April 2, 2004: Passover Edition

Page 2

Jewish Press, Omaha, NE

April 2, 2004

Introduction

A Jewish Adventure in the Arts

It shouldn’t be a surprise that Jews appear to be “over represented” in the arts.

Think about it. The arts are portable--writing, painting, acting, even playing a musical instrument. They are crafts that could travel with Jews regardless of the political situation of the day and, despite anti-Semitism, the arts cross language barriers.

Look at Hollywood and Broadway as an example. Jews arrived in this country with little knowledge of English, with even less educational background, and yet Jews have risen to highly placed positions as studio heads, as well as gallery owners, book publishers and conductors. Case in point: the Weinstein brothers at MiraMax--who followed the tradition set by Goldman, Mayer, and others of 100 years ago.

We’re not being chased out of countries today (though some in France may beg to differ), but Jews are still represented in the arts in a higher proportion than our numbers in the general population would suggest.

And many of them are former Omahans--or, lucky for us, still celebrating their craft among us here. We only wish we could have interviewed more. Due to time, space and financial constraints, we were unable to reach everyone on our list.

For example, readers may remember Bryan Greenberg, a curly-haired kid with a big grin and dimples. The son of former Omahans Carl and Denny Greenberg, who moved to St. Louis in 1990, Bryan is now making a name

for himself in films and television. He currently stars in One Tree Hill on the WB network and is working on a project for HBO with George Clooney. Last year, he starred in the film The Perfect Score with Academyaward nominee Scarlett Johansson.

But his full story will have to be told at a later time, along with other artists such as painter Jim Milder, who’s exhibited his large pieces in Brazil’s Museum of Fine Arts; David Duitch, who’s a television news director in Dallas; and Edy Roffman, who designs and makes jewelry in Chicago, among others.

So we apologize to all those whose stories we were unable to tell in this issue--and hope our readers enjoy those we were able to interview. Their stories--of trial-and-error, of seeking jobs and sponsors, of the thrill of creation and acceptance--indicate that Jewish interest in the arts is still alive and well.

To publish an issue of this size takes planning and work--and it began last fall when the Jewish Press Committee first came up with this theme. A call for names to interview also brought out our dependable freelance writers: Leo Adam Biga, Joanie Jacobson, Gary Javitch, Bert Lewis, Joan K. Marcus, Lynda Mirvish, Ozzie Nogg, and Claudia Sherman.

Without their persistence in contacting the men and women suggested by our readers, without their dedication to their craft, this issue would be impossible to produce.

We also couldn’t create this issue without the follow-through of our staff: our enthusias-

(Founded in 1920)

tic sales staff, Advertising Manager Allan Handleman and Account Executive Ray Pred, who brought in all the ads you see in this, our second largest issue of the year; our outstanding Creative Director Richard Busse, who designed these pages and most of our ads--including our gorgeous four-color cover; our Production Assistant, Lori Kooper Schwarz, who’s been an invaluable help in scanning and page production; and our dedicated Bookkeeper, Tim Ketelsen, who will soon be invoicing quite a large number of bills for our advertising clients--and whom we thank as well for their continued support!

We also owe a big “thank you” to our regular proofreaders, Jean Duitch and Suzanne Singer, and to newcomers Bill Cohen and Doris Alloy. And though our proofreaders have combed these pages carefully, please understand that they are human; if we’ve made mistakes, we apologize in advance!

During the height of Soviet control over its citizens, artists still managed to create music, paintings and poetry. So despite the continuing bad news from around the globe, we can all take refuge in the arts, knowing that members of the Jewish community have a hand in its creation--and its support.

May you have a happy, healthy, prosperous--and most of all--peaceful Passover!

Joanie Jacobson Chairman, Jewish Press Committee Carol Katzman Editor of the Jewish Press

Front cover: Dr. Paul Shyken carved the doves for Annette Fettman’s JDoe sculpture, “Light as a Metaphor for Peace“, pictured on the front cover of our Passover issue. This piece, Fettman’s second JDoe, was donated by the artist and her husband, Cantor Leo Fettman, to the Pennie Z. Davis Child Development Center, where it now stands proudly in the preschool courtyard.

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Joanie Jacobson Chairman Carol Katzman Editor Richard Busse Creative Director Allan Handleman Advertising Manager Ray Pred Account Executive Timothy J. Ketelsen Bookkeeper Lori Kooper-Schwarz Production Assistant Jewish Press Committee Howard K. Marcus, Vice-Chairman; Bobbi Leibowitz, Secretary; Scott Meyerson, Finance Chairman; Steve Simon, Treasurer; Fred Tichauer, Immediate Past-chairman; Jean Duitch; Penny Endelman; Kip Gordman; Stanley Mitchell; George Quittner; Linda Saltzman; Joey Shyken; Nancy Skid; and Melanie Weinstein.

The role of the Jewish Federation of Omaha is to involve Jews in meeting Jewish communal needs locally, nationally and in Israel. Centers of Excellence of the Federation are: Community Relations, Jewish Community Center, Jewish Educational and Library Services, Jewish Family Service, and Jewish Senior Services. The Jewish Press and the Foundation are constitional committees of the Jewish Federation.

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Page 3

A “Stake” in the Arts

by CAROL KATZMAN Editor of the Jewish Press Fred Simon practiced piano diligently when he was a youngster, sang in Central High’s Acapella Choir, and even performed with the Men’s Glee Club at the University of Pennsylvania. At one point as a young adult, he even dreamt of a career in music.

But when he saw how serious his fellow music lovers were about their craft, he realized he’d be “a better supporter” than singer.

“Somebody’s got to pay for all this!” he said with a laugh.

So Fred Simon, singer, became Fred Simon, patron of the arts. And lucky for Omaha that he did!

Returning to Omaha after graduating from Penn in 1959, he told his father, he’d “try this out,” meaning work at the family’s multi-generational business, Omaha Steaks. Then it was known as the Table Supply Meat company--just a “small wholesale operation,” Simon recalled. But his father, Lester, had already begun dabbling in direct mail marketing--the area where Fred would eventually make his mark.

After then Gov. Frank Morrison asked the Simon family to send steaks to all the other governors in the nation--as well as to President Kennedy--the company received a request from the American team at the Culinary Olympics. The prize-winning dish, featuring Omaha Steaks roast beef--entered Table Supply Meat Company in the international world of culinary gourmets.

Soon, the company was supplying the airlines, the White House, the Pentagon and other prestigious venues. It spurred

Fred Simon, in his community role as a patron of the arts, has spearheaded fundraising drives for a number of arts organizations, including Opera Omaha. In the conference room of the Omaha Steaks company (a five-generation family business offering gourmet meats via direct mail, the internet and through its retail shops), Simon poses next to a painting in the Omaha

May your Passover be a celebration of peace in your home, joy in your heart, and the love of family and friends.

Steaks collection (not coincidentally of a bull!) by artist Tom Palmore. Simon told the Jewish Press that the artist was serving a prison sentence at the time he purchased the painting. Palmore, however, convinced the warden to allow him to direct a group of prisoners in creating a wallsize mural in the prison’s mess hall. Today, he’s is a successful artist in Santa Fe, NM.

a new period of growth--and Fred’s growing marketing expertise allowed him to combine his love for the arts with his dedication to his family business. In fact, one of his proudest achievements was being inducted into the Direct Marketing Association’s Hall of Fame in 2003.

“We realized we had to change the way we did business,” Simon explained.

“Although my father had begun implementing a direct mail marketing campaign, we knew we had to be more aggressive if our business was to grow.”

Simon credits his early involvement in the arts--and his education at Penn, where he majored in philosophy and minored in English and creative writing--with the skills needed in marketing. One of those skills, he insists, is teamwork.

“There’s a remarkable amount of evidence,” he explained, “that when young people are involved in the arts, it not only advances their creative abilities, but helps them achieve a sense of accomplishment and well-being.”

Because he suffered from asthma as a child, his outlet became singing and performing, instead of participating in athletics. It does “develop this sense of achievement beyond school work,” Simon added, and fosters “team work.”

He’s put his talents to work in areas outside of Omaha Steaks, too--from his initial involvement as a “20-something” on the Omaha Symphony Council to joining the Opera Omaha Board of Directors nearly 40 years ago to serving as Cultural Arts Vice-president on the Jewish Community Center Board to becoming President of the Opera Omaha Foundation.

Continued on page 4

Page 4

Jewish Press, Omaha, NE

April 2, 2004

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A “Stake” in the Arts Continued from page 3 This fall--Sunday, Nov. 7, 7 p.m., to be exact, Opera But, “Opera is my first love,” Simon admitted.

Omaha will present a tribute to American composer That’s obvious to Joan Desens, Executive Director of Aaron Copeland. Vivian Perlis, a professor at Yale Opera Omaha.

University, who runs an unusual program within the “Both Fred and Eve Simon are two people who are School of Music--“Oral History of American Musicians”-constantly inspired by the arts,” she said. “They take will appear at the JCC theatre that night. that inspiration and turn it into enthusiasm for the creAs the foremost authority on Copeland (she worked ative spirit in all of us. In all that they do, day by day- directly with the late Jewish composer on his biography), -Fred takes joy in his work--and Fred and Eve together she’ll not only offer insights into the man and his music, take tremendous joy in supporting the arts in our com- but show slides and even play music recorded by munity.”

Copeland himself. Later that month, Opera Omaha will Case in point: the Simons are spearheading the drive present Copeland’s opera, The Tenderland at the to underwrite the performance of Brundibar by Opera Orpheum, Nov. 17, 19 and 21.

Omaha. Brundibar, for those who are unfamiliar with “Opera Omaha is moving to a year ’round presence this short--30-40 minute--opera, is an allegorical tale here,” Fred Simon added. “In addition to more outreach written by Czech composer Hansa Krasa and librettist to the schools and community organizations, workAdolf Hoffmeister in 1939. A simple story about good shops are planned at Creighton University’s Lied Center and evil, the short opera features a brother and sister and at UN-Omaha.” who outsmart an evil organ grinder.

Simon is very interested is seeing the partnership creThe opera was performed in Prague, even as the ated with Omaha Public Schools continue, like last Nazis whisked the child singers, one after another, off year’s South High creation and performance of a stuto concentration camps. Later, it was performed in dent-written opera, Bloodlines.

Theresienstadt, a “model” In his role as Chairman of the camp housing up to Nebraska Arts Council, Simon insists, 70,000 Jews. It took a “you must get young people involved in while for the Nazis to figa group (creative) process with profesure out that the opera sional direction. An opera like was poking fun at Hitler Brundibar, for example, is short enough and his regime, but when to be enjoyed by children on a basic they did, they executed level, but young people and adults can the composer and most also understand it on a deeper level.” of the young performers.

“We don’t always support the same A few survived, howevthings,” Eve Simon admitted. “Fred has er. One of them, Ela historically been involved with mature Weisberger, will be in organizations, while I’m drawn to arts Omaha in the fall of 2005 when the opera premieres organizations that involve children. Something like here, to speak about her experiences as a performer in Brundibar excites both of us.” a camp used as a way station for the death camp at “I think (Opera Omaha) has always had a legacy of Auschwitz. reaching out to the community,” she added.

Brundibar was performed 55 times at Terezin, as its Desens is very grateful to many in the Jewish commore commonly known. When Weisberger, who per- munity for their support of Opera Omaha. “Phil formed the role of “the cat” in Brundibar, spoke in Los Schrager also just helped us with an extraordinary Angeles last December, she told Gaby Wenig of the thing,” she added, “by underwriting this year’s proJewish Journal, “Music was part of the resistance gram book.” against the Nazis. When we sang the finale of this little Schrager’s collection of contemporary art, along with opera, Brundibar was like Hitler and [the message was] Josyln Museum’s collection, was used to illustrate the we will overcome him and we will win the war against four-color program. In his introductory letter to the prohim, and I believe the audience understood it. They gram book, Schrager stated: “We take pride in living in would clap, and we would sing it again several times.” a community that includes a world-class opera, symOpera Omaha’s production will feature the English phony and museum, as well as the many other arts libretto, written by award-winning playwright Tony organizations available to the public. We hope you join Kushner, and sets by children’s book author Maurice us in helping sustain this legacy...”

Sendak. The book, Brundibar, will be for sale at the It’s a message not only endorsed by Fred and Eve Kripke Jewish Federation Library.

Simon, but a motto by which they live.

In the New York Times Book Review section of Nov. Fred’s son, Todd Simon, has obviously heeded this 16, 2003, Gregory Maguire wrote: “In several ways...the directive. He’s part of not only the next generation (the original version of Brundibar is a children’s opera: it fifth, in fact) at Omaha Steaks, but is also involved with was written about children, for children among others, the Bemis Center for Contemporary Art in the Old to be performed by chilMarket area of downdren. Even while being town Omaha--in fact, used as propaganda in he’s President of its the Nazis’ ‘showcase’ Board of Directors. concentration camp, Known as one of the Brundibar was revised to few museums in the reflect a more defiant world which offers resiattitude towards tyrants.” dency programs, the All but 100 of 15,000 Bemis not only provides children who came to artists with a place to Teresienstadt, died, but work, but with living as Weisberger said to to quarters and a stipend.

Wenig, “Brundibar was “Every since I was a our life.” little kid, “Todd said, “My That program, being parents made sure I was planned in conjunction exposed to art and culwith Jewish Educational ture of every variety. This and Library Services certainly sparked within The Simon brothers and sons involved in Omaha Steaks--standing: (JELS), is one of a series me, a desire to learn Todd Simon and his father, Fred; seated, Steve Simon, Bruce of events planned by more and get involved.”

Simon and his father, Alan Simon.

Opera Omaha. Starting And get involved they with its “Bridge” series last year at the Jewish commu- have; this is one family with a big “stake” in this comnity Center, featuring excerpts from operas, performed munity, making sure that every generation has an by professional singers, some additional programs are opportunity to learn, appreciate and experience the in the works, according to JELS Executive Director Guy arts.

Matalon.

EARLY DEADLINE NOTICE Due to the closing of the Jewish Press office the first two and last two days of Passover, deadlines for articles, photos and ads are at noon as follows: Issue Deadline Photos published in this issue may be picked up at the April 16 Monday, April 5 Press office during regular business hours.

April 23 Wednesday, April 14 Questions? Call 334.6448.

April 2, 2004

Jewish Press, Omaha, NE

Page 5

In the World to Help Others

You don’t have to part the Red Sea to make a difference.

By establishing an endowment fund with the Foundation of the Jewish Federation of Omaha: You can help send a kid to camp or a deserving student to college.

You can help buy books for the Kripke Jewish Federation Library.

You can help handicapped children and young adults enjoy a more fulfilling life.

You can assist with medical expenses for those who can’t afford it.

You can support a good quality of life for the elderly.

One person really can make a difference.

Happy Passover Marty Ricks, Executive Director 402/334-6440

ingenious attached reverse sham which folds back over the pillows. She didn’t have a pattern but that reverse sham should be kept in mind.”

She’s quit quilting, however, because she has “enough quilts for myself and family members.” In later years, she made wall hangings for family members.

Beautiful quilts serve as bedspreads in her bedroom and a guest room.

Wonderful artwork also adorns the walls of her home in the “Bagel” area of Omaha. The home, built in 1959, was partially decorated by the late interior

designer, Carolyn Kully Newman.

Because she loves to read, she set up the Brodkey Memorial Fund in 1994 to purchase books for the Kripke Jewish Federation Library. When she set up the fund, she explained, “An endowment fund is a permanent way to perpetuate the library.”

In 1982, she began sorting and organizing books that were donated by the library at the branches for a citywide book sale. The city libraries also contributed discarded books to the sale.

Continued on page 18

Quilter Bess Brodkey is very proud of the intricate quilts she has made over the years for family members and friends.

writers poets

one of the owners of the company and Morris was “just visiting.”

Morris was a medical student at Creighton University and he seemed unimpressed with young Bess. However, a month later, he called to invite her to the Douglas County Fair.

“I had never been to a fair in my life,” she laughed, “but I decided to go with him. After that, I didn’t see him again for a long time because he was very busy at school.”

But the romance blossomed and Bess and Morris were married in 1936 at the Fontenelle Hotel on 18th and Dodge in downtown Omaha.

“Although Beth El Synagogue was forming and had members, we had no building yet,” she recalled. “That’s why Morris and I were married in a hotel.”

Dr. Brodkey, an internist who specialized in allergies, died in 1981.

They had two children--Dale D. and Mark. Their daughter, Dale, was the Assistant Attorney General of Nebraska and died in l986. Mark is a physician and lives in Kansas City.

Brodkey began her quilting career because of a friendship with a teacher at the Sorenson Library. “My friend got me involved, but I had never quilted before,” she said. “I bought a quilting board and set it up in my family room and that’s how it started.”

She joined the Omaha Quilting Society which she found to be “quite a challenge.” In 1991, she won an award from the Omaha Quilting Show for her work and was cited by Lady’s Circle Magazine, which noted that “Bess Spar Brodkey makes all of her quilts with an

adventure arts visual artists sculptors musicians photographers

by JOAN K. MARCUS At age 94, Bess Spar Brodkey lives in her own home, cooks and cleans for herself and reads voraciously. She has a complexion and figure that any high school girl would envy and she doesn’t walk--she runs! We might wonder if all of her beautiful quilting, embroidery and artwork have been the secret to her youthful outlook.

She was born in Omaha on Feb. 3, 1910, to Sarah and Sol Spar. The family lived at 1808 No. 21st St. Bess graduated from Kellom Grade School and was a member of the first class at the new Technical High School on 33rd and Cuming. She graduated in 1933.

“Omaha was just a little ‘hick’ town when I was born,” she admitted, “but it has grown and developed.”

Bess remembers that their family of five sisters and a brother lived in a very poor neighborhood. Her father was a melamed or a teacher of elementary Hebrew. In those days, this work was not well rewarded. The social status of these melamdim was considered respectable--but not enviable. Among melamdim were deeply religious and pious men who were dedicated to teaching--but poor nonetheless.

She remembers a happy youth with her big family. As a teenager, she was a member of the Daughters of Zion social organization. They met in the Lyric Building on 19th and Douglas.

After high school, Bess went to work at Carpenter Paper Company. One day, she went to the State Furniture Company to pick up her sister and there was young Morris Brodkey. His father was

in the

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Page 6

Jewish Press, Omaha, NE

April 2, 2004

There’s Nothing Negative About This Photographer

by OZZIE NOGG In December of 1947, in Chomutov, Czechoslovakia, Sigi and Magda Morsel wrestled with a question. What shall we name our newborn daughter? Magda had survived Auschwitz, but her sister Gabriella--the sister she called Ella--had not. Surely it would be fitting to name the baby after her. And what of Magda’s favorite author, Eliska Krasnahorska--Eliska of the beautiful mountain.

That name offered the promise of loveliness and strength. And so, the name was given.

In 2004, Eliska Rebecca Morsel--now Ellie Greenspoon--works in her studio in Omaha’s Hot Shops, and views the world through a camera lens. This photographic artist manipulates and pushes the medium to create prints that are an eclectic mix of traditional large-format photography and electronic imaging, unheard of in her old-world hometown.

“Chomutov has always been very German--it’s on the border between Czechoslovakia and Germany--and we wound up there in a circuitous way. In around 1940, my father escaped from a labor camp and joined the Czech forces. He fought with the Russians during the entire war. Later--when all the Germans had fled Chomutov--the government encouraged displaced Jews to settle there, and they gave my father a business as a reward for his military service.

He and my mother met in Chomutov in 1945. They knew each other for only two weeks before they married; it often happened that way in those days. They were married for 40 years, and for much of that time I didn’t know that my father carried a secret. It seems he’d been previously married before the war--even had a child--but he never spoke about them or their deaths, and I only found out about it when I was in high school.

Losing one’s family and then starting again was common in those days, too.”

The Communist crackdown on Jews in Czechoslovakia convinced Ellie’s parents to leave for Israel. “It was 1948. My father joined the Haganah, eager to fight for independence. Before we left, my parents purchased Bauhaus-style furniture--all glass and steel--plus carpets, a piano--everything we’d need in our future house in Israel.

“Oddly enough, they also bought a roulette wheel,”

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she laughed. windows and he’d bring home materials for my art The voyage to the newly created State left one-year projects. My mother was talented, too. If not for the old Ellie very ill. “I almost died from a combination of war, she’d have been a fashion designer,” she admitted. diseases,” she recalls.

Instead, she worked as And when she and her head fitter in the alteration parents arrived at the department of a fancy abandoned village of ladies’ clothing store. The Egzim (now called Karem society women all demandMaharal, close to En Hod ed her services. on the way to the “She looked and sounded Carmel), they found no like ZaZa Gabor,” Ellie running water, no elecadded, “so that added to her tricity, no modern conmystique and popularity. veniences.

My mother always made my “We had one cow, one clothes from the sketches I horse, a few chickens drew, and the outfits she and a couple ducks. My created were couture qualiparents weren’t farmers, ty. So when I entered colso food was scarce. We lege at Virginia never had enough to Commonwealth University feed the family and the in Richmond, VA, I majored animals,” she recalled. in fashion illustration and “My father fought with graphic design.” the Haganah and also On campus she met her worked construction jobs future husband, Lennie in Haifa to improve our Greenspoon. “Our relationliving conditions. Life ship grew fast and when he was difficult but I rememleft for a Fulbright year in ber being very happy, Rome, he sent me an airline going to school and livticket to visit him during ing in a house decorated winter break,” she smiled. with exotic European “He claims he ate only one Ellie Greenspoon treasures,” she added. meal a day to save money I still haven’t figured out the roulette wheel!” for the ticket and lost 30 pounds in the process. Well, After six years, family circumstances forced the my parents were beside themselves--a young girl of 20 Morsels to immigrate to the United States. going to visit a young man in Rome without an escort.

“I went kicking and screaming,” Ellie says. “I only A shanda!” Ellie exclaimed. spoke Czech and Hebrew, so life in America presented But in the spirit of the liberated ’60s, Ellie made the new problems and experiences.” trip. She came back engaged, and her mother made the In her adopted country, Ellie soon added English to wedding gown. her arsenal. But whatever the language, her creativity “She copied it--stitch for stitch--from a design I loved, spoke loud and clear. complete with hundreds of hand-sewn pearls,” she “I knew from a young age that I wanted to make art. sighed. “It was a work of art.”

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April 2, 2004

Every Quilt a Story

by JOAN K. MARCUS When Barbara Oglander Rennard was a little girl, she wanted to be a wife and mother. Although college was part of her plan, she wanted babies and spent her life as a homemaker. She was born in St. Louis in 1952 and had a happy childhood with three sisters and two brothers. She was the one, however, who loved to quilt with their grandmother, Celia Fleischer.

“Her quilting group met at the synagogue,” she recalled, “during the summer, I would thread needles for them.

Sometimes, my cousin would come along and we would thread piles of needles for each of the women. We would hide under the quilts and the big payoff was having lunch with the group!”

After graduating from high school, Barbara married her sweetheart--young medical student Stephen Rennard.

“He was a senior and I was a freshman in high school when we met. Nobody else could ever measure up to him and my mother said that she didn’t want to ruin the stars in my eyes. So, they let us get married.”

Her dream of college came true when she attended Boston University and graduated from Clayton College in Texas with a double major in Philosophy and History. But so did a big family.

“I guess I’m a throwback or a

Right: A special quilt topped the chuppah when Rennard’s niece was marBelow: ried.

B a r b a r a Rennard with a few of her many quilts.

dinosaur,” Rennard laughed. “I love being available for my children and being at home. I always wanted a big family and a houseful of girls. Well, I have seven daughters and one son--my bonus!”

Rachael was born when Barbara was only 19. Emily, Sarah, Hannah, David, Rebecca, Naomi and Dena followed.

They range in age today from 15 to 32.

“After the first couple of kids, the younger ones all learn from the older ones so it’s really very efficient,” she insisted.

“There’s always chaos, but they learn what’s appropriate and what’s not.”

She and Stephen now have two grandchildren, too, and are expecting a third.

After more than 30 years of marriage Barbara says that her children respect their parents’ good marriage; they hope for the same thing for themselves.

“They get to be 18 and think they should at least know the person that they’ll marry,” she smiled. “I keep telling them that sometimes you find the right person when you’re young and sometimes when you’re older!”

Barbara has been a Girl Scout leader for 20 years and continues to have an

active troop.She was a Parent Teacher Organization president at Lewis and Clark Middle School and, according to her, ‘“a room mother a zillion times!”

Recently, she was elected president of the League of Women Voters.

“I’m really involved in the schools and I think that education is incredibly important,” Rennard asserted. “This organization educates people to be good voters and I respect that. The mission is to be non-partisan and sponsor activities geared toward teaching voters.

“I think that it’s really important we elect people who will do a good job for our government--local, state and national!” she insisted. “It’s important to be an informed citizen.”

Barbara believes strongly in public school educations for children.

“We are part of a whole community and learning about each other is important. If children grow up in environments that are only of one cultural background, they never learn to appreciate other people,” she added. “The future of the world is knowing your neighbor and different kinds of people! In the real world, there are lots of problems and you have to learn how to deal with them! You learn only if you grow up in an environment where you have to do problem solving. I’m very protective of my children, but I think that it’s very important for them to be open minded about the people of the world.”

Barbara began quilting about 20 years ago. She had done embroidery, knitting and many other needlework type projects, but had always wanted to learn quilting.

She thought that learning to quilt would be a good way to meet people.

Many of her quilts have won prizes in contests.

“I’ve given most of them away,” she added.

But, pictures of “some have been published in quilting magazines and that’s very exciting.”

She doesn’t consider herself a competitive quilter and says that she does them mostly for her own satisfaction.

“I made each of the kids a quilt when they went away to college. Theirs’ tell a story about them--favorite teddy bears, activities in school and pieces of clothing fabrics from special events.

“To make one of these special quilts takes a long time because you have to design them first. However, the kids really appreciate it and I love doing it!”

Barbara also makes quilts when her children marry and when grandchildren are born. Her greatest joy was when her family made her a quilt for her 50th birthday. Stephen and each of the children made a block and Barbara put it together.

Some of her quilts are donated to raise money for organizations or institutions-such as Central High School. Many are made for special meaningful gifts, like the one she created for the chuppah at a niece’s wedding. She estimates she has made two or three quilts each year-about 40 in 20 years.

Every quilt that Barbara makes for her children contains a Star of David.

