Last weekend, I was fortunate enough to catch the final performance of Underground Railway Theater’s Brundibar & But the Giraffe, which was actually two plays separated by an intermission. The first of which, But the Giraffe, by multiple-award-winning playwright Tony Kushner, is about a little girl given a choice; her family is frantically packing up their belongings, and there is very little room left in their suitcase, and she must choose between bringing her beloved toy giraffe or the score of an opera for children, Brundibar.

I recently experienced the multi-media performance The Sarajevo Haggadah: Music of the Book composed by the Bosnian-born Merima Kljuco, which expressed freedom at so many different levels and with such fervent passion. History was recast through a dialogue of accordion and piano, synchronized with artistic renditions of corresponding historical events. The 12 movements started with the creation of the Haggadah just before the expulsion of the Jews from Spain in 1492, to Venice in 1609 where Jews were confined to the ghetto, to Sarajevo in 1941 where Hitler’s goal was to establish a “museum of an extinct race” and a Muslim imam hid the book until the war was over, through the siege of Sarajevo in 1992, finally ending with the Mother’s Benediction in Ladino when the Haggadah ends up back home.

The young actors learn about each other’s cultures (through a Passover seder, Spanish lessons, and more) while learning about themselves. I am constantly amazed by the power of theatre, even after experiencing it personally throughout my education. Watching Liz Swados and her production team interact with the teens reminded me of all the incredible teachers and directors I had the pleasure of working with in high school and college. Theatre gave me self-confidence and taught me the importance of community, and it’s clear that the teens involved in Sosúa learned the same.  This fascinating movie provides great insight into the magic of theater as well as into a little known aspect of Shoah history.

For those of you wondering about the fate of the peripatetic theatre legend Judith Malina, there’s good news.  The Forward just published an article and posted a video of the grounds and atmosphere of Malina’s new home at the Lillian Booth Actors’ Home in Englewood, NJ, along with interviews with Ms. Malina and her fellow “hostages” (as she jokingly calls her fellow residents).

As a special treat for our blog readers, we’re taking this Friday to do a bit of a blog round up. Our bloggers often explore areas of entertainment, and nothing gets us writing more than a good night out at the theatre. Check out these five incredibly diverse blog entries, each focusing on a different aspect of the stage.

Do I admire her because she's been described as "... evasive about her height, acknowledging only that she was under 5 feet and under 100 pounds?" Well, all the more points to Estelle Getty for being an itsy-bitsy powerhouse, but mostly I admire her for being a genuinely funny, talented woman, who never gave up on her greatest ambitions. In an industry where youth and beauty are often valued far above maturity and wit, Estelle turned the tables. She found success in her later years, cracked wise about it the whole time, and taught young women like myself a few things along the way.

While hard at work here at the Archive, I stumbled upon some interviews that ended up on the cutting room floor during production of our prizewinning documentary “Making Trouble”. Take a look at a few clips that feature fabulous Jewish women in entertainment talking about fabulous Jewish women in entertainment.

See Tovah Feldshuh speak about the ahead of her time Sophie Tucker, Alex Borstein explore Gilda Radner's beauty,  Adrienne Cooper's take on Molly Picon gender roles, and Wendy Wasserstein's thoughts Jewish entertainers on and off the stage. 

In the one instant of silence between the curtain and the applause I remember feeling alive. I remember feeling like my heart had been ripped out of my chest, bounced down a basketball court, and thrown through the hoop for the winning shot. Then we (the audience) erupted in cheers. I was elated, proud, and profoundly humbled.

Throughout March, Baruch College Performing Arts Center has been presenting a series of Jewish comediennes in partnership with the Jewish Women’s Arch

At the NOW (National Organization for Women) conference I attended in June, playwright Eve Ensler delivered the keynote speech. Ensler, who is featured in JWA’s online exhibit Jewish Women and the Feminist Revolution, was a riveting speaker whose passionate words truly rallied me to action. I’ve been hoping to see one of her plays ever since. Luckily, her newest show Emotional Creature: The Secret Life of Girls Around the World, is now playing Off-Broadway, and I was able to get tickets!

We are a little more than six months from the end of the world (!) Or from the end of the world as we know it—December 21, 2012.

Faster than a speeding bullet, more powerful than a locomotive, able to scale tall buildings better than Spiderman, it’s . . .

Julie Taymor! The brilliant! The invincible!