Holocaust
What are we supposed to feel as we are pulled from horror to melodrama to comedy?
“Auschwitz: Not Long Ago. Not Far Away.” is compelling, but its message feels hermetically sealed — the exhibit needs to draw crucial connections with what is going on now.
The disconnect between the Amsterdam of the past that is revisited and the scenes of life in the city today dramatize the fragility of memory and its erosion.
In choreographer Rachel Linsky’s hands — and the bodies of her articulate, reverberating dancers — you gain both kinesthetic and emotional access to the worlds of those who lived the Holocaust.
Moissey Vainberg’s opera powerfully evokes the brutality of Hitler’s extermination camps and the moral ambiguity of postwar Germany.
Ben Foster shines in Barry Levinson’s grim tale of love, loss, and hope.
The Survivor examines what happens to someone who made the decision to survive in Auschwitz — no matter how.
This is a great work, more linear than Tom Stoppard’s earlier dramas, yet filled with such intelligence and compassion that it will be read and seen for years and years and, perhaps, over time be regarded as his richest, most haunting play.
Writer András Koerner has dedicated himself, lovingly and brilliantly, to assiduously reconstruct the lives of ordinary Jews in Hungary before the Shoah.
Television Review: “The U.S. and the Holocaust” — Vital Questions Left Unanswered
The U.S. and the Holocaust leaves a vital question unanswered: Is this the kind of nation we want to live and worship in?
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