“It’s important to me to make sure that it is important to them to remember that their Jewish background is part of their lives!” she insisted.

Jewish Press, Omaha, NE

Page 7

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Could Former Omahan Be the Next Fanny Brice?

by OZZIE NOGG Why not!

“Years ago I saw a production of Funny Girl and I fell in love with Fanny Brice,” Anna Raful says. “Not with her personal life but with her career. The burlesque and vaudeville and musical comedies. Her bratty little girl character, Baby Snooks. And when I found out that Fanny Brice and I share the same birthday, I figured that was a sign.

“I just thought, ‘Yeah, I really could do this.’”

Even though an irrepressibly positive attitude is one of Anna Raful’s strong suits, this 23 year-old cum laude graduate from Emerson College with a BFA in musical theater also understands that a Broadway career won’t be easily won.

“My father once gave me advice about getting into a show. He said if you’re totally devastated if you don’t get the part, then it’s not worth it. When I think about that, it helps give me perspective on things.”

Anna describes her parents, Larry and Dinah Raful, and her sisters, Sarah and Leah, as supporting and giving. “When I was at Central, I auditioned for Sound of Music and didn’t get cast even as a nun in the chorus.

I was sad and upset, but more than that, I was really mad. So when I noticed that the Emmy Gifford Childrens’ Theater was auditioning a musical, I had my mom drive me there. As always, she willingly schlepped me around.”

Anna won a part in that production--Hair, Homework, and Other Traumas: A Teenage Survival Guide--which the young cast members wrote and performed.

The show received the Omaha Theater Actors’ Award TAG award for best new script, and a scene featuring Anna and several other cast members was taped by ABC and later aired on network news Among her credits during high school, Anna lists ByeBye Birdie and Guys and Dolls at The Dundee Dinner Theater. At Emerson, she participated in scene performances for student directors, the big spring musical --Children of Eden--and Nunsense. According to Anna, the latter production was a unique learning experience.

“It was amazing! The Reverend Mother was an Orthodox Jew, and I played her second in command,” she laughed. “So the top nuns were Jews. We had to be taught how to cross ourselves!”

Though she’s tried directing and choreography, Anna prefers being on stage rather than behind the scenes.

“I just love to perform. I now realize that once I got on the stage, there was no chance I was ever coming off.” Her love of musical theater grew stronger during the summers of 2001 and 2002 when she worked for Booth Productions in Ogunquit, Maine.

“I lived there for nine weeks with a group of other actors. We did three or four shows. I played lead roles, got paid for it, and the theater was a five minute walk to the beach.”

A five minute walk to the beach, but no walk in the park. By Anna’s own admission, the summer stock conditions and schedule were tough. “We all lived in a little beat up house with only one bathroom and a tiny kitchen. It was okay, but crowded. And smelly.”

The company rehearsed one show in the mornings and ran lines for a second show in the afternoon. The group performed every night except Sundays--Tommy and Godspell were among the offerings--and while one musical was being staged, other scripts were in rehearsal. Anna played Peppermint Patty in Snoopy, and Baby Rose in Babes in Arms.

“The cast of that production included local kids,” she explained. “It was like a summer camp. Those of us in the resident company were the leads; the older kids took supporting parts, and the rest of the kids were chorus members. But everyone had his or her own moment, and a couple of those kids made my sum-

mer.”

Anna’s own role in Babes in Arms was one of her favorites. “I didn’t make my entrance until 20 minutes into the show. Then I sang three numbers and sat on stage, just smiling at the audience for the rest of the time. It was great.”

Knowing Anna’s infectious grin, it must have been great for the audience, too. In the end, she describes summer stock as, “a lot of work, with some fun time, here and there. It was a great experience, but not one I need to do again, at least not for that particular company.”

Last year Anna worked with Plaza Theatrical Productions, a small company on Long Island. “It was interesting. I got paid,” is all she says about those days.

Currently she concentrates on voice lessons with Zina Goldrich, along with tap, ballet and musical theater jazz dance classes at the Broadway Dance Center in New York. “Right now I’m focused on auditioning and trying to get a paying theater job in the city.” Until that happens, office work and convention staffing for two different temp agencies helps pay the bills. “The work is pretty steady and the hours are flexible, so I can go to auditions.”

Anna Raful Ah, yes. Auditions. Please describe that process, Ms. Raful.

“Usually, you’re asked to sing first and then dance. Or you dance, and then get asked to sing. Sometimes they ask me to sing, and before I get to dance they say thank you, and that’s all,” she sighed.

“Even worse is when the audition involves a system called typing. That’s when they herd 20 girls into a room at the same time,” she explained. “They look at us one by one, with our resumes in their hands, and then--without asking any of us to even open up our mouths--they go down the line and point and bark, ‘Okay. You sing and you sing and you sing and everyone else go home.’ Oh, well.”

For a young woman as upbeat and positive as Anna Raful, audition disappointments are just part of a game she’s happy to play in a city she loves.

“There’s no doubt about it. I’ve always wanted to live in New York. I think the best moments are when I’m just walking down the street and it hits me and I realize, I am living in New York. It’s great!” she grinned.

“I love the energy, the people. My neighborhood in Queens is this great mix of Asian and Indian and Irish, so you hear accents everywhere. I’ve made some great friends here, which is really nice.

“And it’s definitely great when my parents and sisters come to visit,” she added. “We go to Broadway shows and by now my folks have been here so much they have their favorite restaurants, but it’s fun when I can take them some place I’ve discovered. Like I said, it’s great!”

Fannie Brice decided early in life to become a performer. So did Anna Raful. Will Anna’s talent and energy eventually light up a Broadway marquee? Stay tuned.

“Theater is what I love,” Anna says. “I really don’t see myself doing anything else. Fanny Brice believed that your audience gives you everything you need. Well, I think you need family and friends, too.

“But an audience sure is great!”

April 2, 2004

Jewish Press, Omaha, NE

Page 9

The Mysterious Soldier

by JOAN K. MARCUS It was September of l956. I wasn’t quite 19 years old and a sophomore at the Municipal University of Omaha. I played in the university orchestra on Thursday nights--not because I was anything approaching a musician--but because it was an easy “A” and it helped to bring up my sagging grade point average.

It was a beautiful fall evening when this really nice looking new trumpet player came to join the orchestra. I knew instantly that he wasn’t your average college kid looking for an ‘A.’ He was wearing Air Force blues and, even I could tell he played trumpet like a professional.

“What a cute guy!” I remember thinking. He was short, but not too short, and had the most beautiful sharp brown eyes I had ever seen. His skin was olive and and his full head of dark brown hair was cut short in military style. As I watched him, I thought, “I wonder if he could possibly be Jewish! No! I couldn’t be that lucky!”

My friends in the band and I all wondered, “Where did he come from? He doesn’t play like any college kid!” He passed out an orchestration of “The Haydn Trumpet Concerto” and we accompanied him. I must have stared at him until he looked at me and smiled.

Then, I was embarrassed!

My friend and fellow violinist, Nell Rubinow, said, “His name is Milton Marcus and I think he’s Jewish!”

The evening passed and “the mysterious soldier” went into the field house during our break to practice by himself.

We all marveled at his skill and musi-

cianship. I thought about him when I went home but figured that he wouldn’t come back because he played too well for our amateur group.

A few weeks later, my mother, Betty Krasne, announced that her bridge lady, Bea Marcus, had met this darling service man. He was lonesome and Mother told her that she could have him call me for a date. I rolled my eyes and said, “He can come over but I’m not going out with him!”

It seems that he had taken advantage of an advertisement in the base newspaper that offered “home hospitality” to Jewish servicemen for the high holidays.

He chose Bea Marcus because her last name was the same as his. Lucky for me!

On Sunday, Oct. 1, 1956, at the appointed time, a little black Volkswagen bug (Mother called it a sports car!) drove up. You can imagine my surprise and delight when “the cute guy” came walking up our front steps. We began “hanging out” together on that day and the rest is history.

Milton was born in New York City in l929 to Gussie and Jacob Marcus, both immigrants. His father, a Romanian, was a laundry truck driver. Gussie, who was born in Russia, worked for Macy’s Department Store. They lived in Corona, New York, and had just enough money to get by.

“The only radio station that they listened to was one that played classical music,” Milt recalled. “Although they both loved music, they didn’t play instruments or have money to attend concerts.

Gussie always recalled her trip to the opera when she heard Enrico Caruso,

the famous tenor, in one of his last concerts.

Jacob, as a young man would stand on street corners and sing songs to promote records.

“When I was about 12 and in the Boy Scouts, a cousin of mine had a bugle,” Milt recalled.”His mother got tired of hearing him play it. So, with my father’s consent, she gave it to me. I guess that was the beginning of my trumpet playing.

I huffed and puffed in order to get some Milt Marcus in Air Force blues, taken around 1956. sound out of it!

“Three of the other guys got the shiny “When I was graduating grade school, ones and I ended up with the beat up the music teacher from Flushing High one,” he laughed. “That one, however, School came around to recruit musisounded better and I was on my way to cians,” he added. “She wanted violinists becoming a trumpet player. and tried to convince me to learn to play “Salaries then were about 10 dollars a the violin. I insisted on the trumpetl week and it cost four dollars just to rent Reluctantly, she agreed!” that trumpet for the semester,” he added.

When he arrived at the first lesson, “That was a lot of money for my parents there were four trumpets. Three were to pay.” shiny and nice and the fourth one was Continued on page 10 all dented and dull.

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Page 10

Jewish Press, Omaha, NE

April 2, 2004

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The Mysterious Soldier Continued from page 9 York. In true Air Force style, they sent him to Smokey He took lessons in school until he was 16 when he Hill Air Force Base outside of Salina, Kansas. began studying with Giusseppi Rescigno, who played “That base just had a little band and they certainly in the Metropolitan Opera Company. “My father was didn’t want me!” he laughed. worried about the cost because lessons were $2.50 for However, “A guy I had known overseas knew I was an hour lesson. Two or three students came at the same in Kansas.” Marcus continued. “He was already at time and we all learned together. Later, I had as many Offutt and knew that I wanted to play in a bigger band. as three lessons a week. I worked around the Rescigno So, in September of 1956, I came to Omaha to play in home to earn the lessons and some of the other lessons the Strategic Air Command Band. The only thing I were ‘written down’ for me to pay when I started to knew about Omaha was that Boystown was here!” make money!”

Upon returning to New York in 1956, he auditioned During the early 1940s, Milton and his family moved for the stage band at The Metropolitan. Though he was to live in an apartment above their stationery store. chosen for the job, he wasn’t offered a contract. He told Rescigno, who lived in the neighborhood, would come them, “There’s this girl in Omaha I want to marry and to the store and listen as Milton practiced upstairs. I can’t ask her to marry me unless I have a job with a Rescigno died in 1978. Milton, who always considered contract! His plea went unanswered and, he chose me Rescigno a role model, continues to have contact with over the Met. A difficult decision but, nearly 45 years the family. later, he still insists that he isn’t sorry!

In 1947, at his high school graduation, Milton played After more than a two-year courtship, we were mar“The Haydn Concerto in E-flat.” ried on June 21, 1959, at Beth Israel Synagogue. After “Mr. Rescigno was in the audience and he told me playing in local bands, for Omaha Opera and other that I had done a good job,” Marcus recalled proudly. music jobs, Milton cut back on music to work and start “I joined the musicians union right after that.” a family. Howard was born in 1960 and Elaine in 1963.

Marcus wasn’t a music major when he started classes In 1969, he began playing in the Omaha Symphony. at the City College of New York. In addition to attend- During the early 1970s, he played under conductor, ing classes, he worked in the garment district in New Yuri Krasnapolsky. He was assistant principal trumpeter York City and played music jobs when they were avail- from 1970-72. In 1974, Thomas Briccetti arrived in able.

Omaha to be music director of the symphony. It was “I really didn’t know what during his tenure that he I wanted to do,” he admitmade the orchestra playted, “so I took a civil service ers commit to full-time exam and became a file positions and Milton was clerk for the New York State gradually forced to Department. I was going to 1eave. In 1979, he fulCCNY, taking music lessons filled his dream of getting and playing in orchestras a bachelor’s degree from almost every night of the the University of week!’’

Nebraska at Omaha.

Rescigno heard of an He still enjoys playing opening for a trumpeter in in local bands and the San Carlo Opera orchestras. He loves Company, an old opera music and playing and company based in New can be found playing in York and toured the United bands from Iowa Western States and Canada. Milton Community College to auditioned and toured with the Santa Lucia Band. the group for two seasons.

“Music has been a fun When he returned from vocation and avocation,” his tour, the Korean War he insisted. “Even if I had begun. Since he was in don’t get compensated, I the National Guard, he was like to play!” on deferred status. But he In 1994, Milton couldn’t afford to go to retired after 21 years as a Julliard School of Music, warehouse manager in a and was told to audition for plastic factory. Since Trumpet player Milt Marcus Curtis Institute of Music in woodworking had Philadelphia. Mary Curtis of the Curtis Publishing always been his love, he decided to begin making Company and her husband, Ephraim Zimbalist, had Magen Dovids out of one solid piece of wood. founded the school.

“When I was at services at Temple Israel, I noticed Everyone who attended the prestigious school was that there was a Magen Dovid engraved on the end of on scholarship and Milton thought he had little or no the pew,” he explained. “I thought I could make one, chance of winning the audition. However, he was too, so I began experimenting to make a three-dimenaccepted and moved to Philadelphia to study at Curtis sional version.” with Sam Krauss, first trumpet of the Philadelphia The pieces are carved from single pieces of wood.

Symphony Orchestra--then conducted by Eugene After the Magen Dovids are finished, Marcus presents Ormandy. them to people who have been significant in his life.

Because of a fluke in draft board rules, he was draft- He takes no money for them, despite the fact they are ed into the Korean War in 1951. He was able to enlist difficult to make. Recipients of the 11 uniquely created in the United States Air Force, where he auditioned and pieces have included rabbis, cantors and friends. Two was accepted into the band in Washington, D.C. are proudly displayed in our home and one is in the He remembers playing in that band until he went office at Temple Israel. overseas the following year. He toured 15 countries and His most recent work is a Ner Tamid carved from transferred to permanent duty with a band in hard maple and walnut. The piece, in the shape of an Chateauroux, France. ancient amphora, was entered into the Spertus Museum “Being overseas, I could travel to many other coun- Jewish artifact competition in December of 2003. tries like Corsica, Sardinia, Italy, Yugoslavia and Sicily.

We have always felt fortunate that the Air Force sent In 1955, I went to Israel with a group of Jewish ser- Milton here in 1956--instead of back to New York. vicemen to be a guest of the Israeli government for Although there has been sadness in our family, there Purim,” he added. has always been much laughter, love and happiness. I In 1956, his tour of duty had ended and he asked to don’t know about Milton but I feel lucky I was able to be sent to Mitchell or Stewart Air Force Bases in New “note” that cute boy who still plays the trumpet!

May You Find Happiness and Fullfillment in this Joyous Passover Celebration.

April 2, 2004

Jewish Press, Omaha, NE

Page 11

The Ultimate Brownie Cookbook

by BRUCE WEINSTEIN ( William Morrow, $16.95)

R EAD IT AND EAT Reviewed by LOIS FRIEDMAN Bruce Weinstein does it again...his fifth in the “ultimate” series. Within the four chapters: Brownies, Blondies, Easy Icings-Frostings & Drizzles, and Fun with Brownie Mixes, the recipes for old-fashioned classics and new tastes are alphabetical. The recipes are “all basics-nothing frou-frou or esoteric.”

Presented are special equipment, ingredients, tips, such as always grease and flour the baking pan even a nonstick one to allow for even baking, and the history, stories and myths of brownies...like the woman from Maine who dropped the hot pan of chocolate cake on the floor and viola...brownies!

Actually blondies came first and brownies were a variation. The 100 basic recipes have “thousands” of variations.

Whether your taste for brownies is fudgy

or cakey, experience an old favorite or create a new one with your personal choices.

Headnotes give suggestions, the instructions are clear and detailed and the variations are a plenty.

Many holidays have suggested brownies...Bourbon for the New Year, Pumpkin for Halloween, Cranberry for Thanksgiving.

Sink your sweet tooth into this recipe for Passover.

PASSOVER BROWNIES Vegetable oil or margarine for the pan 1 cup sugar 1/4 cup vegetable oil 3 large eggs, separated, at room temperature 1/2 teaspoon vanilla extract 1/2 teaspoon salt 1/2 cup unsweetened cocoa powder, sifted, plus additional for the pan 1/2 cup finely ground almonds 2 large egg whites, room temperature

The Countryside Village Merchants Wish You a Happy & Healthy Passover

Position the rack in the lower third of the oven. Preheat the oven to 350º.

Grease a 9-inch square baking pan, using vegetable oil or margarine. Dust the pan with cocoa powder and set it aside.

In a large bowl, beat the sugar and oil with an electric mixer at medium speed until well combined. Add the three egg yolks all at once, and beat until thoroughly incorporated.

Then add the vanilla and salt, scraping down the sides of the bowl as necessary.

Once the mixture is uniform, beat in the cocoa powder and ground almonds at low speed. The mixture will be very thick.

Having cleaned and dried the mixer beaters, whip all the egg whites until frothy in a separate large bowl with the mixer at medium speed, increase the

speed to high and beat until soft peaks form, about three minutes.

Beat half the beaten egg whites into the chocolate mixture to soften it, using the mixer at low speed. Gently fold the remaining egg whites into the chocolate mixture with a rubber spatula or a wooden spoon. Stir just until incorporated, do not beat. Gently spread the batter into the prepared pan, taking care not to break up the air bubbles.

Bake for 20 minutes, or until the cake is soft but set; a toothpick or cake tester should come out with wet crumbs attached. Set the pan on a wire rack to cool for at least two hours.

Cut the brownies into 16 squares while they’re still in the pan. Carefully remove them with an offset spatula. Serve immediately, or cover with plastic wrap for storage at room temperature. They will stay fresh for up to three days.

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Jewish Press, Omaha, NE

April 2, 2004

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May the Sharing in the Wine Enhance the Passover Seder

by CAROL KATZMAN “I had a number of friends there,” Suzanne recalled, Editor of the Jewish Press about life in the Northwest. She dabbled in art at the What does a barn in Scotland have in common with university and lived with two art grad students. “I spent an art show in the Gallery of the Jewish Community a lot of time at late-night parties, doing ‘co-op’ art!” she Center? Just ask former Omahan Suzanne Horwich laughed. “I thought these people had such a strange Cowan. lifestyle staying up all night--creating art, sleeping all She was here in January to set up her latest exhibit at day, never working. Looking back on those days, I can the JCC and invited local artists, Dena Fouts, and Julie completely understand their vision.” She also had Phillips (who also teaches art to students at the Friedel access to their studios.

Jewish Academy) to join her. Their group show was a She built a resume--worked at a law firm, for a veti“smashing” success, with each of the artists selling sev- nary hospital, even for a synagogue. And she got eral pieces.

Cowan actually sold six pieces and left the remaining five with Amy Barker of the BarkerArt residency project at Omaha’s Hot Shops Art Center. A portion of the proceeds from the group show benefitted the David J. Barker Living Memorial Fund for the Arts, which is why this Omaha transplant now living in Glasgow found herself back “home”.

The late Omaha sculptor David Barker taught Cowan the basics. But what he really taught her, was “Don’t doubt your work-especially in public,” Cowan told the Press.

“He also taught me never to question my choice to become an artist, as everyone else will give you a hard enough time and no one will really understand why you’ve chosen such a path.

“He’s the one who taught me how to become a confident artist.”

Though she doesn’t have a formal background in art, in fact, she left Omaha after graduating from Westside High School in 1990, Cowan is so confident--not just about her art, but about others--that she formed BarnGirl Art as a way of including other women artists in her shows.

“I asked David if I could show at Hot Shops,” located near Creighton University on 13th and Nicholas, she recalled. “And David said, ‘No, I want you to go out and get your own show, through your own hard work and then--once you’ve put in Former Omahan Suzanne Horwich Cowan paints in her studio--once a barn-in Glasgow, Scotland. the time--I’ll give you an opportunity.’

“That was the best thing David could have done for involved in Hillel. “It’s not that I was so interested in me. However, he failed to tell me new artists usually Judaism at the time,” she added, “but I liked the don’t start with a solo show; they do group shows and involvement with Israel and the outdoor activities for work their way up,” she added. “He set a high standard college students.” and challenged me to meet it. I’ll forever be grateful to A cousin from Berkeley, CA, had come back from him for that.”

Israel and raved about it. In fact, the cousin was part of So Cowan went back to her Omaha roots and called Livnot U'Lehibanot--an outreach program that first got on someone she knew--Rachel Shkolnick Blum--who Rabbi Baruch HaLevi of Des Moines’ Tifereth Israel just happens to be responsible for the exhibits in the Synagogue--involved with the Jewish community.

JCC Gallery! Not only was Blum excited about having “Once I got back into it,” she continued, “ I wanted her old friend show her work in the Gallery last March to know everything.” for the first exhibit, Cowan also discovered a way to She moved to Israel, spent five months on Kibbutz expand it.

Yavneh near Ashdod and learned intensive Hebrew in “Amy Barker, David’s wife, cuts Eric Phillips’ hair,” ulpan classes. She even became a madricha for the Cowan elaborated. “So, Julie heard through Eric that a three-month Ramah program in Israel, run by the former Omahan, a Scottish-based artist, was in town for Schecter High School in New York for its seniors. A her solo show. Julie phoned me in Omaha and asked stint at Archeological Seminars followed in 1997, where me to teach art at Friedel. With the kids, we focused on Cowan gave tours, lectured on Hellenism, and guided building and stretching canvasses, Abstract youth groups for one-week stays in Israel.

Expressionism, and created two cooperative pieces for It was Israel, however, that gave Suzanne a glimpse the Friedel show which now hang in the Academy.” of her future.

But--let’s pause for a moment. Just who is this Omaha “The first day on the job at Archeological Seminars, native turned Scottish lassie? we picked up three Scottish boys in a jeep,” she Suzanne is the daughter of the late Bruce Horwich, Dee recalled with a smile. “I thought, ‘Scottish? Can’t be Fisher Horwich and the late Skee Fisher. Suzanne’s sib- Jewish.’ And of course, I was wrong.” lings are Julie Widman, Mark, and Danny. It just so hapThe four of them quickly became friends, but she pens that Suzanne spent part of her childhood and her “kinda liked Darren Cowan” the best. Suzanne was later pre-teen years in the home of this writer, from 1975-86. recruited by the Jewish Agency for Israel (through which (Editor’s note: we purchased the house in July of that the Jewish Federation of Omaha makes its Israel allocayear. In fact, this interview took place in the kitchen of tion from the Annual Campaign). “They wanted me to go that home. It seemed only fair to give Suzanne a tour to Russia,” she recalled. “After just a few months of knowand show her the changes that had taken place over ing Darren, I was offered a dream job in Russia. That the years. She laughed when we discovered that she, moment is when I recognized my love for him; it hit me too, had “played house” in the small closet off the like a speeding train. I wanted the opportunity, but the stairs, just like the Katzman children had. “It’s just the thought of leaving Darren was impossible.” right size,” she beamed.)

The two continued working for Fran and Bernie Cowan admits she was like “a fish out of water” in Alpert at Archeological Seminars and later Darren took Omaha. She answered an ad in Town & Country mag- a job with an Israeli radio station.” He dedicated songs azine for an “au pair”, a nanny for an upscale couple to me while I painted at home!” she smiled. in the Caribbean. She did that for a year, moved back The couple took off for Turkey where the two had Continued on page 19 to Omaha and then took off for Seattle, WA.

April 2, 2004

Jewish Press, Omaha, NE

Page 13

Like Daughters, Like Mother

by JOANIE JACOBSON “I tried it as a kid. I remember going to a class in some lady’s basement in Benson a couple times. I’d taken exercise dance classes over the years, but tap dancing...as an adult... in competitions...?

“It just sort of happened,” recalled Sandy Gordon.

“When my oldest daughter Rachel was three, our neighbors invited us to their daughter’s dance recital.

That was it. Rachel was hooked.”

“I couldn’t believe my eyes. There was so much going on, and I loved it all. There she was, my neighbor and babysitter on stage doing what she loved to do. Right away, I knew what I wanted to do. I wanted to dance... everywhere at any time.,’ (From an essay by Rachel, Nov. 25, 2002, Kiewit Middle School).

“When she was 31/2, I signed her up for a class at Studio D and noticed they had an adult class. Me and two 16-year-old girls,” Gordon laughed. “That was the class. By winter break, the girls had dropped out, and I talked another mom into taking with me.

“My first recital was the most frightening experience of my life,” she confessed, “performing in front of all those parents! It was a tap dance. Jazz is easier. Tap is very deliberate. Your foot has to hit the floor to make a sound. The steps are more noticeable because you have to make a sound, but we did it!

“It wasn’t just about performing,” she said. “I didn’t want to disappoint my partner. I couldn’t hide. I wanted my family to be proud of me.

“Maybe it was because I was always a chubby kid...

I had to prove I could do it as a 40-year old woman. It was a lot of pressure. It’s not a private thing. You’re putting yourself on public display. But I made a commitment, followed through and did the work.

“At first, I would never smile on stage,” she laughed, “but one night, the director’s husband yelled from the audience, ‘Smile, Sandy!’ I learned I could smile because I was confident in my competency. I danced.

I had a good time. I loved it enough to keep doing it.

The result has been a lot of self-satisfaction.”

End of story? Hardly. It’s only the beginning ...

Today, Sandy and her two daughters, Rachel, now 13, and Becca, 11, not only dance--they compete!

“Becca wanted to dance,” explained Sandy, “not just because Rachel did, but because she loved it. She quit for a year and just took Acro, that’s a combination of dance and acrobatics...”

“But I missed dance,” Becca jumped in. “I wanted to be in more dances. If I didn’t dance, life wouid be boring. It wouldn’t be fun.”

“And when we started competing, I told the girls, ‘As long as you do your best, it’s only a dance. When you’ve stopped having fun, I stop writing the checks.”

studio means balancing school, Bat Mitzvah, social life, and the rest of life!“ “I try to do homework before I go to dance,” said Rachel. Sometimes I have to stay up ‘til 10 to get it done. I only missed dance three times last year. This year, I have two study halls. That helps.”

