocher and a severed talking head careen across the Abyss.
Strains of somber organ music resonated in the large sanctuary as the eight Holocaust survivors told their stories. As each spoke about horrors endured, loved ones lost and, ultimately, faith reclaimed, the congregation punctuated their speeches with murmurs of "Thank You, Jesus."