“And competing teaches responsibility,” Sandy continued, “--be at rehearsal, be on time, take direction, know the material, have exactly the right costume and accessories. It teaches us to not be selfish--that our actions have consequences, not just for ourselves, but for team members.We learn self-confidence, self-reliance and poise. We even learn to take criticism, but not personally. It’s how we improve.”

“You have to work longer and harder and you have to try to win,” added Rachel. “To me, that’s fun. Sometimes you get disappointed, but you just work harder the next time.”

“It’s not unusual for judges to verbally critique the girls while they’re performing,” Sandy noted. “Nice splits, point your toes, stay together--the girls learn precisely what they’re doing wrong and right at the very moment they’re doing it. Then we go back to the studio, listen to cassettes, look at score sheets and make the necessary adjustments for the next competition. We understand that on any other day, with a different panel The Dancing Gordons: mom Sandy and daughters, Rachel, 13 and Becca, 11, of judges, the scores could be different. taken at their recital in June of 2003.

That’s life.”

“It’s a lot harder than it looks,” said Competing as adults was Sandy’s idea.

Rachel.

“For jazz, you have to be flexible. For tap, you “‘Dancing Dads’ were always in competitions, so why have to be really fast.

Getting dressed can take an hour not us?” she asked the three other moms in her class at sometimes, because we all have to look exactly alike-the time. “We’re going to be there anyway with the costume, eye shadow, blush, lipstick, hair, jewelry, no girls. Nobody says you have to be any good. You just polish, no extra earrings, no tattoos--that’s part of the have to pay the competition fee and show up!”’ judging.”

Not so. The women work as hard as the girls and “The hardest thing for me is remembering the steps,” practice just as much!

Becca admitted. “I practice in my head. I listen to the Lincoln; Kansas City; Branson; Las Vegas; Pigeon music in the car and have the dance go through my Forge, Tennessee (home of Dollywood)--Sandy, Rachel mind. and Becca Gordon have traveled coast-to-coast, living a Rachel agreed. “I practice at home,” she said. “A lot dream and learning a lot. of my friends are on the team, and I don’t want to let “Competitions are about commitment,” said Sandy. them down. And I try to sleep more the night before a “You make a commitment for a year as a team dancer, competition, but I’m usually too nervous or excited.” and you complete the year. It’s not like taking a class Studio D is owned by Vicki Harvey-Sanders. and dropping it. It’s a performance, and you stick it out.

Continued on page 19 Rachel and Becca understand that a commitment to the

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Page 14

Jewish Press, Omaha, NE

April 2, 2004

Omaha’s Indigenous Filmmaker

by LYNDA MIRVISH anniversary and has become a highlyHe spent the summer of 1984 at a in the Central High School’s production Hey, you've made your first movie! respected festival for independent films. Ramah program in Israel where he expe- of Fiddler on the Roof. Perhaps he realHow hard could it be?

New York Times movie critic, Elvis rienced the thrill of discovery when ized then that performing would not be Why not make another, Mitchell has called Slamdance “less than working at an archeological dig on the his forte, but the lure of the entertainor better yet three! a movement, but more than a festival.” Golan Heights. ment industry never left him.

The Fear by Dan Mirvish Mirvish remains actively involved with After graduating with a double major After a brush with movie-dom via a An annual feature at the Slamdance Slamdance as a key programmer, master in history and political science, Dan tour of Universal Studios at the age of Film Festival at Park City is co-founder of ceremonies and web content master served an internship with the political nine, he became seriously interested in Dan Mirvish’s poem. Each year Dan cap- for the annual Park City event. journal, The Washington Monthly, joined film while at Washington University in St. tures the angst, the optimism, the despair Eventually Omaha was screened at 35 Senator Tom Harkin’s staff as assistant Louis when he took a Super-8 filmmakand the creativity of first-time filming class. makers who come to participate in Following one summer at the the “upstart” festival’s showcase of UCLA film school, his mind was new, independent films. made up. Movie-making would be Recently named the seventh best his passion and vocation. film festival in the world by E! Since its release, Omaha (the Entertainment Television, the story of movie) has taken on a life of its own. how Slamdance came to be is, in part It was (ironically) picked up and the story of Omaha’s own filmmaker, shown frequently on the Sundance Dan Mirvish’s quest to be a part of channel and also several times on that quintessential American art Nebraska Public Television. Last year genre--the movies.

35,000 DVDs were distributed with The graduate of University of new DVD players. And the producSouthern California film school, ers are planing a new DVD release to Mirvish recalls, “Everyone was makcommemorate the 10th anniversary ing short films as their thesis projects. of the film’s release.

I naively thought ‘why go to all that Not one to rest on his laurels, Dan trouble to make a short, when you has spent the past few years trying to can make a feature film.’” And thus get other movies made. In 1997, Omaha (the movie), written and Mirvish wrote and started directing directed by Mirvish, was born. the feature Stamp and Deliver until “Not only was this film the first feathe financing fell through five days ture film to qualify as a masters thesis before shooting. project at USC, but it turned out to be He has also written feature materithe first indigenously made, inde- Dan Mirvish directs and operates the camera on the set of his upcoming film--Open House--featuring Joel al for Twentieth Century Fox, Credit: Barry Hennessey. NuImage, Phoenician Films and pendent feature produced in Michaely, left, and Eddie Daniels.

Nebraska,” says Mirvish. film festivals, in the US and abroad, and speech writer, and journeyed through Primary Pictures. In addition, he taught a When his film was rejected by the was released in 32 cities in 1994.

Africa and Europe looking for his class on independent films at UCLA and, Sundance Film Festival in Park City, Dan Mirvish has all the requisite cre- “roots.” The trip by bus, boat and plane as he says wryly, “occasionally someone Utah, Dan and two other disappointed dentials to be a film director: he is the introduced him to mountain gorillas, net- pays me to do my chosen profession.” first-time filmmakers decided to screen son of immigrants, his summer jobs ted him a handful of smuggled “emerHe has even revived a lapsed acting their films at their own festival--which included janitorial work at Joslyn alds” from Zimbabwe, and suggested career by recently playing a rabbi in the they dubbed “Slamdance,”--at the same Museum, a stint at Dippy Donuts, mak- material for an article that later would be yet-unreleased My Big Fat Independent time and in the same city as Sundance. ing hamburger buns at a fast food outlet, published in the New York Times.

Movie, a parody of independent movies.

With more than 2,400 entries this year, telemarketing and dissecting rats at a Dan got his first taste of show biz with Continued on page 16 Slamdance is celebrating its 10th research laboratory. the minor role of Avrum the bookseller

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April 2, 2004

A Talented Father and Daughter Team

by JOAN K. MARCUS “community orchestra” back then. “By the time I got At age 92, Paul Grossman lives with his wife, Joy, in there,” he said, “they had a nucleus of an orchestra.” their own apartment. Although he is beginning to show Joe Levine was then the conductor of the orchestra signs of aging, he has never lost his sense of humor. and he began developing an appreciation for classical He grinned when he told me that he was born at home. music in the Midlands. About this time, a youth orches“My mother was busy cleaning and moving the furni- tra was established and the Omaha Symphonic Chorus ture. I was born and then she continued on with her was established in 1966. cleaning!” he laughed.

Grossman was a member of the second violin section Fast forward to his childhood. His parents, Tillie and of the Symphony during all those early years of develIsaac Grossman, owned and ran Gate City Furniture opment. Other members of the Omaha Jewish commuCompany. He recalls that as an only child, he was on nity who played then inlcuded musicians: Myron his own a lot, and that he began playing violin as a Cohen, Cantor Manfred Kuttner, Tuffy Epstein, Milton youngster. He attended Cass School and then, when Marcus and Willis Ann Ross, who just retired in 2002 the family moved further west to 18th and Chicago, he after 38 years as a flutist with the symphony. went to Franklin School.

Grossman quips, “I’ve thought about it quite a bit and Paul always loved to play the violin. He studied with I don’t know why they let me play for so long. I never famous Omaha violin teacher, Frank Mach, who had did think that I played very well.” produced many violinists in the Omaha area.

He played well into the 1970s, when Yuri “At one time, I took two lessons a week but,” he teased, “I still never learned anything!” He did, however, manage to become the concertmaster of the Central High School Orchestra in about 1928.

As a student at the University of Nebraska at Lincoln, Grossman began playing in the college orchestra. “It was part of my foolishness that I dropped out of the orchestra,” he smiled, “because I didn’t want to take the time to practice!”

He graduated from UNL in 1932 with a bachelor’s degree in journalism. “After college, I bounced everywhere for a while-California and then to Texas. I got jobs wherever I went,” he recalled. “While in California, I was working at a small loan company and I was planning to go to New York when I got a letter from my mother.”

Tillie Grossman told her son that he needed to return to Omaha because the people at Union Outfitting Company were offering him a job in their credit depart- This photo originally appeared in the Omaha World Herald, July 11, 1971. Taken by photogment. rapher Ed Rath, the photo shows the “merger” of the Air Force Blue and Symphony Gold “That would have been groups in a concert. Paul Grossman is the violinist at left; Julius Hornstein on trumpet and fine except that Mr. Levine Thomas Maides on clarinet represent the Omaha Symphony; Lt. Col. Jimmy Roland, left, of at Union Outfitting didn’t the SAC Band, is the conductor. know that they had offered me a job!” he laughed. “When I got back to Omaha, Krasnapolsky came to be the conductor. In 1975, there was no job! I turned right around and went to Thomas Briccetti was named conductor and music Santa Monica and went to work at a loan company. director and began the task of developing a true proAfter a while, the company moved to Dallas and I went fessional orchestra. right along with them.”

Since Grossman was an independent insurance agent He returned to Omaha in 1939, where he met Joy in his “real life”, he quit playing in the orchestra shortMonsky at a party given by a friend. (Joy is the daugh- ly after Briccetti’s arrival. He spent much of his career ter of the late Henry Monsky--attorney, President of the working for H.A. Wolf Company and then Joffe, Kully Jewish Federation of Omaha, and International and Grossman, which later merged with the GracePresident of B’nai B’rith. In addition--Monsky helped to Mayer Insurance Company. found this newspaper--in 1920.) Rabbi David H. Wice He did not retire from the insurance business until his married the couple at the Monsky home at 90th and 84th birthday!

Dodge--virtually in the country at the time.

The family did, however, decide to create somethingBy the way--Rabbi Wice came to Temple Israel in -quietly of course--that would benefit the community.

1933 and was not promised any salary. The board of In 2001, after reading stories in the Jewish Press about Temple said that they would “try” to pay the rabbi $150 Jewish families in need being helped by Jewish Family a month!

Service (not-so-coincidentally written by Pam Monsky, After many years of not playing violin, Grossman Federation Communications Director married to Henry began to practice again when his daughter, Fran, was Monsky’s namesake), the Grossmans--Paul and Joy-in fourth grade. created an endowment fund with the Foundation of the “Dad picked it back up again because I was taking Jewish Federation of Omaha, to benefit the programs flute lessons,” Fran related, “and I needed someone to and activities of JFS. help me with my music lessons. We would practice in Their daughter Fran noted that the investments and the basement together.” the purpose of the endowment would be compatible In about 1958, Grossman began playing in the with her parents’ values and motives.

Omaha Symphony. The symphony was more of a Continued on page 16

Jewish Press, Omaha, NE

Page 15

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Jewish Press, Omaha, NE

April 2, 2004

Omaha’s Filmmaker

Talented Team

Continued from page 14 particular sunny, weekend afternoon, realtor Barry Undaunted, Mirvish is currently completing Open Farnsworth (Anthony Rapp) is showing his own dream House, a musical comedy. He calls Open House “a true open house, a beautiful buy currently owned by the triumph of the independent spirit. No trailers, no spe- Tibbetts--Sarah Jane (Ann Magnuson), Marvin (Dan cial effects, no production office other than my garage. Hagen) and their son, Joey (Jake Fernandez).

However,” he conceded, “it’s not easy The day is filled with potential buymaking a musical for about the same ers‹Ron Tucker (Robert Peters) and budget as Catherine Zeta-Jones’ cell Gloria Hobbs (Hedy Burress), the beat phone bill on Chicago! cops looking for a place to continue “Originally the film was to be a their illicit affair; Debbie Delaney (Kellie straight-forward narrative, but for various Martin) and Joel Rodman (James Duval), reasons,” explained Mirvish, “after Sept. the two lovebirds whose tricky game of 11, my writing partner, Larry Maddox, ‘sexy swiping’ move them from one and I decided to turn Open House into a open house to another; Marjorie Milford musical. Our reasoning was that in times (Sally Kellerman), is the beautiful if of crisis, America (and the world) turns slightly drunken real estate agent to song‹ and loves musicals! And since so matron, and Dave Torkenson (Jerry many actors started in musical theater, I Doyle), the down-on-his-luck jewel thief reckoned that we’d have a greater shot who is about to have the most unexat attracting some top-notch actors to the pected day of his life. project if we gave them a chance to sing “In Open House, however, nothing is on the big screen.” as it seems. A past, a beginning, a new This assumption proved correct and love, an old love, real estate sex, and the Open House showcases an ensemble cast heist of the century all collide in one of both well-known and up-and-coming glorious moment of choral excess. Real actors of film, stage and television, estate will never be the same.” including: Sally Kellerman (Oscar nomi- Omaha (the Movie) was Mirvish’s While Open House was shot in and nee for M*A*S*H), Anthony Rapp (A first film; he’s currently working around Los Angeles, a little bit of Omaha Beautiful Mind and Broadway’s Rent), on Open House in California, creeps into the movie with a scene Kellie Martin (ER, Life Goes On), and ex- where he lives with his family. filmed in an Omaha Steaks store in Los Omahan Don Schwartz [Omaha (the Movie)].

Angeles (courtesy of Todd Simon). As Mirvish says, The film, which was screened as “a surprise work-in- “you can take the filmmaker out of Omaha, but you progress” at the 2004 Slamdance festival, takes a can’t take Omaha out of the filmmaker’s film!”

Gilbert-and-Sullivanesque look at the real estate market The fondest wish of his parents, this writer and Dr. with patter songs, dancing and convoluted twists and Sidney Mirvish is that with a whole lot of hard work turns leading to an unexpected denouement. “It was and a good helping of luck, Dan may one day join the very well received by this particularly discerning audi- ranks of such Nebraska show-biz legends as Henry ence of festival-goers and critics,” Mirvish adds.

Fonda, Darryl F. Zanuck, and Johnny Carson.

Mirvish offers the following thumbnail description of Dan and his pediatrician wife, Rachel, live in Culver the plot: “Houses across the nation open their doors City (a stone’s throw away from Sony Picture Studios) each weekend to the ‘looky-loos’ who owners hope with their two children, Rebecca and Jonathan. will cross the line and buy their dream home. On one

Continued from page 15 Paul Grossman continues to love music and is an avid opera and classical music fan. Although he still insists that he wasn’t a good musician himself, he does admit that he enjoyed his years in the Omaha Symphony.

Fran Coren inherited her father’s love of music. She played in the youth symphony and followed in her father’s footsteps by playing in the orchestra at Central High School. Fran recalls attending concerts of the Omaha Symphony while she was still in high school.

“Music was a big part of our lives,” she asserted, “and Dad played in the Omaha Symphony for almost 20 years. Many of the people in the orchestra were people who lived and worked (in other professions) in Omaha.”

Coren continued her musical career in the symphonic band at the University of Michigan, where she received a degree in elementary education in 1967.

After taking a break from playing, she was asked to play in the Nebraska Wind Symphony when it was organized in 1977.

In 1969, she met Omaha attorney, Meyer (Mickey) Coren on a blind date. “I was teaching in California and I came home and met Mickey over winter break,” she smiled. “I came back to Omaha and got a master’s degree at UNO in teaching reading.”

They were married in 1971 at Temple Israel and have two daughters, Lisa and Julie.

Fran recalled one particularly funny story. “Dad and I played together regularly in the basement,” she related. “One time, we couldn’t get the flute in tune. He kept trying to tune it to his tuning fork--which was probably sharp. So, Dad took my mouthpiece, put it in his vise, and sawed off the end of it just a teeny bit so I could push it into the flute a little more!” she laughed.

“That was fine until I got to Michigan and my professor said, ‘No! you’re not going to be able to play that flute!’” she added. “I got a new flute, but Dad still has the tuning fork.”

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April 2, 2004

Mother and Daughter Share Talent

bY JOAN K. MARCUS her own artwork.

Although Molly Needelman is still a teenager, she is After Howard went on to a pediatric residency at the respectful and loving to her mother, Laura-Lee. The two University of Michigan at Ann Arbor, Lee pursued and women laugh and compare their artwork--each com- obtained a masters degree in art from Eastern Michigan plimenting the other. They have a unique love and University. At the same time, she was assistant curator admiration for each other as women and as artists! of art history at the university.

Laura-Lee (Lee) Larson Needelman was born in 1950 “Since I wanted to grow as an artist, I took courses in Sunbury, Pennsylvania, to Muriel and Gilbert Larson. and did twice as much work as they required. I ended Her father was an electrical engineer in the manage- up working as many hours as Howie!” she laughed. ment end of the business, a forerunner of working with “We both wanted education and it helped us to grow!” microwave energy and color television.

In 1979, their daughter, Sarah, was born. The family Lee remembers her parents as being artistic and cre- moved to Cincinnati where Dr. Needelman did a felative. “Wherever we lived, my father designed our lowship in neonatology. They returned to Chicago recreation rooms,” she recalled. “They had recessed where their son, Josh was born in 1982 and Molly in lighting, pop-up bars, and inlaid floors that had hi-fi ’85. The family moved to Minneapolis in 1986 where back in the fifties. He was creative and playful with they lived until they came to Omaha in 1990. what he did and my mother was very artistic. She hand Lee’s work has been shown at the 13th Street Gallery painted china and did oil paintings with no formal in Omaha, the Antiquarium, and the Museum of training.”

Nebraska Art in Kearney. She won a Special Juror’s Her family “was very academic,” according to Lee. Mention in 1994. Much of her artistic work can be seen “My brother is a professor at MIT who has written lots in programs and special event booklets at Temple of textbooks and my sister works for Social Security.”

Israel. It is always a treat to receive special high holiBecause she was always so involved with academics, day greeting cards from the Needelman Family with Lee admits she didn’t have samples of Lee’s art. a lot of “respect” for art.

Unlike other families, During her last semester the Needelman children of high school, however, always had books and art she took an art course and supplies. Lee remembers was immediately noticed that Molly seemed to by her teacher, who sug“stick to” her projects. gested Lee pursue a schol“When other kids came arship for the Chicago Art over to play, Molly Institute. would stick with her art Although she was flatbooks. She has always tered, Lee said she had been my partner in art not been brought up to projects.” pursue a career in art.

When she was in secShe entered the ond grade, Molly began University of Illinois as taking art classes. As a “an undecided liberal arts senior at Westside High major,” leaning toward Above: Molly, left, holds one of her paintings and she and her School, she remains mathematics. But, during mother, Lee, stand before one of Lee’s pieces of art. Below: Lee friendly with some of the the second half of her and one of her watrcolors. students from those sophomore year, she classes. Between seventh decided that she would and eighth grade, she use artwork to learn to went to Olin-Sand-Rubyexpress herself.

Union Institute Camp in “I thought that maybe I Wisconsin, where she could use art education spent up to 14 hours a as a way to help other day reading modern bright kids enjoy art,” she Hebrew poetry. Campers mused. “Therefore, I then came up with their would be doing someown concepts of how to thing useful.” illustrate these concepts.

Her decision to pursue “If we came up with her love of art was a an idea that was beyond fruitful one. She learned the grasp of the camp,” the vocabulary and Molly explained, “we began to “play with” a lot were told to ask our of things. “For someone instructors to find the who didn’t have a lot of materials. It was an formal artistic background, I got the opportunity to take artist’s heaven!” sculpture classes with Frank Gallo, a well-known sculpOne of Molly’s accomplishments is a mural she paintturer,” she explained. “There were wonderful classes ed on the wall of the children’s room at Temple Israel where I learned anatomy for art. I loved it with a pas- for her Bat Mitzvah project. The mural, combined with sion! It was a delicious, sensual thing to do!” words from the parasha, illustrates many animals. It is During her junior year, Lee met the best friend of one centered by a “tree of life.” Lee served as a mentor and of her best friends! He was introduced to her during a art educator for her daughter as Molly completed the casual meeting in a parking lot. He later called her and project. his first words were, “Why in the hell would anyone “It was an incredible experience to have freedom want to major in art!?” with a paint brush at Temple,” Lee smiled. “The project Lee admits that she liked Howard’s straightforward just developed and Molly designed it. There’s a lot of approach toward their relationship. “I liked him wonderful things in it and she did it all.” because I was tired of all those dumb dating games At age 18, Molly studies in an independent art class where you couldn’t talk. His attitude toward art was the for computer design. She is thinking of a double major same that mine had been for all of those years,” she for college that will incorporate her love of art and has recalled, “so I couldn’t fault him for that. applied to 14 colleges. She continues to be an excellent “After Howie’s call, I looked up on my wall and there student at Westside, where she is a member of National was a sign that said, ‘Today is the first day of the rest Honor Society, serves on the yearbook staff as design of your life.’ I knew that I could talk with Howie like I manager, and volunteers in French and service clubs. had never talked with anyone else!”

Lee and Molly Needelman share a special relationship Lee graduated from the U of I in 1973 with a bache- with their love of art. lor of fine arts degree in art education. That same year, “Drawing and painting are activities of the moment,” she married soon-to-be Dr. Howard Needelman. He Lee mused. “The past is forgotten and the future is attended Rush Medical School in Chicago, while Lee happening before you know it. With the next planned taught art to children in grades four through eight. She brushstroke, the mixing of color as the hand catches up developed her own curriculum and found ways to do with the eye--the act of painting continues!”

Jewish Press, Omaha, NE

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In the World Continued from page 5 library. People say her enthusiasm and energy are “We accumulated a bunch of books and decided that infectious because she never seems to let illness or we would try to make some money from a sale,” Bess minor mishaps immobilize her.

Brodkey recalled. “The first sale made around $3000.

Her interests have been wide and varied. She has Proceeds increased annually and, when I quit, we were always had a large garden and she has played bridge making $30,000 a year! People looked forward to the and mah jongg. She was a member of the Omaha sales, but at first, we didn’t even have any bookshelves Symphony Guild Board and served as President of Beth when we started!”

El Sisterhood. She was also President of the Dundee By 1990, more than 50,000 books were donated and Elementary School Parent-Teacher Association and the the sale generated nearly all of the money the Friends Children’s Theater Board before it was named The of the Library contributed Emmy Gifford Children’s over two years. The books Theater. In 1985, she was were then computerized recognized by the Emmy and catalogued. It was after Gifford Children’s Theater this that Bess was named for her work “as a faithful “The Library Lady.” She also volunteer.” ran a “personal shopping Although she has never service” for people who wanted to live anywhere were looking for “hard to else, Bess has traveled the find” books.

United States from coast to In 1991, when Howells, coast and has visited Israel, Nebraska, was ravaged by Europe and China. She says floodwater, Bess helped that the Omaha climate is replenish their city library. “invigorating” and that Only 400 books survived Omaha has good libraries the flood, but she made and all of the culture that sure that the Friends of the anyone would want.

Omaha Public Library In 1994, she told The donated several thousand Jewish Press, “I think we’re books to the Howells’ in this world to help others. library.

It’s a small effort that I have Bess has never lost her made, but it gives a little enthusiasm for her work-meaning to life to help othwhether it be quilting, Bess Brodkey shows off one of the many pieces of art she’s ers. It has fulfilled me!” painting or working in the created.

Lucky us, lucky Omaha!

Nothing Negative About This Photographer Continued from page 6 dressmaker dummies. I’m attracted to the form, so Ellie discovered more than love in Italy. “At the Uffizi female yet unidentifiable. They definitely bring my in Florence I saw Adoration of the Magi by Da Vinci. mother’s presence into the space.”

His technique of sfumato-- the atmospheric quality of It was in this space that Ellie began a very personal fine haze and semidarkness of this unfinished painting project.“I had never made art that dealt with the --has resonated in me all these years. I’ve torn and lay- Holocaust until two years ago. At the time, I was workered my sliver gelatin photographic prints, smeared ing on a design for a competition titled ‘Aprons’. I was and blended black and white oil sticks on the surfaces, stuck and getting increasingly frustrated, until I looked attached Polaroid prints, and then attached all of this at what was directly in front of me on one of the dressonto canvas. The results are a textural surface much maker dummies--an old blue floral print apron of my like tapestry. This work is the focus of my current mother’s. exhibit, scheduled to hang at The 13th St. Gallery this “After that light-bulb moment I re-read the affidavit of April.” an oral history interview my mother did when we went Ellie’s upcoming exhibit is just the latest of many to the First Holocaust Gathering in Israel in 1980,” she she’s mounted on the East Coast, in Chicago and added. “The words were so honest--it was her voice, Omaha. Her J. Doe--Setting America’s Table--was sponthe way she sored by ConAgra Foods, and stood in front of spoke withthe Omaha Chamber of Commerce office in out editing. the Old Market.

Right then She is an approved artist with the I decided Nebraska Arts Council and offers my comperesidencies in local schools. tition entry Before she, Lennie and their would be daughters, Talya and Gallit, a facsimmoved to Omaha in 1997, ile of Ellie received her MFA in Mother’s Photography from apron Clemson University. She with her taught graphic design as story included well as fashion history and on it. illustration at Camberlayne “I spent frenJunior College in Boston, created zied days scanwrapping paper and box designs for a national card com- Greenspoon’s beaded dreidel, left, and her project, ‘Magda’s Recipes for Survival.’ pany, started her own business--Second Story ning, downloading, enlarging and printing the negaGraphics--and, during her 12-year tenure at South tives onto one of my mother’s old tablecloths, and then Carolina’s first high school for the gifted in the arts, she cutting the work up and sewing it all back together in built an award-winning photography program that a cubist fashion. exposed students to every kind of camera, from pin“I called the piece, ‘Magda’s Recipes for Survival’. It hole to Polaroid. won an award. My contribution to Holocaust art Her “Uncommon Dreidels” are sold at the Jewish seemed fitting. I only wanted to add to the field in a Museum in New York and at Kolbo Gallery in Boston. way that was meaningful to me,” she insisted.

Most recently, Ellie organized artists to form the Ellie Greenspoon’s art is meaningful to others, too. So Art:Mark-It, a hands-on art activity for birthday parties are her words, which--like her mother’s--are honest and other occasions. (www.hotshopsartcenter.com and sound just like her. Perhaps it’s in the nature of an /classes) artist to reveal secret parts of herself. But Ellie has Ellie’s father died suddenly in 1987. In 1997, she lost boundaries she won’t let us cross. her mother to cancer. During this low point, Ellie took “I’ll talk about anything except my dress size and my refuge in her studio. “It’s my sanctuary, filled with shoe size,” she laughed. “I ain’t going there!”

April 2, 2004

Jewish Press, Omaha, NE

Page 19

Wee Lassie

Like Daughters, Like Mother

Continued from page 12 one-year contracts at a school and where Suzanne picked up her interest in art again. Not that she had a choice!

“We lived in a small house with no television and I couldn’t understand the radio,” she said. “Plus, women do not go out alone in Turkey.”

“We knew we were well suited because we travelled together,” she added. “If you can travel to so many countries that are out of your comfort zone and everyday is a challenge, you know you have a great partnership.”

Darren Cowan and Suzanne Horwich were married in Glasgow, Scotland, in January of 2000. His family owns a business there and Darren works as a sales rep for a manufacturer of high-end musical instruments. Suzanne used to travel with him to Ireland and Europe, but she’s too busy now perfecting her craft.

“I’m a member of the local camera club,” she added. “I’m always looking to expand my knowledge on various mediums and have most recently joined a print making studio.” And she continues to take classes at the Glasgow School of Art. Her BarnGirlArt is a priority, too. “We’re hoping for a six-person show in Omaha in 2005,” she noted.

Today, she is confident about her art.

The lessons David Barker taught her in Omaha years ago have turned her into an art entrepreneur.

And maybe she comes by it naturally.

The late David Lazarus, whose handcarved mezuzot grace the doorways of Jewish institutions here, was Suzanne’s uncle. “I’ll be back!” she promised. “I’m on a personal quest to make the JCC Gallery one that people frequent and respect.”

Continued from page 13 “Rushing,” Sandy answered. “Life is hectic. You have to be “I don’t criticize my girls when they get off stage,” said incredibly organized--costumes, make-up, jewelry, hair, packSandy, ”that’s Vicki’s job. I praise them for a job well-done if ing, travel arrangements. If one girl forgets one accessory, it they did their best and always let them know I’m proud of counts against the whole team in competition. It can get pretthem for doing what they do. ty intense, but it’s worth it.”

“Vicki’s students learn more than just a dance,” And it shows. Intensity, hard work and an unwavering sense she continued. “She’s very strict about manof commitment seem to agree with all three ners. ‘Look a teacher or judge right in the Gordon girls. Sandy had some recital videos eye’ and say ‘thank you. Dress appropricued up, and the proof was right there on ately out of costume. Clap for other kids. the screen.

Never boo another studio.

During the interDon’t bad-mouth other view, both Rachel and kids.’

Becca had been fairly quiet “Good sportsmanship and stage and softspoken (perhaps etiquette are as important at Studio D as that’s because it was an interview). But good dancing. As a mother, I really apprewhen they danced? Look out! ciate that.”

They burst on to the stage with a Sandy also emphasized, “There are no smile bigger than their face, energy winners or losers. Everybody comes home enough for three dancers, and a selfwith something--a ribbon, a pin, buttons, a assuredness that was both infectious and spirit award...the studio gets the trophy. inspiring and very entertaining.

It’s all about fun. I just want my Rachel said it all--“When I dance, I daughters to have a good feel really happy.” time and make good And how do the friends. When we look girls feel about sharing back, I want it to be a the limelight with their wonderful shared mother?

Sandy Gordon, right, and her tap dancing partner, Christy Hatter. memory--‘Mom “I like Mom dancdanced, we danced, and we had fun together.”’ ing,” said Becca.

Sandy explained that recitals are very different than compe“Mom works really hard, too,” said Rachel. titions.

“We’re proud of her,” they both agreed.

“Recitals are like being in a Broadway show,” she beamed.

“Hopefully, I’m smart enough to know when to quit,” said “It’s four hours that seem like 10 minutes. From the moment Sandy. “Just in case I don’t figure it out myself, I’ve made a you walk into the backstage area with your dance bags, it’s an pact with the ladies I dance with. They’ve promised to look me incredible high. You’re performing for family and friends. right in the eye and say, ‘Sandy, it’s time.’ Of course, if they You’ve done your dance dozens of times. There’s no pressure, don’t, I’m sure Becca and Rachel will” no judges, no critique...

Speaking as a casual observer, I wouldn’t bet on that day “It’s almost like a big party,” she said, “(actually, there is one coming any time soon. “The Gordon Girls” are having too afterwards). The pace, the adrenaline, a neat sense of accom- much fun! plishment, a chance to let your hair down. There’s nothing like Sandy is the wife of Dr. Bruce Gordon and also the mother of two sons, Benjamin Gordon and Russell Bennett. it.”

So, what’s not to like?

Page 20

Jewish Press, Omaha, NE

April 2, 2004

The Unsinkable Manya Nogg

by LEO ADAM BIGA Who am I this time?

It’s a question brassy, breezy Manya Nogg might well ask given the chameleon-like life she leads and endless ways she reinvents herself. There’s Manya the wife and mother, the entrepreneur, the writer, the teacher, the motivational speaker, roles that overlapped her work as a makeup artist, television crew member, ad agency hack, city film commissioner and race horse owner.

In her current guise as founder-manager of the talent brokerage house Actors Etc., and of the dramatic presenting group Theater-to-Go, both of which she operates with her son, Randy, she wears many hats in trying to please clients and audiences alike.

A day-in-the-life of Manya Nogg is sure to find her working the phone and perhaps rounding up human or animal talent, scouring salvage or thrift stores for one-of-a-kind props, searching far and wide for just-the-right locations, organizing-designing events and maybe even filling-in for an actor unable to go on.

She’s a whirling-dervish, hell-onwheels, one-woman band with enough chutzpah, guile and wit to hold her own with anyone. Whether hanging with Teamsters on a set or meeting with button-down execs in a conference room, she can joke, quip and swear with the best of them and outlast them pulling allnighters.

All of which brings us back to, Who is Manya Nogg anyway?

“Anchor me down, honey? It’s like trying to catch the wind,” she tells a visitor to her Omaha home. “You can call me a

broad, you boarded the can call me train to fat, but if you California as call me old, I another starrywill find out eyed Midwest where you girl pursuing live.” silver screen A clue to dreams. what makes “I graduated her tick is the on Friday and joy her varieleft for gated work Hollywood on brings.

Sunday,” is “Being able how she to take an describes the idea and start of her bring it to adventure. She fruition...to was only 17. fulfill your And the shy own artistic girl known vision...to then as “Doc” have an idea Manya Nogg and “Bob”, the mummy in Mummy, Dearest. was following Photo Credits: L. Randall Nogg through and see on where you can go with it, that creative her long-held ambition “to be an actress.” part of taking something from nothing Aside from a one-time desire to be a has always been very exciting to me. I nurse, Nogg’s what-do-I-want-to-belove that.” when-I-grow-up visions were always Actors Etc. is nearing its 30th anniversary golden-hued, like her wish to be a proas a media production supplier furnishing fessional ice skater. “I don’t march to the producers of commercials, TV movies, fea- same drummer as a lot of people,” she ture films and industrials with everything insists. from actors and crafts people to props to Her movie aspirations were fired by the caterers to location scouting services. hours she spent watching movies, espeTheater-to-Go presents live performances cially at the neighborhood Lothrup of original Who-Done-It mystery party Theater, where her parents deposited her games and TV-movie parodies at recep- once a week while they played cards with tions, conventions, meetings and seminars. the theater’s owners across the street.

Her search for new identities began dur- There, in the darkened cinema, basking in ing the post-World War II boom, when no the glimmer of bigger-than-life images sooner did she graduate from Central High emblazoned before her, a young girl’s School than the former Manya Friedel show business dreams took flight under

the spell of stars like Bette Davis in Now, Voyager and character actresses like Agnes Moorehead in The Magnificent Ambersons and Judith Anderson in Rebecca.

But Nogg, who grew up an only child of practical parents that owned both a garage and the Omaha Broom Company, was not putting her eggs all in one basket. In school, she learned a more downto-earth facet of show biz that became her backup for breaking into the movies.

“Central High School had a marvelous theatrical makeup department and I just fell in love with it,” she says. “I started taking stage makeup and it became so much part of me I ended up becoming the student makeup mistress. I did this for three years.

“As a matter of fact, the teacher got married during the school year and was gone a week, and I taught the class.”

Still, she had little more than pluck when she made the trip west. Amazingly, her parents let her go without much of a fuss.

“In retrospect, it kind of blows my mind they let me do what I did,” she laughed. “It took a lot of guts.”

Easing their fears was the fact Nogg would be rooming with a friend who’d earlier ventured out there. Soon after arriving, reality set in. First, a Hollywood strike was on, meaning jobs were scarcer than usual in a ruthless town filled with wannabes. Next, she was unschooled and unprepared for the ins-and-outs of getting noticed. She had no agent, no head shots, no nothing except her naked ambition.

Embarking from the one-room apartment she shared in “a not so good part of downtown L.A.,” she made the rounds at Continued on page 21

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April 2, 2004

Jewish Press, Omaha, NE

Page 21

Unsinkable Continued from page 20 the studios and the central casting office and “found out right away” she “couldn’t get in for an interview or audition” as an acting hopeful. Worse, she discovered women were shut out of makeup artist jobs and instead confined to hair stylist jobs, but in order to qualify she needed “a hair degree” from a cosmetology school, which she didn’t have.

Then, her beating-the-pavement paid off when she wandered into the offices of something called Stage Eight Productions, which turned out to be her gateway into the embryonic but soon-tobe burgeoning TV industry.

“Its head, Patrick Michael Cunning, was literally one of the pioneers of television in this country. He had one of the first production companies. He was one of the first directors. Edgar Bergen was a partner,” says Nogg, who didn’t know any of this when she arrived. “They were over on Sunset (Boulevard) and I walked in; Cunning was looking for a production assistant. The fact I knew makeup appealed to him, so I went to work for Stage Eight. It was the Harvard of experiences. They wrote and produced everything themselves.”

Under Cunning’s guidance, Nogg did makeup, film editing, writing and assistant directing for some of TV’s earliest live dramatic programs, including its signature series of Tom Sawyer shorts, which were first done live and then redone on film. The films’ players worked as an ensemble troupe.

“I was blessed that he let me write for them,” she mused. “What I would do is...be at every rehearsal and take down everything in short-hand, and go home and distill a script they would all be a little familiar with. They worked so well together they did not need tons of rehearsal. They could take my skeleton script and improvise. Then, eventually, I got to direct the Tom Sawyer Kids.”

She counts Cunning among the “mentors” she’s been “lucky enough to have” who were “so professional and taught me so much about the business.”

The only drawback was the less-thanliving wage paid! Cunning allowed her to get the acting bug out of her system and to find her true creative calling behind the scenes.

“He knew I wanted to be an actress and he let me do some acting. I was doing a dramatic scene once that called for me to go from frightened to hysterical,” she recalls. “Well, I ended up being hysterical, not from anything in the scene, but because I realized I didn’t want to be the very thing I went out there to do. I was introverted and shy enough, and nobody knew this, that I wasn’t comfortable sharing ‘me’ or putting myself out there. That’s when I went behind the camera, and I loved it. I love being behind the camera.”

Although Stage Eight proved a good “training ground,” Nogg became “frustrated in California” with the low pay and her inability to “make a dent in the film industry” and she sought a new start in Chicago, where she worked at Paramount Pictures-owned WBKB-TV, “one of the first genuine television stations in the country.

“By then, they were doing really hot stuff. They were on the air pretty much all day long. Kukla, Fran and Ollie started there. Marlin Perkins’ Zoo Time, the forerunner of Wild Kingdom, started there. I was technically a publicity assistant but my duties spilled over into working as a film editor, makeup artist, assistant director and writer. I did live interviews from Arlington Park.”

Life then threw her a curve when her

father died. After a period of mourning in Omaha, she went back to Chicago, but soon returned here to be with her mother.

With experience gained in Hollywood and Chicago, the indefatigable, unsinkable “Manya Brown” had no trouble starting over and selling herself again.

In quick succession, she nabbed jobs at Universal Advertising and KBON Radio and snagged a husband in businessman Alvin Nogg, son of the late Nathan Nogg, whose Nogg Paper Company is still going strong. She raised the couple’s two children, Randy and Sharon, and took part in managing some of her husband’s many other business interests, including the company that became Lancer Label and the family’s stable of racing and show horses.

From the 1960s through the early ’70s, she whet her creative appetite by doing makeup, props and costumes at the Omaha Community Playhouse and by working as a Docent at the Joslyn Art Museum. The Noggs numerous civic activities extended to the downtown Kiwanis chapter, which her husband headed, and to the Knights of Ak-SarBen, where the couple’s daughter, Sharon, was a princess.

All this time, Nogg kept her hand in the media world as a freelance makeup artist and jack-of-all-trades in support of local commercial/industrial shoots. Her wealth of experience and keen networking skills gave her contacts in theater, TV/film production and the service industries that few others could match.

When a TV client called with what seemed a tall order--“He said, ‘I want a guy to be able to walk around with a sandwich board on, but I want it to be a vault that will open up and that kids can reach into and grab candy’”--Nogg replied, “I’ve got just the guy for you.”

That guy was Tom Casker, then-set designer for the Omaha Community Playhouse. She called and a conversation ensued with Casker’s wife, Diane Casker, who was also working in local film production. “By the time we got done talking, we had formed a new company. Among she and Tom and me, we had done everything.”

Nogg and Diane Casker formed Illusions Unlimited, the predecessor of Actors Etc. “She was a wonderful gal, and we did magic together,” Nogg says of her late partner. She recalls that as women officing from home they encountered flak from the then-male-dominated ad agency ranks until they unloaded with some straight talk.

The intent with Illusions was to offer location services for out-of-town and local production companies. To announce themselves with more pizzazz than the usual card or brochure, the partners stole an idea from TV’s “Mission Impossible” by recording a dramatic pitch on an audio playback machine, complete with a mock self-destructing tape, and delivering it to prospective clients.

Nogg explains, “Our recording went, ‘Dear agency director...this is your mission, and should you choose to accept it,” and it said who we were and how we could be contacted. Then, at the end, and I don’t know how he did it, Tom inserted a powder package and when the tape ended, smoke poofed out. We could only afford one tape recorder, so we dropped it off one company at a time. We called a day or two later to ask if we could come visit. And, of course, we had hooked them with that.” Nogg says she and Casker only had to pull the stunt a few times before bagging a big client.

Continued on page 23

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April 2, 2004

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by JOAN K. MARCUS “About 10 years ago, there was a Trustin family was a wonderful program and the faculty consisted of reunion in Omaha,� Jeff Taxman told me in a recent all the ‘movers and shakers’ from the theatre world.�

After receiving the MBA in 1979, he moved to New interview. “My grandfather was an engineer and a member of the original survey team that surveyed the York City, where he was the general manager of severUnion Pacific Railroad. He had come from Russia and al art organizations. Among them was the American supported his family by boxing and working at the rail- Dance Machine, a group that recreated all of the original choreography from musicals such as Camelot, road.�

Harry Trustin was a tough guy who ran for city coun- Carousel and Fosse.

In 1979, Jeff visited Omaha for Passover and his cil when some friends of his were killed by the gangs and bootleggers of the twenties. He ran so that he cousin, Mark Trustin, invited him to attend a “singles� party at Temple Israel. It was there that he sat down to could keep these people out of Omaha. “He died right before I went away to college,� play the piano and sing and attracted the eye of Sherry Taxman added, “but, he had a great impact on my life.� Foster. “I’m really lucky because Sherry was and is At that very same reunion, Taxman met relatives who excited about what I do,� he insisted, “and she has are performers, artists and actors whom he had never always been supportive. She loves the theatre because known. “Clearly, the genes for art and music are there she grew up in New York!�

They were married the following year and he added and that explains my love of music and acting!� he laughed. This, combined with the artistic strain in his that “Sherry is not shy about criticizing what I do. She mother’s maternal side of the family (the Adlers, has a wonderful eye and doesn’t hesitate to tell me Barbara Trustin Taxman’s mother’s family) adds weight what’s good--and what’s not-so-good in whatever show I’m doing!� to his “artisic gene� theory.

Although they had planned to live in New York, Jeff His mother is an accomplished pianist and he recalls that “she was wonderful. It was great for me when I says, “We were looking for a house, but I decided that was studying voice, because I had a ‘built in’ accom- maybe Omaha wouldn’t be such a bad place. The big, long commutes just didn’t seem right for a family.� panist.�

At the time, he was the general manager of the Taxman had piano and voice lessons at a very early age. “Whether I exhibited talent or not,� he smiled, “my Brooks Costume Company. “A bunch of my buddies parents thought I should be having lessons. And, when from graduate school decided I needed to get involved you’re a kid, you get lots of good feedback and atten- in something where I could make some money,� he tion, so I kept doing more. My parents were always laughed. “So, these guys dressed me up in a blue suit and hooked me up in the finance department of hugely supportive!�

When he was nine, his father, Marvin Taxman called Metropolitan Life Insurance.�

According to Jeff, “They told this guy a big story the Omaha Community Playhouse and said, “I’ve got a really talented kid!� Ken Wilson, then director of the about this brilliant finance guy and set up an interview playhouse, told Marvin, “We’re doing the musical Bye, for me. By the time I got there, the guy jumped up and Bye, Birdie! and I have a part for a 10 year-old. Bring said they had a place for me, but there were limits on starting salary! (They offered me him down on Sunday to audition!� five times what I was making!) The Marvin answered, “He’s going to whole thing was really a hoax but I camp on Sunday.� Whereupon had been launched into the world Wilson answered, “Then, bring him of finance!� to the adult audition on Saturday.�

Taxman is now managing partner “Here I was at the adult audition of Xelan, a financial company that and wandered up on the stage and works only with doctors, dealing in sang, ‘The Girl That I Marry!’ tax reduction and money manageTaxman grinned. “The whole place ment. Sherry, also a partner, is dissolved into laughter because involved in the business. such a young kid was singing that “She’s in a national leadership song. I didn’t know why they were role with the company,� he said laughing, so I just kept on singing!� proudly. “Sherry is a very gifted, Needless to say, Jeff got the part! remarkably bright soul and I think He remembers being in the play she could have done anything she along with Ozzie Nogg and Omaha had chosen to do. She can apply musicians, Elaine Major, Dick Jeff Taxman herself to a lot of things!�

Mueller, Bill Wakefield and Mary He just finished a run at the Omaha Community Levine.

At Westside High School, Jeff was the President of the Playhouse in Charles Busch’s The Tale of the Allergist’s choir and was named “Outstanding Senior in Music.� He Wife, directed by Susan Baer Collins.

A hilarious, Tony-nominated comedy, The Tale of the sang lots of Gilbert and Sullivan Operettas and played percussion in the band. By the time he graduated in 1970, Allergist’s Wife is about a self-absorbed, depressed Upper West Side Manhattan doctor’s wife whose life is he had decided he wanted to major in the arts. “Both my parents adored music and they were so devoted to mornings at the Whitney Museum, aftersupportive of my efforts,� he asserted. “Many times, noons at the Museum of Modern Art and evenings at when your child says they want to major in theatre, the Brooklyn Academy of Music. Her humdrum world parents try to convince them to study business or be a is shaken and transformed when a childhood friend makes an unexpected visit. With wall-to-wall laughs, doctor. Not my parents!�

He went to Trinity University in San Antonio, Texas, her story is brought to life in this deliciously devious where Paul Baker, an icon of theatre had founded the social satire filled with wicked fun.

Of course, Taxman played the allergist with his sarDallas Theatre Center, was a teacher.

Taxman declared a double major of music and the- donic wit. And he received rave reviews for it. It’s not ater. It was at Trinity where he first did the part of the first time he’s appeared at the Playhouse either.

Taxman has appeared in Other People’s Money in 1992 Tevye in Fiddler on the Roof. “My mother and father and all of my relatives came and The Sisters Rosensweig in 1996, both at OCP. And, to see me,� he recalled. “I don’t know that there’s much of course, he was Tevye once again, in the Jewish more in my life I could have done that would have Community Center’s prodution of Fiddler on the Roof in 1989. made them happier!�

Taxman cites the Omaha Community Playhouse as When he went to Trinity, he was sure he wanted to be a performer. “That made my college experience being unique. “All you have to do is show up and perform and more rewarding,� Taxman explained. “I knew what I was doing and it was easy to work towards that goal.� people cheer and clap,� he smiled. “Most community Jeff graduated from Trinity in 1974, with a bachelor’s theatres aren’t professional. Here, they have a big seadegree in music and theatre. He then attended gradu- son ticket membership so, even on weeknights, three ate school at the State University of New York at or four hundred people show up. “As a performer, it doesn’t get much better than that!�

Binghamton (SUNY). “That was one of the two schools in the country that Continued on page 23

April 2, 2004

The Unsinkable Continued from page 21 When people ask me what I do, I joke Landing the services contract for a that I’m a procurer. I’ll get you anything National Alcohol Prevention Association you need...if it’s legal!” she laughed. “We film led to an expansion of Illusions that don’t get bored, that’s for sure.”

Nogg did not anticipate.

Her credo is, “You’ll do the impossible, “They wanted talent as well, and most or try, if you want ‘em to come back.” clients wanted that same service, and so Take the time New York ad agency it became an equal part Hungry Man prepped a of what we did,” she Doritos commercial says. Flash forward 30 here. “They called years and the bulk of needing to see as many what Actors Etc. does of the heaviest-set peonow is talent coordinaple as we could find tion for film-video projand put on tape by the ects, which means doing end of the day,” she everything from supplysays. ing producers with Nogg and company actors, extras, crew and wrangled an ample crafts people to actually sampling for the firm casting the shoot to subto review via videocontracting production conferencing. houses to film it.

Then there was the “Our slogan is script to time Disney needed a Manya Nogg screen,” she says. “If you setting for an early call me today and say, ‘Manya, I want Native American scene in an Epcot you to coordinate a commercial or Center film. Nogg picked a remote spot industrial film for me,’ we have a roster at De Soto Bend National Wildlife of actors to act it, writers to write it, loca- Refuge, “leaving us to figure how would tion people to find locations, crafts peo- we get an earth lodge and horse out to ple to do costumes, makeup or hair, pro- the middle of this island! We had to find duction assistants, assistant directors... boats to ferry them out. It was a chal“We even subcontract with companies lenge.” that do the actual filming,” she asserted.

Or when a client sought a dog and cat “Everyone who works with us is an that could wear eyeglasses, prompting independent contractor. We’re a talent Nogg to ask, “You’re talking real ones, coordinating company or broker that right?’ After explaining the animals’ limipicks the best people for you at the best tations, she convinced the producer “to price for your job.” use puppets.”

No two calls are the same. “When the Another animal request she felt phone rings,” she says, “we don’t know pushed the limits was the call for a chiwhat they’re going to ask. We always huahua to do a series of poses in a La have a short time frame, too. It’s like Mesa spot. they always need it five minutes ago.

“I never thought we were going to pull

Jewish Press, Omaha, NE

Page 23

L’Chaim! this off, but we made it work with only a mildly trained dog. In the spot, you see the dog sitting near a window watching its master come home. Then, you see it at the restaurant wrapped up in a blanket like a baby. And then sitting at the table. It’s darling.”

Finally, there was “the guy who wanted to blow up an airplane” for a commercial, “and we were actually working on it, too, when he backed out.”

Delivering on those “if it’s ungettable, we’ll get it” push-the-envelope jobs is what Nogg lives for.

“I’m excited we have clients that want to go the extra mile and come up with something different. You don’t mind because you know they respect what you’re trying to do. It invigorates you...when it’s not giving you an ulcer.”

As if needing something else to do, she served as Omaha’s first film commissioner in the ’80s. Then, in the ’90s, she saw the possibilities for adapting a script she’d pitched the producers of The Equalizer to the mystery party game circuit, and thus Theater-to-Go was born.

She’s since added How-To teaching at Metropolitan Community College, motivational speaking and on-line book reviewing to her activities. Then there’s her stint as a private investigator--but that’s another story.

Living out loud has become her persona, but she wasn’t always this way.

“I was very quiet until I was 40. Then I heard that beer commercial--‘You only go around once in life, so go for the gusto’--and, so, I became Auntie Mame, and I’ve never come back.” she grinned.

“But, you know what? That’s how I’ve managed to do what I’ve done!”

Continued from page 22 Sherry and Jeff have four children and one (almost brand new) grandchild.

Lindsey has a master’s degree in Jewish education from George Washington University, is married and lives in Washington, D.C. with her husband and son. Whitney is a senior at George Washington and will graduate with a double major in music and Jewish studies next month.

Ben is a freshman at Tulane University’s School of Architecture. And Chelsea is a sophomore at Westside High School. She’s in the show choir, theatre program and is active in shows at the Rose Theatre. She is a also dancer and is involved with both BBYO and NFTY. “Our business has been very good to us because it has made it possible to now really enjoy the arts,” Taxman admitted. “Now, I can afford to do shows at the Playhouse and not get paid. What takes the magic out of living and working in the arts is having to constantly worry about making a living and paying the rent!”

In addition to all of his other activities, Jeff acts as “The Hebrew Letterman” at Temple Israel. On Sunday mornings, he sings with the religious school students .

Once each month, he acts as the cantor for the Union Prayer Book service at Temple. And, during the High Holidays, he leads services at B’nai Israel Synagogue in Council Bluffs.

“Because of business, we get to travel a lot,” he explained. “We’ve been able to be involved in the community and people are appreciative of any acting I do.

“How much more can I ask for? Life is as good as it can get!”

Wishing You and Your Family a Happy & Joyous Passover!

Page 24

Jewish Press, Omaha, NE

April 2, 2004

B’nai B’rith Youth Organization

O

is proud of all the things you do within your synagogues and youth groups.

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Omaha Temple Youth Group Temple Israel • 7023 Cass Street • Omaha, NE 68132

The Committee and Staff of Happy Passover!

• Jewish Heritage Programming • March of the Living • Summer Programs • Chapter & Council Elections • Chapter Leadership Training Conference (CLTC) • Council Rush Season • Community Service Projects • BBYO Nights

warmly wish the community a happy, healthy, prosperous and peaceful Passover!

• Chapter Meetings • Sweetheart Dance • Beau Dance • Advisor Appreciation Dinner • BBYO Basketball • Winter, Spring, and New Members’ Conventions • Mind, Body, Attitude • And So Much More!

For more information, contact Rachel Blum at 334-6404 or rblum@jewishomaha.org.

NCSY offers a variety of activities for Juniors (grades 5-7) and Seniors (grades 8-12): • Local and Regional Shabbatonism • Monthly “Latte & Learning” programs • Holiday programs, such as the Annual • Sukkah Hop, Shavuot Learn-a-thon, • and Hamantashen baking • Social events like going to see the • Harlem Globetrotters, getting lost in a • corn maze, and seeing “Stars on Ice” With these great opportunities, it’s no wonder the 99% of NCSY graduates* Marry Jewish Stay Jewish Live Jewish *Lilly Endowment Statistical Survey #930661

NCSY of Beth Israel Synagogue National Confernece of Synagogue Youth Rabbi B.P. Simon, chapter advisor For more information or to be added to the NCSY mailing list, contact the synagogue office at 556-6288 or RabbiSimon@OrthodoxOmaha.org Teens from all synagogues are invited to attend NCSY events.

Synagogue affiliation is not required.

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J e e w h i s t h f F o edera f f a t S t y l i o i d m f a o A F g n r e n u n a o c o i d e d n s f r a a o O n d e e s v a o l J r o o u m y o o B y u a d s e n h P a h a u s sov o y er ish !

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April 2, 2004

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The Jewish Federation of Omaha Together: Building Connections, Commitment and Community.

Your generous gift to the Jewish Federation of Omaha’s Annual Campaign supports programs and services through the 5 agencies and subsidiaries of the Jewish Federation. Here is a small sampling of what we have to offer: JEWISH EDUCATIONAL AND LIBRARY SERVICES Financial Aid, Scholarships and Israel Experience Grants Adult Jewish Education Special Needs Education for Children The Dorothy and Myer Kripke Jewish Federation Library

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Page 26

Jewish Press, Omaha, NE

April 2, 2004

Artistry Starts at Home

by CLAUDIA SHERMAN When you first enter Cheri Ginsburg’s home near the Jewish Community Center, you are aware of her artistic touch weaving its way around the entryway, up the staircase, into the family room, the kitchen, and the adjoining garden room.

Decorating her home with an eclectic mix of things she loves, both antique and contemporary, things she finds while browsing at garage and estate sales, Ginsburg often sees potential in what other people would throw away.

In the garden room, which is surrounded by windows, Ginsburg’s pet finches flutter and chirp in large bird cages nestled among plants of all sizes.

They are a welcome reminder of springtime against a backdrop of two or three feet of snow piled high on the outdoor deck and across the backyard. Ginsburg wants her home, above all, to be comfortable. “I’m a very visual person,” she acknowledged. “My house is a work in progress. I’m always changing things.”

Born and raised in Omaha, Ginsburg attended Benson High School and the University of Nebraska at Omaha. She has always loved art.

“Sculpture fascinated me. I remember going to the New York World’s Fair when I was 10-years-old and standing in line five times to see a Michelangelo sculpture on loan from the Vatican,” she recalled. “It made such a huge impression on me that I can still close my eyes and see it. The detail just blew me away.

It was amazing. I guess that I have always been drawn to detail as is evident in a lot of my work.”

Most of her art, Ginsburg explained, is

In her garden room, Cheri Ginsburg and her Yorkshire Terrier Einstein warm up on a cold winter day in the garden room. Ginsburg’s 1990 stone sculpture, Daydreamer, is on the table. self taught. When she was 22, she moved to Chicago to finish her degree at the Chicago Art Institute, but fell into a career in cosmetics. She worked for Ultima II as the regional account coordinator and training director for Saks, Lord and Taylor, Bonwit-Teller, NiemanMarcus, and Marshall Fields stores. She later went on to promote the Lauder Prescriptives line nationally when it was first being introduced.

After several years, she moved back to Omaha and met her husband Larry, who was president of the Jerry Leonard Big and Tall chain of men’s clothing stores.

He is now a partner with Parsow’s Fine

Clothing & Sportswear at Regency Court.

The couple recently celebrated their 20th wedding anniversary.

Once she returned to Omaha, Cheri became involved in many areas of art and interior design. That includes “everything from stone and bronze sculpture and murals to hand painted wallpaper and computer graphics.” She has exhibited her work at galleries including a show in 1991 at the Jewish Community Center.

Her work, especially the stonework, reflects a strong influence by artists and artisans of the American Southwest.

Stone is her favorite medium.

“I love the one of a kind aspect of it,” she said. “Unfortunately, I haven’t had the opportunity to work with it in recent years because of the time commitment that it requires.” But someday, she hopes to get back to it.

“Perhaps,” she commented, “I am best known locally for my dreidels.” Every few years, she creates a new design style, some of which have been sold through a Judaica catalogue.

“In more recent years, I have loved being a mom and being involved at my children’s schools where I enjoy doing special art projects with kids.” Ginsburg also has a strong interest in science and has enjoyed organizing special events relating to math, science, and technology at her children’s schools.

Cheri’s children have all expressed artistic talents, including her two stepchildren: Stacy, an interior designer in New York City, and Cory, a film editor in Minneapolis.

The Ginsburgs’ two younger children, Chloe, a sixth grader at Millard North Middle School, “enjoys all kinds of design work,” her mother said. Dustin, a third grader at Millard Core Academy, “has a great eye and can just look at something and draw it,” noted his mother.

In addition, Ginsburg has been doing the calligraphy for Temple Israel’s uniongrams for 15 years and for Temple’s Bar and Bat Mitzvah certificates for seven or eight years.

“While all were originally hand done, I now employ the use of a computer,” she mentioned. Uniongram proceeds benefit the Youth, Education, and Continued on page 42

A Happy and Joyous Passover

Two Old Mill Omaha, NE 68154

10855 West Dodge Rd. 402/330-5480

Harold Cooperman Richard and Fran Juro Don and Bernice Cohen Kevin and Kimara Clark Steve Moskovits Ed and Ann Joseph Jerry Lohrman

April 2, 2004

Many Roles

by CLAUDIA SHERMAN It all started when Rachel (Hauben) Combs’ parents took her to see “The Merchant of Venice.” “That did it,” she smiled. She decided on that day that she wanted to be an actress.

As a youngster growing up in Stockton, California, where her family moved from Princeton, New Jersey, when she was eight years old, Combs was “a terrific bookworm,” who enjoyed J. R. R. Tolkien, C. S. Lewis, E. Nesbitt, and books on fantasy and magic. In high school, Combs was able to get involved in theater, mostly backstage until her senior year when “I got some good parts,” she recalled.

At 19, Combs went to New York “to be an actress. I came back with my tail between my legs,” she said matter-of-factly. There were “all kinds of people” with the same dream, and besides, Combs realized, “I had no idea how to be in the profession.”

Combs’ father, Paul Hauben, a retired history professor, was thrilled when his daughter returned to California to go back to school. “But he was not so thrilled” when she enrolled in acting school. After auditioning at seven or eight schools and getting turned down, she was accepted at Carnegie Mellon University in Pittsburgh, Pennsylvania. “I’m very stubborn,” Combs admitted.

Blue Barn and the JCC. Less than a year later, she was working fulltime and solely for the Caravan.

Omaha turned out to be more than a boost to Rachel’s professional life. In 1991, the year she arrived in Omaha, she met Tim Combs who designed sets for Blue Barn. They started dating in 1997. But Tim had his sights set on moving to Las Vegas because of the plentitude of work there.

Although Rachel “had no intention of moving there,” she was on her way in 1998. She got a job at Hotel San Remo coordinating advertising and publicity. “And I found probably the only small theater group there.” But Rachel hated Las Vegas. “I actually missed Omaha. It had become home to me.”

So when Tim was offered a job at the Omaha Community Playhouse as apprenticeship coordinator and production coordinator with the Nebraska Theater Caravan, the couple, who were married in Las Vegas, came home. Rachel was offered a position as development director at Opera Omaha which she accepted in August 1999. Although she was nervous about the job, “I wanted to work with Jane Hill who was executive director of the Opera at that time. “She’s an extraordinary woman who got the Opera back in good fiscal condition,” according to Rachel. Opera Omaha has been operating in the black for the past ten consecu-

Jewish Press, Omaha, NE

Page 27

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Rachel and Tim Combs and their son Samuel enjoy an afternoon together in their home, originally a farmhouse, near 50th and Charles.

After a year as a liberal arts student at Carnegie Mellon, Combs reauditioned to acting schools. This time, she was accepted by four. She enrolled at the State University of New York (SUNY) at Purchase near White Plains, New York. In 1990, after “four years of very intensive training,” Combs graduated with a bachelor of fine arts in acting along with 11 others out of an original class of 30.

After moving back to New York City, Combs landed some auditions which led to three or four appearances on CBS Television’s “Guiding Light” She described herself as a “glorified extra.”

But Combs didn’t care about being rich or famous.

She just wanted to act.

She learned that three SUNY graduates were in Omaha and had set up the Blue Barn Theatre, an artistdriven theater company. After writing to them, Combs was invited to visit Omaha in May 1991. “I had no sense of where Nebraska was,” she confessed. But when she got here, she “liked the feel.”

Combs decided that to become a better actor, she would move to Omaha and join the Blue Barn. “There were about 11 of us,” she said. “We picked shows for our group“ to perform. Blue Barn “was the center of our lives.”

Finally, Combs was acting and writing scripts. She also learned how to do grant writing and became involved in publicity which led to requests from other organizations including Contemporary Dance Omaha.

The Jewish Community Center (JCC) hired her to be the theater manager.

In 1995, she joined the Nebraska Theater Caravan, the professional touring wing of the Omaha Community Playhouse, as part-time coordinator of development and publicity while remaining with the

tive years.

Today, the Opera, with a fulltime staff of about 14, is considered one of the best regional operas in the country,” said Rachel, whose mother, Janet Clark, was an opera singer before she bowed out of the profession to raise her children.

“We have a terrific artistic director, Hal France,” Rachel continued, “and we tend to get ’the stars of tomorrow. We do a nice mix of traditional and innovative productions.” The Opera is currently in the process of commissioning a new work based on the life of Standing Bear, a Ponca American Indian chief.

Rachel is proud of the Opera’s outreach efforts to schools and to underserved segments of the population such as the homeless. The Opera also offers free lectures, seminars, meet the artists opportunities, and mini-concerts at many venues throughout the city.

“I’m a passionate believer in the arts being part of a healthy society,” Rachel insisted. She believes the arts “remind us of our shared humanity and show how a specific human experience can be universal to all of us.

Art education and outreach mean the most to me.”

For Rachel and Tim, now with the Heartland Scenic Studio, family took on a new focus last June when they adopted two-week old Samuel. “He is the joy of our life,” Rachel beamed. Having Samuel join their family is “a really profound experience,” she added.

Rachel has been singing in the Temple Israel Kol Rina Choir for a year. “It’s a great group,” she commented, “and I love learning the music.” She is also a member of the Social Justice Committee at Temple. Rachel explained that she wasn’t raised in “a religious household” so her participation in Jewish life has “been a journey, and the journey isn’t over.”

Continued on page 42

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Jewish Press, Omaha, NE

April 2, 2004

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Filmmaker Talks About Her Far-Flung Career

by Leo Adam Biga Long before Gail Levin became an intrepid, award-winning filmmaker venturing from oceans to deserts to the hallowed halls of academia to the citadels of sports to the bright lights of Hollywood, the Nebraska native was clearly going places. That’s what’s expected, after all, when you’re the only daughter of high achievers and seekers like the Levins, a family of educators, artists and entrepreneurs.

Twenty-five years into her career as a television producer-director and documentary filmmaker, Levin considers her work a calling despite the endless pitches she makes, the constant leads she pursues, the anxious lulls between projects and the inevitable production glitches that crop up.

“I’ve been so blessed. I have had a career that I love and that I hope is not going to end any time soon,” she said on a December Omaha visit. “As hard as it is sometimes, I don’t even care.

When you know the roller coaster, you know how to ride it, I guess.

Besides, I don’t know how to do or like anything else.

You know, you are lucky in this life if you get to do a couple of the things you really want to do, and I already have, so, I think I’m already ahead of the game.

I’ve had hugely impassioned projects...and I’ve been able to see them go from the moment that little light went on in my head to the final edit.”

Born in Chicago, she spent most of her growing up years in rural Norfolk, Neb., the Madison County town where the Levins enjoyed a long history as civic and business leaders. Her paternal grandfather started a business there, The Style Shop, that launched a family line of retail women’s clothing stores throughout Nebraska, Iowa, Missouri and Kansas. Her father, Jack, who was raised in Norfolk, took over control of the stores that formed the Levins’ signature commercial enterprise.

Two of the family’s best known shops, Sallye’s and The Avenue, were located in and around Omaha. Her brother, David Levin, is still in the women’s apparel business as owner-operator of the upscale Imago shop in Omaha’s historic Old Market district.

She lived in Norfolk until about age 13, when she and her family moved to Omaha. Levin has fond memories of the place, nestled between the rolling landscapes of the Sand Hills on the west and the area’s lush farm fields on the east.

“I had this growing up that was very dear to me in the little town of Norfolk,” she recalls.

Despite the good life there, Levin says the relocation to Omaha was motivated, in part, by her parents’ desire that she and her brother be exposed to more cultural diversity than what the predominantly Protestant, white-bread community offered.

“Norfolk had a very, very small Jewish population, and when you grow up in places like that you just want to be like everybody else. And I think that was a contributing factor in our moving. My mother felt it would be nice for us if we got around some Jewish kids and learned more about who we were,” she

says.

Omaha also offered more enriching opportunities for a family steeped in learning the arts and the humanities, the wellspring for many of the subjects the inquisitive Levin has explored in her work.

“I think it’s kind of always been in my life,” she says. “I have a very erudite family. My paternal aunt (Bernice Neugarten) was a renowned teaching psychologist at the University of Chicago and one of the first to pioneer aging as a field of study. She wrote quite a number of books on the subject. My maternal aunts--Bertha and Jeanne Berman-- were both English teachers as well as published poets and writers. And, so, that education, arts and humanities-oriented strain has been around me and part of me forever.”

A cinema buff since seeing Federico Fellini’s 81/2 at the Dundee Theater as a girl, Levin did not set out to be a filmmaker, but her immersion in the medium grew out of her many other passions as well as her abiding curiosity about the world.

Coming of age during the ferment of the women’s and civil rights movements in the late 1960s-early 70s, she felt compelled to experience more of her tumultuous times and prepare for a career with some relevance to the era’s vital goings-on.

So, as soon as she graduated from Central High School, she left her home and family in Omaha for the University of Wisconsin-Madison, a real hotbed of liberalism that turned her on to new ideas and experiences. She earned a bachelor’s degree in education there and then, following her boy friend at the time, she settled in Boston, where she completed a master’s degree in early childhood development.

Education, like many fields then, underwent an upheaval of experimentation that saw the relaxation of rigid structures. As part of her grad studies, Levin worked for the private Fair Weather Street School, a progressive institution in Cambridge, Mass. that featured the kind of free, open learning environment for children she advocated. Around this time, Levin traveled to Cuernavaca, Mexico, where she attended a series of seminars on open education that further stoked her passion.

“It was this very loose think tank of people hanging out, all talking about this way of educating children that I had an enormous interest in,” she says.

Back in Boston, she got a chance to put her theories into practice when assigned to Head Start children in south Boston’s Dorchester area, a poor working class neighborhood she describes as “a very Irish, very proud, embedded, clannish, odd, interesting part of Boston that lives by its own rules.”

Invigorated by the place and its people, Levin began introducing novel, hands-on learning tools to the kids.

Taking a cue from the period’s vibrant pop art, free cinema movements, she involved the children in two of her enthusiasms--photography and film-that resulted in fun educational projects and the springboard for a new career.

Continued on next page

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Page 29

Far Flung Career Continued from previous page More than mere child’s play, however, the photo-film projects got her thinking about the power of such visual media and its impact on kids. That’s when she embarked on a mixed educational media doctorate at Boston University, studying film and television. An internship on a kids show at Boston’s WBZ-TV led to an associate producer’s job that turned into a senior producer slot. In only a few years, she evolved into the kind of independent filmmaker she is today.

One of her dream projects came quite early in her career when, in 1980, she and a small crew filmed a transatlantic voyage made by several young mariners aboard the Lindo, a 125-foot, three-masted, top-sail schooner built in Sweden in 1925. The ship left Boston harbor June 4, docking in Kristiansand, Norway 23 days later, where Levin filmed. Then the ship made out to the open sea for additional shooting before completing the return crossing in mid-July. She landed the Lindo assignment via her children’s programming work at Boston’s WBZ-TV. Her film charts the bonds that develop among a group of Boston-area youths initiated in the maritime traditions of old wooden sailing ships by a crew of seasoned sailors.

As soon as she heard about the prospect of this “across the ocean documentary,” she says, “I knew I wanted to do it. I couldn’t go fast enough.” It was a once-in-a-lifetime opportunity. “I can’t imagine it would happen today,” she adds. “That a television station or even a network would send a filmmaker and crew off for what was a fabulous several-week adventure. This is what you

now go out in the world and try to pitch people to finance for you.”

Despite “hitting some particularly bad weather” and nursing a cameraman who “became very seasick right away,” the journey and resulting film, The Tall Ship Lindo, lived up to her expectations. “I loved every minute of it.” The experience of being ensconced in tight quarters on an old sailing vessel, totally exposed to and buffeted by high seas was, she said, “quite extraordinary.” She adds, “To this day I’m still friends with the people from that voyage.” Her most lasting impression is of being over-

By the early-’80s Levin moved to New York and by the middle of the decade formed her own production company, Levson, which she’s since renamed Inscape. During those first years as an independent filmmaker, her deep ties to Boston often led her back there for projects, including a few she counts among her finest achievements. One of these prized Boston projects is The Story of Red Auerbach, a 1985 film she made as a WHDH-TV special profiling the shrewd, crusty architect of the Boston Celtics NBA championship dynasty. A lifelong sports fan, Levin knew the

Gail Levin whelmed by the enormity of the ocean.

“You are very aware from the very first second...that you are just a speck out there and you are so tiny and it is so big, and but for the grace of God...You have to be in awe of it.”

The Tall Ship Lindo won Emmys for outstanding cinematography and sound.

Celtics legacy and Auerbach’s anointed status in its mythology. When she sensed Red was resistant to an upstart woman treading on his traditionally male turf, she sagely deferred to one of his trusted friends, Will McDonough, the late sportswriter, to handle interviewing the curmudgeonly coach and his players. “Well,

it worked out great and Red ended up really trusting me. One of the great things of my life is to have met Red and to have done that documentary.”

Another Boston project she regards warmly is Harvard, A Video Portrait, a 1986 film made in conjunction with the 350th anniversary of the prestigious Ivy League school. “It’s just an amazing place. We started shooting in the reading (pre-exam) period, which meant I didn’t have one working classroom to shoot,” she says. “So, we made it the great academy. The great hall of learning.

Everything quiet and beautiful and iconic, which it is.” Her on camera interview subjects included famed lawyer and legal educator Archibald Cox, Irish poet and Nobel Prize winner for literature Seamus Heaney and leading architect Moshe Safdie.

In 1992, she made Guys and Dolls/Off the Record, a documentary capturing the making of the cast album recording for the Tony Award-winning Broadway revival. The film, made in conjunction with Miramax Films, aired on PBS’ Great Performances. “I always loved the musical. I sort of grew up with it in my house because my father is a racing enthusiast.

It turned out one of my dearest friends produced the play.”

The most recent dream project is her 2002 Making the Misfits. This documentary about the celebrated and ill-fated 1961 feature The Misfits starring Clark Gable and Marilyn Monroe takes the measure of one of cinema’s most exhaustively analyzed motion pictures, yet one about which a documentary had not been made until Levin’s.

Continued on page 43

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April 2, 2004

Nebraska--Discover the Difference!

by JOAN K. MARCUS Len Burrell was the third of eight kids born in New Jersey to a Roman Catholic family; his father worked for the New York Port Authority. When Len was seven, the family moved to Rockland County, New York where his parents bought a 16-room house that sat on six acres.

“We were a middle class family,” Burrell said, “and my father did pretty well for such a big one!”

He remembers growing up and being a very observant Catholic. “We all went to Catholic grade school and attended church every Sunday. I never knew a Jew until I went into the military.”

He began going to public school in Suffern, New York, when he was in seventh grade. At age 14, his parents bought a summer home at Point Pleasant, New Jersey. “Every summer, my Mom would pack us up for 10 weeks. We surfed, swam, sailed and we had a ball!”

Burrell says that even as a child, he was interested in art, drawing and oil painting. He remembers that before his 14th birthday, the family moved to Point Pleasant.

“That was kind of funny because I had always been a kid who wore jeans and t-shirts to school,” he grinned.

“At Point Pleasant, they all dressed up. I showed up in my t-shirts and the kids all moved away from me! I guess they thought I had a knife or something.” It took some time for him to change his way of dress.

“At first, I hated it because I left my kindergarten friends first and then we moved again my freshman year of high school. Because I had never had to go out and look for friends--with so many brothers and sisters, it took some time for me to make new friends.”

In addition to loving art, Burrell threw the javelin and ran track during his high school years. In his sophomore year, he was the county javelin champion.

“I was different because I liked sports--and art,” he added. “But, I was elected class president during my senior year and that made me feel good. I had gone from having no friends in a new school to being elected President.”

Len decided that after graduation, he wasn’t going to college. “My older brothers and sisters had gone and my Dad ended up paying for it. I decided that I would go into the military and have the U.S. pay for my education. So, a friend and I decided we would go into the Coast Guard the following February,” he recalled.

“Well, my friend chickened out and I ended up going in by myself.”

He was stationed in Jones Beach New York, for a year and was send to Machinery Tech School in Virginia. There, he learned to work on boat, diesel and gasoline engines. He asked to be transferred to a district that included Alaska down to Hawaii and California. He was sent to the Bouy Tender, a 180-foot

boat that serviced all the bouys in the Hawaiian Island some of them around. She was doing solo work for area. temples in the area, but she wasn’t a cantor then.”

“After about six months, a scuba diving job came up He was intrigued with everything about her. “I asked at Pearl Harbor Naval Diving Academy and I got it,” he her to marry me,” he continued, “and we took an introsaid. “My job was to get into a small boat with a cou- duction to Judaism course together. But the rabbi who ple of other divers and fix sinkers (anchors) on buoys taught the class seemed very anti-Catholic to Burrell that had dropped to the bottom of the ocean. We went and he dropped the course. down into 75 or 80 feet of water to inspect the chains Len and Wendy were married in 1991. They had two of the sinkers.” weddings--one in Virginia for their families and anothAfter serving in the Coast Guard, Burrell attended er for their friends in Los Angeles. “When Wendy got community college and worked full time, making pregnant,” Len admitted, “I decided I needed to learn boxes in a factory. “After a while, working the night more about Judaism. I was raised as a Catholic, but our shift, I had to quit school to pay the rent. My love of art child was going to be Jewish.” was still there, too, but I didn’t have any time for it.”

Burrell insists he didn’t convert to Judaism just to get He continued to work in the box factory until he vis- married; he wanted to do it for “all the right reasons” ited a friend who knew someone who needed a car- and began taking classes again. penter.

“Instead of making boxes, I could learn a profession and it would be along the lines of art,” he decided.

“So, I ended up learning to be a carpenter and going into business for myself.

From 1978 to 1990, I moved around and worked as a contractor. The nice thing about was that I gravitated to California.”

Lucky for victims of the 1986 earthquake and subsequent fires, Len Burrell was there to work.

“Whenever there’s a disaster, a carpenter can move around. It still wasn’t doing artwork, but I was able to be creative. I learned to Len Burrell shows off some of his original stained glass pieces. make hope chests and sold them on the side,” he said, “It was during the conversion process that a light But, in the early 90s, something happened to change went off,” Burrell admitted. “When I was a kid, the his life. nuns always had trouble with me because I doubted “I lived on the top floor of a four-plex and the peo- the theology and didn’t go for it. I believed in a direct ple next to me were going to have a party. I was work- connection with God, but the nuns insisted I’d just have ing as a carpenter but I was interested in flying,” he to believe.” explained. “I had just finished taking an introductory The family moved to Seattle where Wendy sang in flight course. This hostess said she knew a woman who area temples but wasn’t yet certified as a cantor. was a pilot and was coming to the party.

She came home one day and announced her inten“I walked into the apartment and Wendy Shermet was tion to become a cantor. After some research, they that pilot!” he smiled. “Well, she pretty much ‘swooned’ moved to Israel and lived there while she attended me! We had pizza and went to the beach on our first Hebrew Union College in Jerusalem--and Len worked date. I knew she sang, but her job then was driving as a carpenter for a contractor, who just happened to authors around when they came to town. be an Orthodox Jew! “Occasionally, she would be busy, so I would take Continued on page 43

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Jewish Press, Omaha, NE

The ‘J’ in JDoe

by BERT LEWIS Two comments made

by Annette Fettman speak volumes about her as an artist. The first was her answer when I asked how old she was when she originally showed interest in the subject of art. She responded, “My mother claims I always drew on the windows of the old Studebaker when they steamed up,” and guesses she was probably four-years-old at the Annette Fettman with some of her original sculptures and a time.

Her second comment painting, one of many pieces in her collection. was brief but eloquent when she added degree in Art and Education from the that “being married to a Holocaust sur- University of Wisconsin.

That wasn't the end of her formal eduvivor has had a very great influence” on cation however, since she also counts her work.

Visiting in the Fettman home and see- classes taken at Metro Tech, Bellevue ing examples of her art, demonstrated University and Creighton University as clearly her interest and experience in part of her training. She also studied at nearly every medium. Her paintings are UCLA in order to be qualified to teach in done in watercolor, oils and acrylic, and the California school system, which she examples of work in ceramics and her did in the Watts district of L.A. A visitor seeing her work, particularly some of her bronze pieces, must immediately recognize the truth in her remark that “being married to a Holocaust survivor has been a great influence.”

Her husband, Cantor Leo Fettman, is well known throughout the entire community, as well as many outlying cities in Nebraska. He is invited to speak to school children, church groups and various other gatherings, where he seeks to educate all who come to hear his message about understanding one Annette Fettman’s second JDoe was donated to the JCC’s another. His early experiences Child Development Center. This is her smaller model. in Auschwitz and the loss of well known expressive bronze sculp- most of his family had such a profound tures are also on display. She also has effect on him, he now seems compelled created pieces of fine jewelry and to reach all who will listen as he relates extends a hand to show a dainty and his tales of horror.

Despite the early sadness and beautiful ring she made years ago.

Laughing, she added, “I haven’t tried tragedies of his life, Cantor Fettman today is a man of great good humor. His my hand at welding yet!”

When the city of Omaha invited artists life with Annette began as a second marto create and submit large JDoe figures riage for both of them in 1962, when depicting various themes, Annette they merged their two families togetherdesigned her version to represent light -Annette’s four daughters and Leo’s two as a metaphor for peace. It was accept- sons. They happily speak of grown ed as one of the limited series and grandchildren and gladly display the photo of a beautiful baby boy who placed in a prominent public place.

At present, it occupies a place of claims the title of first great grandchild.

Annette and Leo Fettman have been importance on the grounds of the Pennie Z. Davis Child Development Center of partners in artistic endeavors also. the Jewish Community Center. Also to Among the pictures displayed on the her credit, she took first place in a walls of their home, there are some Jewish Ceremonial Rites Exhibit at the examples of very handsome needlepoint done by the Cantor.

JCC some years ago.

One in particular was an example of She laughed when she remembered taking first and third place for an ice this partnership, which was explained sculpture during her University of this way. Cantor saw something he Wisconsin days. Her version of Lady thought would make an appealing Godiva as a bust atop a polar bear, needlepoint. The artist did a rendering of which reflected the theme of the contest, it, then transferred it to the necessary “Sun Valley or Bust” was her winning mesh thereby providing a pattern which ultimately became a fine sample of entry.

When we spoke, she was expecting to Cantor’s skills with the needle.

Annette says it shouldn’t be a surprise begin work on a proposed huge fish for the city of Fremont. The nearby commu- that he added needlework to his other nity hopes to sponsor a competition--sim- interests, since “after all, he was a tailor ilar to Omaha’s JDoes--for public relation in his younger days.”

Most of his work is Judaic in theme, purposes, but to Fettman it’s another chalwith one in particular which commands lenge for her creative talents.

Annette Fettman’s background certain- attention: a black and white scene showly prepared her for her present and ing 10 men, unmistakably Jewish.

Cantor refers to it as the minyan and ongoing work. The little girl who was carving figures out of bars of Ivory soap likes to joke, “I always have a minyan as a fourth grader, went on to study seri- close by.” ously and eventually graduated with a Continued on page 44

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Jewish Press, Omaha, NE

April 2, 2004

Open Space

by JOAN K. MARCUS When Marti Epstein was little, she thought that everyone’s daddy played a musical instrument and was talented.

Since her parents, Helen and Tuffy Epstein, had all kinds of music in their home, Marti thought that living a musical life was normal. “That was the only kind of father that I knew!” she laughed.

Marti was born in Denver and, although she began taking piano lessons when she was very small, her musical career really began when she was in junior high school. She began accompanying the Beth El Synagogue choir and conducting the junior choir. Soon, she began to play the organ for weddings.

As a young child, she took clarinet lessons from her father and they played several weddings together. Although her parents were always supportive of her musical efforts, she doesn’t think that they wanted her to be a professional musician.

“I knew that I wanted to be a musician when I was in junior high,” she admitted.

“I assume my parents didn’t encourage me because they were both worried I wouldn’t be able to make a living!”

She credits her high school teachers at Burke High School for encouraging her to go into music. “I played in band, orchestra, wind ensemble and clarinet choir and was in the concert choir and took part in chamber music concerts.”

Epstein accompanied every imaginable soloist and ensemble and studied theory and composition while still at Burke.

“The marching band was the source of my social life!” she laughed. “My friends in high school were divided into two

groups: music friends and kids from musician,” she added. “However, as a three solo piano works. Each one is a United Synagogue Youth.” professor at one of the most prestigious gem with exquisite musical color. People After graduating from Burke in 1978, music colleges in the world, my job will at the concert lost themselves in time, Marti attended the University of Iowa always be secure, regardless of the econ- shape, color and sound! and later the University of Colorado, omy’s ups and downs. People will “Music is very hard work!” Epstein where she earned a bachelors degree in always want to come here to study insisted. “Certain aspects are easy--but to Music Composition in 1982. She went to music!” be good--one must work hard regardless graduate school at Boston University, In December of 2003, Kathleen of how talented they are. Teaching is where she received a masters in 1984 Supove, one of the most acclaimed con- extremely hard work and I don’t have a and a doctorate lot of time for in 1989. Her disfun.” sertation was an Marti is marorchestral work ried to Dr. called “Celestial Charlie Katz, Navigation”, a scientist at which was perthe Harvardformed by the Smithsonian San Francisco Center for Symphony in Astrophysics.

1998.

They have a “Growing up 20-month old in Nebraska has son, Gideon. certainly influ“Hanging enced my out and playmusic,” Epstein ing with noted. “I crave Gideon is my open space-main source Marti Epstein points to a poster advertising of fun,” Marti both physically a concert at Carnegie Hall in New York and a d m i t t e d . and psychically.

Jordan Hall in Boston featuring one of her “My dream Marti Epstein with her husband, Dr. Charlie Katz, and I’m sure my compositions. their son, Gideon. music sounds for my son is the way it does because of my Nebraska temporary pianists of our time, per- that he find the thing he loves to do roots.” formed Marti’s works. Supove has spent more than anything else and work really Dr. Epstein is currently Associate the last decade producing a series of hard at it to be the best he can.

Professor in composition at the Berklee solo concerts entitled, “The Exploding “Having said that, there’s a part of me College of Music in Boston. She teaches Piano.” During these performances, she that would love it if he wanted to be a counterpoint, harmony and composition premieres countless works by emerging cellist. Or, maybe he will want to be a and actively composes. Her music has and established composers. professional baseball player,” she been performed all over the world.

Supove says of Epstein, “I’ve worked laughed. “Seriously, I work hard and “Ironically, my parents worried I with Marti over many years and I am love being a musician. wouldn’t be able to make a living as a pleased to have commissioned her for “I wish that for him--if he wants!”

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April 2, 2004

Dig Music?

by JOAN K. MARCUS It was Aug. 17, 1935 and the midst of the Great Depression when Arnold was born to Jennie and Harry Epstein. At the age of six months, their little cherub weighed 30 pounds!

“Uncle Jack” stopped in Omaha on his way to the 1936 Olympic tryouts and commented on his nephew, “My, he looks like a little tuffy!” Thus, Arnold became “Tuffy!”

Jennie and Harry ran a grocery store at 20th and Martha Streets.

And, although they both loved to sing and they enjoyed music, they didn’t consider themselves musicians. Their older son, Ira, soon became a jazz musician, and, according to Tuffy, “He is probably one of the best jazz pianists I’ve ever worked with. When we were kids, we didn’t agree on anything--except music!”

The family lived above the store and they all worked there. After America entered World War II, Harry went to work at the Martin Bomber Plant. “It wasn’t easy for a Jewish family in a Czech/Italian neighborhood,” Tuffy smiled.

Jennie wanted Tuffy to play the guitar. So, in 1940, she purchased a Hawaiian guitar for him. “I hated it,” he admitted. “I gave it up and began taking saxophone lessons when I was seven! Music came easy for me, but everyone thought that Ira would be the musician and I would be the doctor or lawyer in the family. Our younger brother, Allen, played drums and trumpet.

Gloria, our sister, came later.”

Epstein admits he didn’t always practice the music his teachers gave him for lessons. “I used to play by ear, along with the radio. My teachers would give me an assignment and I would come back and play what I had heard on the radio!” he laughed. “I drove them crazy! I could read the music, but I played better by ear.”

Tuffy always went to see the stage shows during the 1940s on the Orpheum circuit. He recalls that while listening to the big bands in the shows, he noticed the sax players were always playing more than one instrument.

“They would play clarinet, flute and other instruments. So, when I was 10, I took up the clarinet, too.”

At age 11, he managed to see “Swing and Sway with Sammy Kaye.” He laments that he didn’t win during the “Do You Want to Lead a Band” conducting contest. “I would have won, too!” Tuffy insisted. “I really knew how to conduct by that time, but the hockey player from the Omaha Knights beat me out because he conducted with a hockey stick!”

In 1945, he began playing in the Jewish Community Center Orchestra. Others who played in the group with him included Mary Fellman and Nell Rubinow. Myron Cohen led the group and Tuffy was the youngest musician. Although he always preferred to play jazz, he also enjoyed playing classical music.

At age 15, he played his first professional job and joined Local Union 70-558 when he was only 16. “I still hoped to be a doctor,” he said, “but still enjoyed playing music. I did construction work during the summers so that I would be able to go to college.”

In the summer of 1953, Epstein began his usual summer job when he heard that Blue Barron and his band was coming to town and needed a sax player.

“I missed high school graduation at Central while on the road with the band. They traveled mostly through the Midwest and they were on their way to Virginia Beach,” he recalled. “I was 17-years-old and making $145 dollars a week playing my horn--I was in heaven!

“I knew everything except how to take care of my money!” he admitted.

“My mother took the call when they asked me to go with the band,” he added. “I had never played tenor

sax before, but she went to the music store and bought me one. She picked me up at the construction site; I went home, packed my suitcase and took that tenor without ever having played it,” he admitted. “That was gutsy, but my parents always encouraged me.”

After spending the summer on the road, he returned to Omaha to enroll in music classes at Omaha University. He had earned a music scholarship because of the influence of one of his high school music teachers, Noyes Bartholomew.

“Mr. B. had been a road musician and by the time I was a senior, I decided I wanted to continue with my music in college,” Epstein said.

Left: Musician Tuffy Epstein plays with his group. Below: Tuffy and his daughter, Marti Epstein, play a gig together at Dana Wayne’s wedding.

Tuffy credits roll models like Omaha jazz percussionist, Luigi Waites, for mentoring him to become a successful musician. He remembers fondly the “jam sessions” at the Downbeat on 24th and Lake.”

During his sophomore year, he transferred to UNL and graduated in 1958 with a degree in music education. In 1955, he met Helen Cook, a freshman from Denver. At the semester break that year, fellow musician, Willis Ann (Rosenthal) Ross, insisted that Tuffy take Helen out on a date. “I knew who she was, but I just never asked her out. Willi insisted that we go out and we’ve been together ever since!” he smiled.

They were married July 7, 1957, in Denver. Helen played flute in junior high school and when they met, she gave him her flute--Tuffy picked it up and started playing--without a lesson.

“Helen has always been supportive of my music and has always been excited about hearing me play,” he acknowledged. “She is probably my harshest critic but she is also my best advocate. She is creative herself and she knows that I love playing--and also I love her!”

In 1958, Tuffy auditioned for the Air Force Academy Band and was accepted. “Before I could go to basic training, they came out with height and weight requirements; I was both too short and too fat!” he laughed.

But now he was without a job.

“Quickly, I ran to Lowry Air Force Base in Denver-auditioned for that band and they took me,” he continued. “They didn’t want any short, fat guys in the Academy Band, but I was welcomed into the United States Air Force.”

After four years, Helen and Tuffy found their way to Manzanola, Colorado, where he thought that he had a teaching job.

“When we arrived, however, we discovered that the house that we were supposed to live in had been sold,” he explained. “When we returned to Denver, I had the key in the lock and the phone was ringing. It was the superintendent of schools in Carson, Iowa, offering me a job as a band director. The band was scheduled to play at the lowa State Fair and they needed somebody right away.”

Continued on page 44

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April 2, 2004

There’s No Business Like Show Business

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by LEO ADAM BIGA school.’ And that’s how I got started. I Veteran west coast entertainment attor- ended up enjoying the law and doing ney Ira Epstein, a counsel to high-profile pretty well,” he smiled. clients in film and television, traces his In typical Epstein fashion, he ran with show biz roots to growing-up in Omaha, the opportunity, becoming editor of the where he and his brother, Arnold “Tuffy” campus law review and earning a law Epstein, a well-known Omaha wood- fellowship in trial procedure evidence. wind player, performed in area fairs and During his fellowship, Epstein got a amateur shows during the Great chance to work with and learn under Depression. famous personal injury defense attorney Born and raised here, the brothers, Melvin Beli, who was trying a case in studied music at the prodding of their Omaha at the time. grocer parents, Harry and Jenny, the “He came into Omaha to try a medical proprietors of their own mom-and-pop malpractice case against a foot surgeon. store, Epstein’s Grocery, originally locat- Beli had a national reputation. He was ed at 27th and Maple and later at 20th the big man from the West Coast up and Martha. The family lived above the against a small town country lawyer, stores. As kids, Ira and Tuffy were pre- who was one of the best defense vailed upon by their parents to entertain salesmen pitching wares.

“Ira would play the accordion and I would sing,” Tuffy recalled, adding their stage mother booked them “wherever she could get us,” including two neighborhood movie theaters, the Roseland and Corby, where the boys were billed as “Ruffy and Tuffy” for amateur show performances.

Their younger siblings, Allen and Gloria, also performed.

Graduating to the piano, Brothers “Tuffy”, left, Allen and Ira Epstein were together Ira performed in music pro- last October at a party given by Omahan Dr. Ben Nachman grams at his school, Central in Ira’s honor.

High, where he cut short his senior year lawyers in the business. Beli took him to in order to join a touring big band head- the cleaners...and back in those days ed by Skippy Anderson. While he down- you couldn’t easily recover against docplays his own musical talent, Ira was, in tors,” Epstein explained. “It was really Tuffy’s estimation, “an excellent jazz tough. Beli brought me in to help do the pianist.” With the help of money his research. He was a great scholar and a mother saved, Ira attended the great guy. I was very impressed...I got University of Nebraska-Lincoln and took some good experience and we got to be paying gigs to pay his tuition, room and good friends.” board. “I worked my way through Coming out of college, Epstein harschool playing in bands,” he says. Often, bored designs on working for one of he and Tuffy found themselves jamming Omaha’s prestige non-Jewish law firms, on the same stage. which he says then maintained an By the time Ira started college, the unspoken but nonetheless rigid country Korean War erupted and the military club policy barring Jews, regardless of draft loomed large. The then-social work their credentials. major sought a field of study that would “When I graduated law school I was a keep him in school. That’s when he and pretty hot prospect with a lot of enthusia pair of buddies decided “we’d take the asm and I decided I wanted to break the law school exams. We didn’t have any- barrier in Omaha and go into a nonthing better to do.”

Jewish law firm,” he insisted. “Well, I What began as “a lark” turned into a interviewed with most of the major nondistinguished career nearing its half-cen- Jewish firms...at least 10 of them...and I tury mark. But his frivolous attitude could not get hired. Here I was editor of toward the exams nearly quashed his the law review and, while I didn’t finish plans. Certain he’d failed, the silver- first or second in my class, I was in the tongued Epstein proceeded to talk his top 20 percent, plus I was in all kinds of way into law school with the personal organizations, and yet I couldn’t break chutzpah and charm that made him a the barrier. That was anti-Semitism. natural for the courtroom.

Now, it’s changed, of course.”

As Epstein remembers, it happened In 1957, Epstein applied for and this way: “The dean called me in and received a direct commission into the Air said, ‘Ira, you really didn’t do well on Force’s Judge Advocate General or JAG these tests.’ I told him why--that I left court. The recently married (to the forearly every day to conduct cheerleading mer Noddy Schein of Omaha) JAG offitryouts in my role as Yell King. That I cer was first assigned to San Francisco, was in every activity imaginable at where he looked up Beli, who officed in Nebraska. I was a member of the gym- the city on the hill, to see about joining nastics team, the student council, the the famed attorney’s practice and thereNebraska athletic board. by supplement his low military salary.

“I was active in Jewish activities, “I ended up working part-time for him including AZA. I was president of the while in the service. At that point I got a campus chapter of Sigma Alpha Mu. And good flavor of personal injury law and the dean said, ‘Because of all your activ- decided that just was not my bag.” ities, we’re going to let you into law Continued on next page

April 2, 2004

Jewish Press, Omaha, NE

Page 35

No Business Like Show Business Continued from previous page Meanwhile, his JAG duties helped him develop keen lawyering skills. “JAG was really a good experience for me. I tried a lot of cases...a lot of court martials. For being a closet introvert,” he laughed, “I was a pretty good trial lawyer.”

He had no longer settled in his next station, cushy Long Beach, when a mid-air collision of Air Force and Navy planes over civilian air space caused severe property damage and personal injuries, resulting in a flood of claims he handled. This, too, proved a valuable training ground.

“As a result of that very serious accident I spent a year settling claims for the government. It was a tremendous experience.” he admitted. “By the time I joined a law firm in 1959, I was an experienced lawyer already.”

With his JAG commitment up, he interviewed with pri- At an Epstein family simcha, vate L.A. law firms and got James, Bob and Mark. hired by an established entertainment law firm. It was familiar territory.

“I felt comfortable from the very beginning,” he says.

“I was always interested in entertainment. It was appealing to me.”

Besides, as a former performer, he understood the fragile creative personality. “It’s not so much just temperamental artists, it’s temperamental producers, too.

They’re all the same. They all have that mind set, which they’re entitled to. It’s an ego business,” he insisted.

“You have to have a particular kind of mentality to represent them. You have to be pretty patient. You have to be more of a psychologist, bordering on a psychiatrist, than a lawyer.”

Among his first clients was Larry Harmon Productions, whose stable of artists included TV’s Bozo the Clown. Another Harmon artist, animator Lou Scheimer, became one of Epstein’s closest friends.

When Scheimer left Harmon to start his own animation shop, Epstein continued representing him. At the time, there were only a few independent animation companies, and when Epstein’s boss ordered him to drop Scheimer to avoid potential conflicts with competing animators, Epstein remained loyal to his friend.

“I said, ‘Well, I’d just as well drop the firm than drop the client,’ which was a dumb thing on my part because the guy had nothing going. That was 1963. So, I went out on my own with this partner, and don’t ask me why, but we got a lot of clients,” he insisted.

Noddy and Ira Epstein are surrounded by their three sons: “We were doing pretty well, only my friend Lou Scheimer was doing nothing.” That soon changed when CBS plunged into Saturday morning animation and a major player in comic books, National Periodical, sought somebody to animate their signature Superman franchise. Scheimer got the job and Epstein bought a piece of his studio, Filmation.

“Superman launched the company and really got me started in animation. After Superman we started doing all the action heroes. Batman. Aquaman. Captain Marvel. Then we branched into other animation series.

We did Fat Albert. We did Masters of the Universe- that was a big series,” he explained. “We ended up selling the company in 1969 to a cable company called Teleprompter--the predecessor of all the big cable companies. Teleprompter ended up selling to Westinghouse and as a result we made quite a bit of money for young guys at the time.”

Outside animation, a good share of Epstein’s early clients were in the music business. When he was still a law firm employee in the early ’60s, he did work for Liberty Records, a kitsch pop label whose recording artists included Julie London, Bobby Vee and the

Chipmunks. “I learned a little about the music industry, but I knew music anyway.”

When he opened his own firm, he rode the wave of the soulful black music movement. “I set up the California corporation for Motown Records, which then moved from Detroit to Los Angeles,” Epstein said. “I worked with many Motown artists. My personal client from their stable was Hal Davis, who wrote and produced many Jackson Five and Diana Ross hits.”

Then Epstein set about reinventing himself and his practice again. “In 1975, I left my then partner and went with another attorney, Jay Cooper, who was and still is the outstanding music lawyer in the country.”

With the addition of a third partner, the firm of Cooper, Epstein and Hurewitz became a player in the entertainment law arena for 20 years. “We started with about six lawyers and built it up to about 60. We had one of the best entertainment law firms in Los Angeles,” he says. “We had a lot of good lawyers. We had a lot of good clients, It was really a major firm.”

Although Epstein did select legal work for legendary stars Marlon Brando, Barbra Streisand and Mary Tyler Moore, his biggest client during this time was Carroll O’Connor, the late actor forever identified with the role of Archie Bunker on the classic, ground-breaking CBS series “All in the Family”.

“I represented Carroll through ‘All in the Family’, and all his battles with its producer Norman Lear, and up through his last series, ‘In the Heat of the Night’,” Epstein added. “I also represented him throughout all his problems with his late son and the lawsuits that evolved from that.”

More than a client, O’Connor was a friend, Epstein says. “We had great rapport with each other. We became extremely close. I shared all his joys and sorrows. It was a lasting relationship. I still represent the O’Connor estate.”

Bigoted Archie Bunker was far removed from the man Epstein knew. “He was not that character. He was the antithesis of Archie Bunker. He was an extreme liberal. A champion of human rights.”

Given that Epstein is a self-described “extreme conservative,” their friendship made for “an interesting relationship.” He says as different as O’Connor was from A.B., the actor struggled escaping the persona he so indelibly fixed in people’s minds.

“I represented him on Broadway, where he was never able to have a successful play. It just wouldn’t work,” Epstein admitted. “He got so closely tied to the role of Archie Bunker that the public just wouldn’t buy him as a legitimate stage actor, where he got his start.

“But he was a great actor and a wonderful guy.”

Continued on page 45

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Picture Her Now

by CLAUDIA SHERMAN Naomi won a scholarship to the Art Institute of Naomi Katskee was “a very active little girl,” her Colorado in Denver. The school of 2,300 students, mother, Sindie Katskee, recalled with a smile and a offers degrees, certificates, and diplomas in interior sigh. For example, “Neighbors would call to tell me she design, fashion design, industry design, culinary arts, was hanging upside down from their swing set.” graphic design, web design, animation, video producNaomi’s abundant energy sometimes got her in trouble tion, and photography. at day care and in school where she spent her fair share “I like it there a lot,” Naomi reported. “I’ve had more of time in “time out.” one-on-one instruction, because (the school) is small.”

She also had more than her share of health problems Her classes included fundamentals of design and including stitches in her lip, surgery to remove a cyst, color theory, analogous colors, complimentary colors, hernia surgery twice, an adenoidectomy, two fractured lighting, composition, history of photography, editorial front teeth from falling out of a bunk bed at summer and advertising classes, English, writing, algebra, and camp, scoliosis surgery, asthma, and an appendectomy. western civilization.

Despite these occasional setbacks, Naomi, now 20, She would like to see more fine arts classes offered has led a busy life as a member of United Synagogue at the Art Institute. “It’s all about commercial art. They Youth and B’nai B’rith Girls, took a trip to Israel, and hardly ever missed a Saturday morning Shabbat at Beth El Synagogue. She loved gymnastics from the age of four and was enrolled at Frank O’Connor Gymnastics School until her spinal fusion surgery (for scoliosis) at 16.

In junior high at Beveridge Middle School, Naomi performed on the gymnastics team and later on the Burke High School team for a year.

A natural extrovert, she was on the Burke Pom Squad for three years.

“I’m very sociable,” Naomi said when she was in Omaha in December for a few days recovering from her second hernia operation.

She also considers herself to be “an artistic perAbove: Sindie Katskee (left), an artist in her own right, encouraged her daughter Naomi to purson. I like to draw, paint, sue her artistic interests. Below: one of Naomi’s photos. and shoot pictures.”

When she was in junior high, Naomi’s enthusiasm began to spill over into artistic endeavors. She took art classes which “brought out some abilities Naomi didn’t even know about,” said her mother. This led to more art classes in high school. She also played drums in the concert and marching bands at Burke.

She tried her hand at creating layouts and taking pictures on the yearbook staff. When she was a sophomore, she decided to try some photography classes at the Omaha Public Schools (OPS) Career Center. There she met Dave MacCallum, “the real reason I started” in photography, Naomi said. He was “my inspiration. He loved photography. He made me get involved in scholastic art competitions every year.”

When she was a sophomore, Naomi won honorable mention in the OPS Career Center student art competition. As a junior, she won first place in the single entry category of the Nebraska Scholastic Art Competition. As a senior, she received a gold key, the highest recognition given, for her portfolio work which was then sent on to the National Scholastic Art Competition.

When Dave MacCallum died in 2000, Naomi was a also teach you business management and how to presjunior. “I really liked him. He was a great guy,” she ent yourself and your work professionally.” As she prerecalled. His ashes were buried in his camera. pares for the future job market, she’d like to be a fashWhile still in high school, Naomi worked at The ion photographer.

Picture People at Westroads Mall for a year and a half.

“I expect her to try several areas of photography and “I did photography, developing, and printing.” She also pick one to live on,” Palmon predicted. “Anything she did an internship with Ophir Palmon, independent chooses--portraits, advertising--she’ll be successful.” artist and owner of Artistic Visions, for another year and When she graduates in June with an associate‘s a half. She shadowed Palmon at weddings helping him degree in fine arts and photography, she’d like to work with production. in consumer portraiture, for a magazine, a modeling or “He taught me everything,” Naomi commented. advertising agency, a catalogue, or in the fashion field “It was more than an internship, it was an appren- “basically just assisting until I get more experience,” ticeship,” said Palmon, “and it went very well. Naomi possibly staying in Denver. sets herself a goal and gets it accomplished. She catchNaomi says her inspiration came from MacCallum, es on very quickly which is not something I expected Palmon, Dave Neleigh, an instructor in Denver who is from a first timer.” She took photography more and from Omaha, and another Art Institute instructor, Scott more seriously, according to Palmon.

Dressel-Martin.

After graduating from Burke High School in 2001, Continued on page 45

April 2, 2004

Omaha’s Real Drama Queen

by OZZIE NOGG I see myself. I’m not your typical ingenue. I tend to get When actor/writer/director Rachel Shukert talks cast as complicated women, conflicted emotionally and about her work in New York, the dialogue moves eas- sexually, a little bruised. But I can also be funny, and ily from the poetic and thoughtful to slightly dramatic that’s the wave I’m riding now.” tongue-in-cheek asides.

To hone her comedic skills, Rachel appears as a “It takes a while to write a play, so it’s got be set in recurring guest in the far-off Broadway review, a world you like spending time in. The worlds I enjoy Omigod-Am I Pregnant. are generally sort of decadent and dark, but very, very, “I performed a scene from the Ten Commandments silly. (Oh, it’s all so post-modern and fabulous.) I think between Judith Anderson, Ann Baxter and Charlton making plays is really making something--a muscular, Heston, where I played all three parts. During another physical activity. My plays tend to fuse different ele- guest shot I was the murder victim and the murderer at ments--either carefully interwovthe same time. Sometimes I feel en or haphazardly slapped like an avant-garde Elaine May.” together--so the thought of makRachel also appeared at the ing them, hewing them together, Ontological/Hysteric Theater in seems particularly apt.”

Richard Foreman’s Panic.

And how does Rachel make “That show was the hardest her worlds? thing I’ve ever done, but I “Basically, I think of interesting learned so much from Foreman things I’d like to do, characters about personal vision and not I’d like to be, and then determine making excuses for what's in how to act it out in front of peoyour head. Make your work to ple,” she admitted. please yourself, and if other peo“In my first play, I wanted to ple like it, so what?” she asked sing and dance, talk in a French rhtoerically. “And if they don’t, accent, wear a tutu, kill someone so what? with a toaster (silly, silly, silly!), “I’m of two minds about that. so that’s what I did. (And people I like pleasing the audience. I encouraged me, however think a performance is an incredunwisely.) Another time, I wantibly intimate collaboration ed to be an old, old rich lady between the audience and the (with lots of dogs) who drinks play--one wouldn’t exist without (too much) so I wrote a play the other. It's a special relationwhere I got to be that lady. ship. On the other hand, the “And then I decided the old most important audience is the Rachel Shukert rich lady should have a gay fashartist herself. She’s the one who ion designer son (like lots of old rich ladies do) so I has to make it, and live with it. It’s a complicated balgave myself one. Yes, my work is extremely personal, ancing act.” but I'm not that unique, so my fantasies appeal to other Currently Rachel is tightening up her latest script, The people (at least five or six!) because none of us is as Blackstone Hotel. special or different as we like to think. If we were, it “It takes place (sort of) in Omaha--an Omaha of the would be a disaster. You could never relate to anyone mind,” she laughed. “I did a workshop version in else. What would you talk about over drinks?”

Amsterdam this past November, and it’ll be produced Rachel Shukert’s quirky style and off-beat take on life here in New York at the Culture Project at the end of developed at an early age, and when her parents, Marty March. It’s a big theater. I’m terrified!” and Aveva Shukert, realized she was determined to Will audiences flock to The Blackstone Hotel? “Oh, make a life in theater, they were, she says, “amused, how I wish you could command people to show up. but tepid. At most, lukewarm. My mother took me to That’s the hard part. So many people you know will rehearsals and auditions (reluctantly, but she did it) and love what you’re doing if you could only get them in deep down I think she was a little excited, though she’s the door,” she said wistfully. not a stage mother by any means.”

If Rachel Shukert ever writes a show about life in Rachel appeared in shows at the Emmy Gifford New York, it will be decidedly up-beat.

Children’s Theater, and her role in the Blue Barn pro“Absolutely anything can happen to you in this city. duction of Quilts won her the 1998 Best Youth Actress Sometimes you can’t believe you’re a part of it all. award from Omaha’s Theater Actors’ Guild. During Sometimes, when you’re in one room working on your high school she starred in Oklahoma, Hello Dolly and new play, and your friend is practicing her hula hoop Fiddler on the Roof. strip tease in another room, and the guy downstairs is “My folks warned me that if my grades suffered playing with his band, and the woman across the hall because of theater, theater would have to go. When it is fighting with her lover, you think--this is just what I became apparent my grades would suffer all on their though it would be like,” she said. own, my parents gave that threat up. They’re wonder“There’s no end to the inspiration, the energy, the fully supportive and excellent critics of my work. They adventure,” she added, But “when you find quiet know my tricks and can always tell if I'm being honest moments, like when you’re sitting on a subway platon stage--doing my best or not. And that’s a good thing. form and someone’s playing the flute and it’s just the There should always be a safe place where you know two of you and you smile at each other, nothing is you can fail, because it reminds you of your weak- more perfect. nesses, your fallibility.

“The only negative in the entire scenario is money, “And with my ego (like most theater people, I’m sad- money, money, money. New York is absolutely too dled with this combination of conceit and insecurity) expensive. It’s killing the life, the art of the city. It’s it's good to have a constant like my parents (even when exhausting and too depressing to talk about.” they’re slightly negative) because they love me and will Instead, Rachel would much rather talk about the never write mean things about me in the New York path she’s chosen and the journey she’s on.

Times, (hopefully).”

“I’ve come to realize that over the years, my commitRachel attended Tisch School of the Arts at New York ment to working in the theater has been the most conUniversity, where she appreciated their “Be Whoever You stant thing in my life,” she insisted. “No matter what Want To Be” philosophy. She studied with strong, uncon- phases or changes I go through, I always came back to ventional women teachers who still serve as role models. it. Ever since I was very young, starting out, it always “There are so many girls who want to be actors, and seemed like a coming home, a return to something so few roles, and such pressure to look a certain way, familiar and comfortable. For me, theater is like a it can make you crazy,” she insisted. “So having women return to childhood. in my life who are independent and creative really “And I have the generation of women who came helped me stop thinking that I had to weigh ninety-five before me to thank for everything. Because of them pounds or I’d die in obscurity, eaten by my cats, sur- that I can live alone and be an artist and have an rounded by dirty dishes. unconventional life and not have to give up my family “If you want to be on a sitcom or sell shampoo or be or the outside world,” she asserted. in the latest teen movie, that's fine, but that's not how “That’s nice. It’s also a debt that I hope to pay back.”

Jewish Press, Omaha, NE

Page 37

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Jewish Press, Omaha, NE

April 2, 2004

It’s All About Family

by GARY JAVITCH While some people collect coins, others paint. Still many like to exercise, and quite a few like to read. When it comes to hobbies, the key to finding a good one is to discover something that is personally interesting, very enjoyable and equally fulfilling. Joanie Lehr has found all three in a needlepointing hobby that she succeeds at splendidly.

Needlepoint is a form of stitchery done on a fabric with a design or picture already drawn on it. According to Needlepoint with Joanne Reid found on the internet, “The canvas is usually cotton or linen, although recently plastic ‘canvas’ has grown in popularity. The fabric is stiffer than those used for embroidery or cross-stitch,” and, unlike the latter two, needlepoint covers the entire fabric. The actual sheet of canvas ranges from about four inches wide to six feet wide.

When one thinks of needlepointed objects, pillows and portrait-sized pictures come to mind as favorite stitchery items. You will see that at the Lehr home, but you have to think with more depth and breadth to really get a measure of Joanie’s great needlepointing skills, and to see just how much it enhances their home.

Beautifully and intricately needlepointed chair covers, outdoor scene-framed pictures, rugs, and museum-sized wall hangings are just a few of the pieces that adorn her household. And that itemization only scratches the surface of the many objects on which she has practiced and applied her craft.

Take, for example, a magnificent four

foot by six foot tapestry that graces a wall in her great room. It took her nearly 18 months to complete the multi-colored piece, which portrays an 18th century scene of a young Englishman leading a white horse with his girlfriend perched atop.

Two young ladies astride a brown pony follow the couple. Colorful flowers set against a dark background of meticulously woven blue stitching brings the animals and people into sharp relief.

Complementing the picture, the needlepoint border on all four sides is festooned with white flowers that lie side by side with green-leafed stems.

It is awesome.

While each canvas has a design, “Doing a needlepoint is not as simple as a paint-byJoanie Lehr poses with one of her many beautiful needlepoint tapestires. number drawing,” the artist explained, comparing the two forms of Earlier, the mother of three, and her hus- needlepoint art that she feels adds artistic expression. Needlepoint has a band, Marty, had hosted 70 celebrants warmth to the ambience she and Marty, great deal more leeway in terms of for brunch in honor of her granddaugh- her husband of nearly 44 years seek to thread color and creativity. Further, ter Avery’s Bat Mitzvah. And in late provide.

Over the years, Joanie has stitched needlepoint is much more elaborate, she March, they will have done the same for another grandchild. afghans and has given away needleadded.

Hosting family events is not unusual for pointed torah covers for grandchildren Needlepoint easily fits into Joanie’s Joanie as it brings full circle to this tradiand their cousins.

She knits, too! life. After a busy day, the stitch work tional mother’s role.

Her home remains Commenting on the dining room gives her peace of mind and, above all, the place where the extended family conwhere two of her works bedeck the “Since I don’t smoke, it gives me somegregates.

Indeed, it is the location that she walls, she commented, “We enjoy what thing to do with my hands,” she smiled, loves to share with children and grandchilwe do in this a room.

We gather for lifeas she displayed her beautiful and credren, other family and friends. cycle events, and we enjoy opening our ative handiwork to me during a sunny, Her home, moreover, is the place home to people.

Sunday, February afternoon.

It had been a busy day for Joanie. where she can share the beautiful Continued on page 46

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April 2, 2004

Songs Just Come into Her Head

by JOAN K. MARCUS Conant, who wrote musicals, he asked me if I would Karen Sokolof Javitch, composer, lyricist, writer and look over his stuff,” Javitch said. “He had places performer, has several special things in her life. Among reserved for the songs in this musical, but they weren’t the things that she holds most precious are her three written yet. All of a sudden, these songs started to children and the children with disabilities whom she come into my head; it was like a faucet had been has taught. turned on! Now when the tunes come into my head, I She was born in Omaha to Phil and Ruth Rosinsky just sit down at the piano and play them.”

Sokolof. She told the Press that her father was actually After writing 16 songs for her first musical, Love At the raised to be an entertainer. “He sings and dances and Café, her career as a musical writer snowballed. She is very talented,” she says with a smile. “My mom and moved on to write Jewish music and composed From I both played the piano and there was lots of singing, Generation to Generation with Omahan Elaine Jabenis. dancing and music in our Jabenis is well known to Omahans for her award-winhome.” ning work at the Omaha Community Playhouse.

Ruth, even though Other musicals composed and proshe suffered from duced by Javitch cancer for many i n c l u d e : years, led a Princess normal life Diana, and taught The children with disabilities.

In later years, s h e went back to school at the University of Nebraska at Omaha to get another degree so that Karen Sokoloff Javitch, second from right, and her children: Mark, Jennifer and Rachel. she could teach these children. According to Karen, “My mother Musical, which was also written in collaboration with loved kids and she just fell into teaching children with Jabenis. It has a cast of more than 40 and was pervisual disabilities. Along with Ruth Katskee, she formed formed at the Joslyn Art Museum. And, it raised more the J.P. Lord School.” than $22,000 for the American Red Cross and AIDS Karen remembers, “I had a good upbringing with a research. close family. I got along well with my older brother, The show was nominated for 13 Theatre Arts Guild Steve. My dad worked hard and my mother was always Awards. The Princess Diana CD is selling in London, there for us. She was an angel!”

Tokyo and New York. The play was produced again in After attending Loveland School and graduating from 2002 and its showing raised $11,500 at a one-night perWestside High School, Karen attended the University of formance for visually handicapped children.

Texas at Austin. She carefully chose that school A fourth musical, Surprise!, was written by Javitch as because they had a good program for learning to teach a benefit for the Alzheimer’s Association. It was perchildren who are visually impaired. She graduated with formed in 2000 and 2001 and raised more than $30,000 degrees in special and elementary education. She for the charity. Omaha celebrities, Kay Kriss Weinstein, taught in Austin for one year and moved back to Mark Lee and Gary Kerr emceed the performances and Omaha in 1974.

Judy Farber was the choreographer.

“That’s when I met Gary Javitch. He was the aquatics Javitch has composed hundreds of songs and has director at the JCC and someone fixed us up on a blind worked along with Chuck Penington, who orchestrates date. We were married in 1975 and I continued to teach her music. He is an orchestra conductor for the visually impaired children for five years,” she Grammy-award winning Mannheim Steamroller and explained. “I was a ‘traveling teacher’ because I had to featured keyboard artist for Chip Davis’ “Musik of go to schools where there were children who were Mannheim Show.” blind. I loved teaching and it was so neat because I had Among some of her songs are: “His Name Was some of the children that my mother had taught!”

Freedom”, which was a response to the 9-11 attack and Karen quit teaching when her daughter, Jennifer, was “Once Upon A Time”, a tribute to the late John F. born in 1978. Mark was born in 1980 and Rachel fol- Kennedy. “Elizabeth’s Message” was a musical tribute lowed in 1984. She says, “We’re very lucky because to Elizabeth Glaser, founder of Pediatric Aids in Los they are such wonderful kids.”

Angeles.

Jennifer, 26, works for Herzl Camp in Minneapolis; “I’ve never wanted to do all of this for myself,” Javitch Mark, 23, is with a consulting firm in New York City acknowledged. “It’s such a difficult business, but the and Rachel, 19, is a sophomore at the University of benefits raise money for charity and I love doing it!

Wisconsin at Madison.

Although we sell CDs and tapes, we don’t make a lot “After the children were all in school, I had a hard time of money. I give most of it away.” because I probably had spent too much time with them!

She’s passionate about her music.

I was lonesome and needed something to do,” she admit“The music business is kind of like winning the lotted. “I had always been musically oriented and had writ- tery! Sometimes, you hit it big by accident! Music is ten some music for guitar when I was in college.” What such a part of me that I can’t stop because it has happened next, Javitch says “was miraculous.” become a passion.”

“In 1990, when my kids had a tennis teacher, Jim

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April 2, 2004

The Producers, Omaha-style

by OZZIE NOGG She may not have been born in a trunk, but if anyone comes naturally to a life in the theater, it’s Debbie Denenberg. A long-time New York producer, Debbie recently moved back to Omaha with her 14-month old twins, Lev and Becca. It was from her house in Dundee, just four blocks from her childhood home where her parents, Norm and Eunie Denenberg, still live, that she described her years in theatre.

“My earliest recollection is of being my kids’ age, still practically in diapers, sitting on the piano bench next to Claudette Valentine while she accompanied my mom during rehearsals for Oh, What a Lovely War in the Playhouse Studio Theatre. And I also remember hanging out during rehearsals for Garcia Lorca’s, The House of Bernarda Alba.

“Years later I understood that the play was quintessentially depressing,” she added, “but at the time, to pre-school me, it was a lot of fun.”

Clearly, Debbie inherited her love of theatre from her mother, but her father contributed his share of show biz DNA. “My dad is a true producer,” Debbie said. “He founded and owned two profitable professional theaters in Nebraska--maybe the only two--and though people credit those ventures to my mom, they were in great part my dad’s.”

In her early teens, Debbie was particularly drawn to one of those venues--The Firehouse Dinner Theater-where she watched rehearsals, inhaled greasepaint, and got safely high on the roar of the crowd.

“My folks and I had countless arguments about this,” she admitted, wringing her hands in mock anguish.

“They’d say, ‘You can’t spend every free moment at the theater. Why don’t you go out with friends your own age from USY?’ It was wall-to-wall drama.”

Fast forward to Stanford University, where Debbie majored in literature, took theater classes and acted in only a few student productions.

“Oh, I was baaaad,” she laughed. “Couldn’t act my way out of a paper bag. I only got involved in the performance end because there weren’t many outlets for future theater producers or marketers or business people.”

In 1981, after receiving her BA from Stanford, Debbie enrolled at Harvard Business School, hoping to carve out a career that, in her words, blurred the lines between work and fun. “I wanted a career that kept me close to theater, which I loved and thought of as play.”

At Harvard, Debbie found herself knee-deep in projects far removed from financial flow charts.

“Oddly enough, in my first year I at B-School I acted in the student show, and in my second year I was a lead script writer. I even joined the Communications,

Arts and Entertainment it, right? Instead, Club. Of all the places to get I can actually actively involved in theater, believe we’ll sucit was in Business School,” ceed.” she mused.

Under Debbie’s “Go figure.” leadership, the During the summer Upstairs box between her two years of Boffice boomed, School, Debbie flew from ticket revenue Boston to New York, hoping soared, and in to land a job as an intern at 1985 Harvard HBO. Business School “On the plane, I sat with wrote a case two other HBO wannabes -study describing real buttoned-down finanthe theater’s succial types. They kept their cessful turnnoses in The Wall Street around.

Journal, all the time sneak“Harvard starting disdainful peeks at me ed teaching the in my funky olive green suit. case study and Meanwhile, I kept reading invited me and my copy of Charles Dickens’ my dad to visit Hard Times and lo and the classrooms to behold, during the HBO answer student interview Dickens’ questions. It was Christmas Carol just hapoutrageous fun.” pened to come up, whereDebbie admits upon I whipped out my that the exposure book and ta-dah! my green added priceless suit and I had a job, but the Debbie Denenberg has returned to Omaha with her twins, Lev and Becca. PR value to her other two candidates didresume. “It gave n’t,” she grinned. me status or credibility or something, which helped when “ In those days, cable television was new, unique and I moved to New York. Eventually, it led to 12 years as visglamorous,” she recalled, “and there I was in this tiny, iting teacher at Columbia Business School and then to my fun, original programming department--the ‘work and Adjunct Professorship in their Entrepreneurship play’ combo I’d dreamed of. I did absolutely nothing of Department from 2000 to 2002.” consequence at HBO, but it meant a summer of living During 15 years in New York, Debbie created and in New York, and it opened doors to what later became built Big League Theatricals. Completely non-union, the fifteen years of my creative life.” group produced, booked and managed national road But we’re ahead of ourselves. Flash back to 1983 and tours of Broadway shows, including Driving Miss Daisy, the job that followed Debbie’s play days at HBO. The Secret Garden, Into the Woods and Guys and Dolls.

“There I was, 25 years old, fresh out of Harvard B“New York unions want people to think that nonSchool, never had a real job in my life, and my folks union means low-quality, but that’s not true,” she insistlure me back to Omaha to be the full-time General ed. “We worked hard and created real beauty on stage.

Manager/Producer at The Upstairs Dinner Theater,” she We showed the big time theatre people in New York recalled. that quality shows could turn a profit in small town “The business was in the red and it was up to me to markets like Wilkes Barre, PA, not just in Philadelphia. turn things around, transform the place into a success. In Wichita, not just in Kansas City. In Syracuse, not just I was underqualified, but figured I’d make up for that in New York City.” with hard work and adrenaline,” Debbie insisted. “So When Debbie describes the opening nights- when it what if I’m young and naive. Sometimes it pays to not looks like things will never come together but then know what’s going on, right? If I don’t have the expe- almost always do--you can feel her passion. rience to know what can go wrong, I can’t worry about Continue on page 47

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Page 41

Online Jewish Auctions PEOPLE OF THE

BYTE

by MARK MIETKIEWICZ

Want to bid on an original Chagall?

How about a siddur from the 16th century? Or a baseball card featuring a Major League Jewish player?

Although you may be tempted to travel to a famous auction house to do your bidding, you can bid for a wealth of Jewish artifacts and ephemera right from your computer. While some sites auction sites specialize in low-cost items, others will deal in antique Judaica and rare paintings that will set you back ten of thousands of dollars--and more.

Please note that inclusion of a site in this column should not be considered a recommendation. Before you buy (or sell) anything through an online auction, you should check the reliability of the site, and policies regarding commission, shipping, insurance, tax, duty and returns.

In fact, before you visit any site, I strongly recommend reading a primer created by the Federal Trade Commission, “Internet Auctions: A Guide for Buyers and Sellers.” [www.ftc.gov/bcp/conline/pubs/onli ne/auctions.htm] Prices quoted in this column refer to reserve or current bids for items that were on sale when this column was written and may no longer be available.

Unless otherwise noted, prices are in U.S. dollars.

Of course the granddaddy of all online auctions isn’t actually a “Jewish” auction. But Jewish collectors are bound to find something interesting at eBay. You can jump directly to eBay’s Jewish section where there were over 2,000 items up for sale when I last checked.

Here are some that caught my eye: a silver and coral Yemenite bridal headdress, 1870 ($1,200), a pre-WWII Jewish National Fund “Blue Box” from Germany ($33.33), a menorah in the shape of an airplane ($69.99) and a vintage March for Soviet Jewry protest pin ($5.00). [http://makeashorterlink.com/?L2FA 21555] Despite its name, Art Online doesn’t actually conduct its auctions online. But it does let you browse the items to be sold at the next public auction to take place in Ramat Gan and place your bid online.

If you had your eye on Marc Chagall’s “Bouquet de fleurs et fruits--1980,” I’m sorry to tell you you’re too late. It was sold to the highest bidder for $149,500. [www.artonline.co.il/] If you really want to bid online for high quality “investment grade art” (and have nerves of steel), then go to Hammersite where you will find works by the who’s who of Israeli and interna-

tional artists. [www.hammersite.com] Virtual Judaica Auctions specializes in antiquarian Jewish books and rare documents. There is a first edition of Kol Bochim-Lamentations, Venice, 1589 ($901), a letter by Rabbi Abraham ben Rabbi Jacob Avihazira, Morocco, 1883 ($2,700) and Sir Moses Montefiore’s copy of The Order of the Daily Prayers, London, 1810 ($170). Even if you don’t intend to bid, this site is worth a visit to see the high quality scans of these rare items. [http://virtualjudaica.com/] Aside from having a catchy name, OyVey Auctions markets itself as a lowcost auction site with a social conscience. Eighteen per cent of all annual profits plus the proceeds from one 24hour day in each month will be donated to such charities as the Simon Wiesenthal Center or Aish HaTorah.

Items include a Holocaust armband ($49.95), a men’s 14K gold chai with chain ($19.95), and a Shawn Green Upper Deck baseball card ($9.99). [www.oyveyauctions.com] Although it couldn’t possibly match the thrill of bargaining in an Israeli shuk, a site called eshuk.com describes itself “the best play to buy and sell anything and everything Jewish.” On the block were a mahogany and silver challah board ($60.00), a copy of the Heimishe Kitchen kosher cookbook ($13.50) and a mezuzah parchment ( $ 6 4 . 9 9 ) . [www.eshuk.com/] Still looking for more auctions?

There’s the Hungarybased Online Judaica Auction where I came across an antique brass spice box ($319.00) and a 1914 postcard of the synagogue of Nagyvárad, Hungary ($9). [http://online.judaica.hu/] Collectors of Israeli stamps and coins should check out the Stamp Fair site. [www.stampfair.com/Auction/X CAPViewInCat.asp?ID=41] If you’re planning a trip to Israel and want to go upscale from falafel and hummous, try bidding on a meal at a restaurant.

Here’s how it works. A recent dinner for two at Petach Tikva’s Thai Pan Restaurant was valued at 200 new Israeli shekalim. After an online auction, the high bid for that meal was 120 shekalim.

So the bidder can now go to the restaurant and enjoy a 200-shekel meal at almost half price.

Other featured restaurants for biddable meals include Jaffa’s Le Relais (French) and Ramat Gan’s El Gaucho (Argentine) and Raanana’s Pillsbury Café.

(Yes, THAT Pillsbury!). [www.eluna. com/Auction] Mark Mietkiewicz is a Torontobased Internet producer who writes, lectures and teaches about the Jewish Internet. He can be reached at: highway@rogers.com.

EARLY DEADLINE NOTICE Due to the closing of the Jewish Press office the first two and last two days of Passover, Tuesday and Wednesday, April 6-7 and Monday and Tuesday, April 12-13, deadlines for articles, photos and ads are at noon as follows: Issue Deadline April 16 Monday, April 5 April 23 Wednesday, April 14 For more information, call the Press office at 334.6448.

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April 2, 2004

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Artistry Starts at Home Continued from page 26 Sisterhood Fund. She has also designed some of Temple’s contribution cards used to acknowledge honorary and memorial donations.

Ginsburg painted the murals on the walls of the kindergarten and pre-kindergarten rooms at Temple Israel and also designed the holiday banners that hung in the foyer of the Jewish Community Center for several years. They are now displayed in the Child Development Center.

Currently, she is working on a five-panel mosaic project with some of the middle and high school students at Temple. “The kids have done such a great job,” Ginsburg observed, “and I am looking forward to seeing the completed project hanging at Temple perhaps for their children and grandchildren to see.

Elyce Azriel, director of the Middle and High School at Temple, said, “Cheri’s talent is contagious and her

work with each student is with a special passion.”

Ginsburg has also “been an extra pair of hands whenever we needed her in the younger grades,” said Joan Cooper, Temple’s religious school coordinator.

“Art is so important in a child’s education,” Ginsburg believes, “and it bothers me that the funding for it has been cut in so many school districts. The skills that are taught through visual arts are endless. In addition to being a creative and emotional outlet, art can teach patience and perseverance, problem solving, and organizational skills.

“Math, science, and chemistry lessons become real when applied to carefully chosen art projects,” she insists. “Kids learn from their mistakes and can come to realize that sometimes a mistake can end up becoming fortunate turns of events.”

“All kids should have access to art,” she believes. “It helps them process their world.”

Lindsey J. Tomaso artist & instructor

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Passover Greetings

From Working on their mosaic project at Temple Israel are Hannah Ferer, left, artist Cheri Ginsburg, Susan Freeman, Jackie Neesman, and Lexie Newman.

Many Roles

Our Best Wish Wishes f

aJ

Passover Ginsburg has sold of her dreidel designs through a Judaica catalog.

Continued from page 27 “Very politically active,” championing her views on pro-choice reproductive rights and apartheid, Rachel describes herself as “a card-carrying liberal” who is not ashamed of the word. “The polarization of ideas” among Americans bothers her. “I was raised having good healthy arguments. We need to listen to each other more.”

At 42, Rachel said, “sometimes, I feel like I still don’t know what I want to do when I grow up, but I would like to feel that I’ve made a profound positive impact on the community.” Whether it’s through the arts, political activism, or the new job she has just accepted as the director of development at the Ronald McDonald House, which provides low cost living accommodations for families of children who require long-term hospitalization, she’s still working on it.

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Far Flung Career Continued from page 29 Shot on location in and around the Nevada desert, the film, written by Pulitzer Prize-winning playwright Arthur Miller and directed by that late great lion of American filmmaking, John Huston, became a cause celeb due to the legendary figures involved in its making, the personal dramas unfolding during and after the shoot and the constant presence of Magnum Photo Agency photographers documenting the entire production. Levin’s impressionistic film touches on it all.

The Misfits has long been overshadowed by the looming, larger-than-life legacies of the Hollywood idols who starred in the project and died untimely deaths after its completion. Long an admirer of the film, Levin got the idea for hers when she ran across a book detailing the making of the movie with images by Magnum photogs given complete access to the set.

Aware of the rich, behind-the-scenes goings-on of the United Artists release, she immediately saw the potential for a signature the-making-of project. Besides funding, which soon fell into place, she needed to access Magnum’s superb photos, along with excerpts from the film, and to record new interviews with surviving principal cast and crew members.

When she began making inquiries about doing a documentary, she assumed she was a latecomer to the idea, but to her surprise and delight she found she was the first in on it.

“That was auspicious somehow, because it felt like it was mine to do,” she said in an online PBS interview with writer Gia Kourlas. “I love the notion of being able to approach the creative process on several levels, including the points of view of these photographers.

The Misfits is a great film that wasn’t received in that way, but I think it’s so extraordinarily modern and courageous.” She also secured rather quickly the releases needed from Magnum, United Artists, cast and crew.

Even the indomitable Arthur Miller agreed to participate without much prodding.

Levin also liked the idea of looking at cinema through the lens of still imagemakers, whose approach she is influenced by. “I just love still photography. It’s very influential in my thinking. I do like what a frame does. I am looking at things always in terms of how I can use a frame, how the frame fits with the next image...I’m very informed by it. I think you can see it all the way through my film.”

She prefers “portrait-type” shots. “I am not afraid of a

Jewish Press, Omaha, NE

Page 43

Discover the Difference talking head. I like a tight shot. I like faces. I want to see them. I believe you hear people better the closer in the camera is.”

Tony Huston described to her how his father, The Misfits’ director John Huston, considered the human face “a landscape unto itself” and therefore something to be explored in detail. “And I shoot like that,” she says.

Airing to good reviews on PBS’ Great Performances in 2003, Making the Misfits satisfied Levin’s intent “to not have it be another one of the zillions of movies about movies. I wanted to make it have some resonance and to mean something to somebody, and have it not be another, ugh, Marilyn Monroe saga.”

Her film played on a continuous loop during the Joslyn Art Museum’s recent showing of the traveling exhibition, “Magnum Cinema: Photograph from Fifty Years of Movie Making”.

Although she loves the documentary form, she doesn’t consider herself strictly a documentarian. Some of her favorite work includes segments made for A&E’s “Revue” series that variously featured conversations between artists or profiles on individual artists. She’s particularly enamored with programs that paired artists for free-wheeling, unscripted discussions.

“I did one after another with incredible people.

Martin Scorsese and Stephen Frears. Tom Stoppard and Richard Dreyfuss. Francis Ford Coppola and John Singleton. Yo-Yo Ma and Bobby McFerrin. I just think this notion of giants talking to each other is a very interesting concept. And I actually think they speak to each other far differently than they speak to anyone who interviews them, no matter who you are.” Other notables she’s profiled include Elizabeth Taylor, Cher, Paul McCartney and filmmaker Bernardo Bertolucci.

She’s now trying to secure backing for a couple documentary projects she’s eager to develop. One would explore the price and promise of life on the Great Plains and the other would reveal the real life affairs that inspired a famous author’s literary romances. As always, her excitement about these new subjects consumes her.

“When I discover something, it does fuel me,” Levin admits. “I love finding the connections and chasing them down. It’s not just about having a good idea. It’s having somehow or other the planets line up in exactly the right way...and when that happens, ohhhh...You have to be passionate about this stuff for that to happen!”

EYE ESSENTIALS

Continued from page 30 When the Burells moved back to New Jersey, Len set up a table saw and began doing his artwork. He worked as a project manager for a residential contractor before coming to Omaha.

But when Wendy decided to interview for the job in Omaha, the family stayed for three days. “I had never heard of Omaha,” Len admitted, “and we were trying to decide if we wanted her to take the pulpit. I got in my car on Monday morning and there, driving along side me, was a tractor and it said, ‘Nebraskaland-Discover the Difference.’ I went home and told Wendy that God meant for us to go to Nebraska!”

After moving to Omaha, Len began attending art and writing classes at Metro Tech. He does work with stained glass and wood.

“The important things in life are the creative stuff.

Len Burrell The next step is to set up a permanent shop. It has always held me back when doing painting, stained glass work and woodworking because I never had any space.”

Len says that the best part of his day is the time he spends with his son, Sam. “Even when Sam was a baby, we were always together. He rode with me on the lawnmower and was on my back when I cut roses.

Now, we’ll have a garden that will be about a quarter of an acre.

"Now that we’ve moved to an acreage three miles north of Elkhorn, I can have a huge shop,” Len said. “I can build hutches and other things. I want to tie the art and woodwork together and make things to sell. I need to feed the creative animal in me!

“The most important thing for me is being Sam’s father. When Wendy was pregnant with him, I used to put my head to listen. The day he was born, I was in the delivery room and the doctor cut the cord and layed him in a cradle on the table.

“He was screaming like mad I and went over to him, put my thumbs in his little hands and said, ‘Boop, boop!’

He quit crying and we bonded at just that moment! It was then I realized that artwork was important, but Sam was my most important job,” he noted. “The experience of having him has really completed my life!”

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April 2, 2004

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Continued from page 31 Annette’s attention to family and also to religious reference is very evident in her work.

An outstanding bronze of an elderly woman and a little girl had a fascinating explanation.

A copy of a very old family photograph pictured Annette’s Mother as a tiny girl, standing next to her mother, the grandfather and the small child’s siblings.

Fettman did a clay model of the mother and child and from there turned it into the charming bronze.

She was commissioned to do a mezuzah for the theater at the Jewish Community Center, and made and donated one for the Blumkin Home. Her work has been displayed often at the JCC, a fitting and appropriate setting.

She did a memorial to those Annette Fettman isn’t the only artist in her family; after lost in the Holocaust for dis- shacharit, Cantor Fettman stands before his needlepoint. play at Beth Israel Synagogue, which will be moved to the new location only mention some of her wonderful when the building is completed. In the sculptures or to remark about a waterFettman house, a visitor can look around color which she says was done in her and have the feeling of being in a Jewish college days really doesn’t do justice to the fine work she has turned out so far.

Museum.

Since she is obviously still attracted to From the heart-wrenching bronze figures which appear to be concentration new projects, an admirer of her work camp prisoners, the beautiful life sized can hope to see more in the future. bronze head of a beloved grandchild, a Maybe somebody will pique her interest Havdalah candleholder and spice box to in welding after all and one day she’ll a ceramic “bowl of matzo ball soup”, to produce somethng in yet another medimention only a few, are examples of um......I have no doubt she could.

Perhaps her most moving pieces are Fettman's talent.

Not to be overlooked are the illustra- those with Judaic content or flavor. As tions she did for Cantor’s book, “Shoah”. she says, her husband has been an influAnd, laughing a little, Annette says she ence on her work.

Still, when looking at the range of her exercises some of her creativity by baking bread and inventing new techniques output, from the most dramatic to the for braiding challah. Clearly, there's ceramic “bowl of soup”, the feeling is always something going on in her imag- the child who drew in the steamy winination, some idea for a new project or a dows of the Studebaker can do whatevdifferent approach to an old one. To er promises to be an interesting project.

Dig Music?

Continued from page 33 things. Most recently, I play at Beth El “Helen cried all the way there but we Synagogue on Friday nights. loved it after we arrived. I had a great “I just ‘dig’ playing!” band and we had a wonderful two years.

At age 68, Epstein says that he is In 1964, I was offered a job in Omaha enjoying life. Their daughter, Dr. Marti and my brother, Allen came to Carson to Epstein, lives in Cambridge, take over my job!”

When Tuffy came back to Omaha, he took over the instrurnental music at Nathan Hale Junior High.

He remained in that position for 26 years. He says, “I loved what I did.

As a matter of fact, I still love what I do! My students are the reason that I can never retire. I have always taught privately and I continue to do so.”

While teaching at Nathan Hale, he went Tuffy Epstein plays flute, clarinet and saxaphone; his music can back to school during the often be heard at local synagogues and other events. summers and earned a Masters of Music Education degree from Massachusetts with her husband, Dr. UNL. Charlie Katz and their son, Gideon, 19 Epstein played in The Omaha months. Her sister, Danielle Sherman, Symphony Orchestra for 11 years and lives in San Francisco with her husband, played every single Ak-Sar-Ben show Drew Sherman. from l964 until they stopped having He says, “I can create on my feet when them. He says, “Music is music and I’ll I’m playing. Now, I realize that I’ve play anywhere-anytime.” always had ‘passion’ for what I do. I’ve As is the case with most musicians, he always wondered what passion was and loves to play so much that he doesn’t now I realize that I’ve always had it for care if he plays with or without pay. He music. Now as I look back, I realize that says, “I have my own group and we play it has been my passion for music that at the casinos, weddings and other has driven me all of these years!”

April 2, 2004

Continued from page 35 The television landscape Epstein and his clients knew in the ’70s and ’80s was vastly different than the one that’s emerged today. Back then, the medium centered around the Big Three networks, monolithic televisionfocused businesses which got most of their product from independent producers. Today, technology has created an expanded television pie, sliced up among dozens of networks and hundreds of channels, while at the same time economic forces have seen a consolidation of power, programming and production among a few major multimedia giants.

“The television business has been considerably impacted by consolidation,” Epstein says. “An independent television producer today doesn’t have a chance, because the majors have taken over almost all of the production. It’s pretty much integrated vertically.

It’s all controlled by a very small group of people.”

Making television deals for clients today requires Epstein know more than just what the U.S. television market will bear. He must also be well-versed in foreign distribution and in the home video and spin-off markets.

“The business has changed a lot. There was no such thing as a foreign television market in the early years.

Now, foreign markets produce about 50 percent of the income for television series. With the advent of home video and product merchandising, I have to know these aspects. If you do a major animated show like Masters of the Universe, your income is coming out of merchandising as much as it’s coming out of television,” he insisted. “I made a deal a couple years ago bringing the Japanese animated series, ‘Yu-gi-oh’ to this country and it made all its money in the merchandising area.”

Other forces impacting his work include the ever changing home entertainment market, which has seen VHS and laser disk formats supplanted by DVD, and the proliferation of cable TV and its ever expanding programming menu to serve an insatiable viewing habit. In this wide open environment, anyone or anything can be a hit--as evidenced by the Reality TV phenomenon that makes people from all walks of life instant celebrities.

In his quest to stay current, Epstein represents a professional gambler trying to make it on the popular TV poker playing circuit. He also represents Peter Funt, producer of Candid Camera and the son of the show’s

creator, the late Alan Funt, who did Reality TV before it had a name. The growth of televised sports and the birth of sports celebrities is another sea change, says Epstein, who’s “done deals” for such figures as George Foreman and Hulk Hogan.

So, what’s the next big thing? Epstein says a massmarket, user-friendly technology to download movies off the Internet is sure to one day replace DVDs by virtue of the ease, speed and convenience of selectand-click home movie viewing.

By 1994, Epstein had resigned as managing partner of Cooper, Epstein and Hurewitz and went into a semiretired mode that saw him work some 10 years at Weissmann Wolf. Then, in 2002, at the urging of his former partner, Jay Cooper, Epstein joined the huge international firm of Greenberg Traurig and its growing entertainment practice, where he’s rejoined his old friend. Epstein, who’s recently represented producers and distributors of mini-series and features, operates autonomously there.

At age 72, he thinks of retiring, but remains too much in the game to leave now. “When I went into semiretirement the whole idea was I would phase out and quit soon. Well, I’m still phasing out. I hope to quit real soon, believe me, but I don’t know--I seem to stay with it!” he laughed. “I do very little of what is called the traditional practice of law. I advise my clients far beyond the lawyering. It’s fun.”

He also is a senior member of the board of directors for Image Entertainment.

A new challenge occupying much of his time these days is his presidency of the North Coast Repertory Theater in Solana Beach, CA, whose move to a planned facility in a neighboring community he’s spearheading.

His association with this theater company fulfills a dream to be “involved in the legitimate theater.”

Two days a week find Epstein in Los Angeles, attending to his law clients, and the rest of the week at his home in Rancho Santa Fe, a short drive from the theater. He and his wife, Noddy, are the parents of three grown sons and the grandparents of six--four girls and two boys.

He rarely gets back to Nebraska these days, although he was here last fall for the 50th reunion of his Innocents Society pledge class. “We had a wonderful reunion...a lot of fun.” He stays in contact with family and “a lot of good friends in Omaha,” including former schoolmate Ben Nachman.

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Continued from page 36 She also credits her mother, an artist herself, for her influence in pursuing an artistic career.

“I loved to draw as a little girl,” Sindie Katskee said.

She took an art class in high school but was admonished by the instructor and didn’t try again until she was in college. “My mom had always wanted me to pursue something in art,” Sindie admitted.

“But it wasn’t until I was married that I actually began the painting I do now.” She took a class given by an artist whose work she and her husband, Jerry Katskee, had admired at the Countryside Village Art Fair. Today, her work hangs in her home, her husband’s office, and is given to family and close friends as gifts.

“Painting is relaxing,” added Sindie, who has been a special education teacher with OPS for 32 years. She loves what she does, but painting is “a way for me to escape into a dream.” When she retires, she dreams of having her own studio in her home where she would be able to paint without interruptions.

She knows it was Naomi’s dream to go to the school in Denver.

Now Naomi’s dream is to someday be a photographer for Vogue. Picture that!

Above: another of Naomi Katskee’s photos.

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April 2, 2004

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by GARY JAVITCH At first glance, Marc Leibowitz doesn't seem to fit the Jewish Press' Passover edition story line requirements.

This is an issue about artists. Marc, after all, is not in that category. He is not an artiste, He doesn’t play an instrument. Neither does he paint. Nor does he write.

Nevertheless, he is making an impact on the local entertainment community by “creating” an opportunity for up-and-coming musicians to get “their chance.” He notes with pride that on March 24, he and his business partner, Jim Johnson, produced their 200th show in Omaha.

As the co-owner of 1% Productions, Marc has invited and ushered into Omaha groups that normally only play “college towns.” (Technically, while there are a number of colleges and universities in the city, Omaha has never been classified that way, according to Marc.)

The musical productions he promotes occupy a narrow market niche. The artists are generally driving through Omaha, as the River City is a convenient halfway point between Minneapolis and Kansas City, Denver and Chicago.

“They perform for one-night only,” Leibowitz explained. “Basically, we put on solo artists and groups who perform independent music, ‘college rock’ or some underground hip-hop. We do ‘Critics Choice’ types of selections.”

Still, many new touring artists are pleased to stop.

They have learned by word-of-mouth that Leibowitz and Johnson will give them a fair chance and can produce a good show. Marc notes that in their initial foray

into the business, Marc had to call agents to get bookings. Now those representatives call him.

“We have a stable of 10-12 agents that we work with, and we’re getting more repeat business,” he observed.

The production company is still working on name recognition. “Not many people know about 1% Productions. We are still low-key, still word-of-mouth.

Most shows are in smaller rooms that hold 300 people.

We don’t always get the same audience, but we do have a consistent loyal y' fan base.”

Their productions can be seen at Sokol Hall, however, that is not their only venue. They like Sokol Hall because it caters to all ages. The hall also buys a weekly ad in the Reader, a publication that frequently writes about their upcoming acts.

Logistically, they sell tickets at Etix.com or at www.onepercentproductions.com on their own website, which Marc maintains. He also deals with the agents, does the books and the bookings. Jim does the marketing. To promote upcoming acts, they also send out about 2000 emails.

Ever since he earned a slot as the entertainment editor of the Burke Beat, his high school newspaper, Marc has been interested in producing shows. You could also add that he got his first production opportunity in BBYO, when he was the dance coordinator for Weizmann AZA. The two boys from Burke started doing this because Omaha did not attract the type of bands they wanted to see. Therefore, they decided to do it themselves.

Continued on next page

All About Family Continued from page 38 to people. The holidays--Passover, Thanksgiving, Hanukkah--bring family and friends together; we often hold meetings here and the needlepoint contributes to a homey atmosphere.

Besides devoting time to her family, Joanie gives a great deal back to the community. She has been a member of the National Council of Jewish Women for many years. During the last six years, she has worked on ads for the NCJW directory.

Along with her co-chairman and committee, they made the popular address book profitable, too, turning the project into a significant fundraiser. This past year their committee efforts netted the women’s organization over $25,000.

Temple Israel has also been a favorite outside activity for Joanie where she has served the congregation as president of both the Temple Sisterhood and the Board. She has helped raise money for the Jewish Federation of Omaha women’s campaign, as well.

Joanie and Marty, who is board chairman of GraceMayer Insurance Co., have traveled to many parts of the world. One of her favorites stops is London, where she buys many of the English-themed needlepoint canvases that fit so perfectly in several rooms in her home.

Even when spending parts of the winter in Palm Springs, Joanie does not remain idle. She does volunteer work in a city grade school and in the library. In California, too, when she returns home, the needlepoint is her outlet for relaxation.

The frequency of family gatherings has added significance now that the kids are all out of the house. The couple’s three children have provided them with five grandchildren. During the evenings, Joanie and Marty would sit near each other. He would watch his favorite TV shows while she would needlepoint. They would talk and reflect.

For Joanie, it’s all about family.

Left: Joanie Lehr shows off one of her many projects--a needlepoint dining room chair, and below, she sits amidst her many other projects in her home.

April 2, 2004

Producer Helps Musicians’ Dreams sometimes have to straddle the line between wanting to provide art and making money.” The art vs. commerce dilemma is why this remains his hobby. For now, it’s a side business and a paying hobby. He enjoys it, and it’s growing. A full time job in the field is just a thought. In the mean time, he has not quit his day job, doing computer work for IBM over the Internet, and appreciating the flexibility that job affords him.

His eventual goal is to open up a club. His plan is to have live music three to five nights a week. The room would hold 300-500 people.

“Basically, it would be the Music Box with a different angle,” he explained. “The Music Box, now closed, sought a 30 plus age group; whereas our demographic goal is 30 minus!”

“It is a difficult industry and it is not an easy business,” he admitted. “You can be taken advantage of, unless you know the field. The company has to be especially wary of ‘promoters’ who often over-hype the talent they represent.

“In addition, some bands only will perform for a certain guarantee, no matter the show’s turn out.

The company also has to put up money to rent a room and a sound system.”

Despite the risks, Mark feels they have been careful and have done well. The company is seven years old.

Their next show is on April 9 at the 49er Bar at Dodge and 49th. The program features a folk rock group, called The Two Gallants.

Coincidentally, the San Francisco band is managed by former Omahan Dan Kasin, Marc’s friend since kindergarten.

Marc comes from a family of four. His parents are Dr. Mike and Bobbi Leibowitz. His only sibling is brother David, who lives in South Florida. Marc is young, single, and in his twenties, doing what he loves.

From this writer’s perspective, Marc is an artist, working with his company to create a potential Marc Leibowitz stands in front of one of his company’s promotional career for himself and a few struggling artists, hoping to get bigger. posters.

Continued from previous page After a pause to get a BS in Business from the University of Texas, Marc came back to Omaha after graduation. The company opened for business in 1997, and it gives him opportunities to meet new people.

More than that, “Omahans want to see the stuff we are bringing in,” he said.

The problem, at this point for the young entrepreneur, is that he is unsure if it will remain feasible. “We

A C C PA C AC C O U N T I NG

Jewish Press, Omaha, NE

Page 47

The Producers,Omaha-Style Continued from page 40 “The creativity, the team effort needed to make a production work, to make it a stunning success, is such a challenge, such a high. I thrived on it,” she admitted.

For the record, The Who’s Tommy, Debbie’s last production with Big League is, to date, the most profitable production of that Broadway musical.

After leaving live, professional theatre, Debbie rode the late 1990s boom as an entrepreneur in Blackberry Technologies, her own software development company. “I was the marketing person and my partner was an Israeli hi-tech guru. Together we built the company to about 100 employees and sold it in 2000, two days before the crash. Phew! Just like on the stage, timing is everything!” Another grin.

Debbie is justifiably proud of her business accomplishments and her connection with the arts.

“I’m basically an entrepreneur, and every time you open a new show it’s like opening and managing a new business. There’s the budgeting, marketing, and building a staff that works together with heart. It’s fastmoving, demanding and I loved it.”

She also loved contributing to the careers of others.

“The manager of a business can, through words and actions, set a high standard of ethics, and I think my Jewish values helped me do exactly that. Our managers learned that when it came to shady practices, an ‘everybody does it’ attitude wouldn’t fly with me. They felt good being part of a business that did the right thing, not the easy thing.

And, “all the young designers and managers who toured with us? Debbie asked rhetorically. “I loved helping them grow artistically, too. Must be my maternal nature.”

Debbie’s maternal nature is now directed towards helping her twins grow as she manages their exposure to Jewish life.

“Every Friday the whole family gets together and does a big Shabbat dinner with homemade challah and songs and a d’var Torah. I looked forward to doing this my entire life. Living and working in New York was a thrill, but it’s hard to raise kids there, and it’s impossible to build a Sukkah in a fifth-floor walk-up apartment!”

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Jewish Press, Omaha, NE

April 2, 2004

Beth Israel Synagogue Wishing Everyone a Happy Passover from

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The Congregation of Temple Israel wishes its friends in the Jewish community A Passover filled with good health, happiness and peace.

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Jewish Press, Omaha, NE

April 2, 2004

Poetically Speaking In 1976, while living in Dallas, she enrolled Chris, then age four, in the preschool at the Jewish Community Center.

She began doing volunteer work at the JCC and she recalled that “the women in the office decided that I should meet Jeffrey Aizenberg who worked there.

Those women almost, inadvertently, kept us from getting together.

They talked to each of us so much that, whenever we met, it was awkward!” she laughed. “We finally began dating and we married in 1977.”

Jeff adopted Chris and a second son, Aaron, was born in 1982. They remained in Dallas, where Susan continued work toward her degree. She was also working for Texas Instruments Company, writing corporate speeches, employee training materials, videos and manuals for computer users.

In 1985, the family moved to Omaha, where Jeff was hired as the Executive

by JOAN K. MARCUS Susan Aizenberg always knew she wanted to be a writer. She loved to write--both poetry and stories. But she kept her writing to herself because she was shy, even though there was an element of artistic talent that runs through the family.

“My brother now has paintings in museums, including the Metropolitan in New York City,” she said, “and he shows his work in galleries. It’s ironic that he became a painter while I’m a poet.

Although we were raised to love the arts, ours wasn’t an ‘artsy’ family.”

As a teenager, she wrote poetry, stories, diary entries and plays. “Because I was so shy,” Aizenberg admitted, “I didn’t join literary clubs or work on school magazines. I just kept everything to myself.”

After graduation from Sheepshead Bay High School in Brooklyn, Susan attended State University of New York at Cortland.

“While I was going to school there, I met Paul Blackburn, a wonderful poet,” she recalled. “He had come there to teach a creative writing class and I went to see him personally because I wanted to take the class. He wanted to see some samples of my work. When he read them, he was very encouraging and very kind.”

That summer he died from cancer and there was no class. By that time, Aizenberg left school, but she says she has “always been grateful to him because he gave me so much encouragement.”

After a brief marriage and the birth of her son, Chris, Susan returned to school.

GAUCHER DISEASE

Susan Aizenberg Director of the Jewish Community Center. It was here that Susan finished her Bachelor of Fine Arts Degree at the University of Nebraska at Omaha. In 1992 she received a Master of Fine Arts from Vermont College.

She had begun publishing her poetry while still an undergraduate. Her first

book, Peru, a chapbook length collection of poems, was published in the AGNI/Graywolf Press Take Three series in 1997. It was listed as a “recommended book” by both the poetry and small press editors at Amazon.com.

“Muse”, a chapbook length poem printed in a limited, letterpress edition

by Nosila Press, was printed in 1998. The Extraordinary Tide: New Poetry by American Women (with co-editor Erin Belieu), was published by Columbia University Press in the spring of 2001. It is an anthology of more than 100 contemporary American women poets and is used nation-wide as a university textbook.

In the spring of 2002, Muse, a fulllength collection of poetry, was published by Southern Illinois University Press in its Crab Orchard Poetry Series. It was chosen by the Foreward as one of the top 10 poetry collections for the year.

Articles and reviews of the book have been printed in the Omaha WorldHerald and the Kearney Hub and elsewhere.

Muse was awarded both the Virginia Commonwealth University Larry Levis Award and the Nebraska Book Award for Poetry in 2003. The collection was also nominated for a Pushcart Prize in 2002 and 2003.

Most recently, in 2003, Susan was the winner of the Distinguished Artist Award from the Nebraska Arts Council. She is a two-time winner of the Individual Artist’s Fellowship from the Nebraska Arts Council and her poems have appeared Continued on page 52

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Page 51

Who Is an Artist?

Susi Frydman-Levin Novelist Arthur Koestler defines creativity as “a type of learning process where the teacher and pupil are located in the same individual.” And for author Mary Lou Cook, “Creativity is inventing, experimenting, growing, taking risks, breaking rules, making mistakes and having fun.”

When Susi Frydman-Levin moved to Omaha from her native Argentina, she showed the courage to let go of certainties and take risks. And in the nearly two years that she and her husband, Rabbi Mordechai Levin, and their three children have been in our community, she’s experimented with a new culture, broken rules of the English language (charmingly) and exhibited her infectious ability to have fun.

“Why not?” she says. “The Yiddish writer, Sholem Aleichem, said, ‘Lahjn is guezunt, doktoirm heisn lahjn--laughing is healthy, doctors suggest laughing’--so if I make mistakes, well, that’s okay.”

When asked if she considers herself an artist, she smiles. “I don’t create artistic pieces, but I do try to be the artist and creator of my own life, and help others to develop their lives creatively, too.”

While attending high school in Buenos Aires, Susi became interested in design and living spaces.

“In Argentina you have to choose your career and your future degree from the beginning,” she explained, “so when I finished high school and had to choose a college major, I said okay, architecture is my field. But while I was studying, I realized that architecture was not only about design, which I loved, but also

about engineering and mechanical systems--electric, gas, water installations-and this wasn’t what I liked.”

To solve the problem, Susi demonstrated traits always found in creative types-- she shifted her thinking and explored new ideas.

“I realized I was more interested in people and how they live than in building spaces for them to live in,” she explained. “So, after thinking a lot, I decided to change my career. Instead of taking care of the outside structures for people--their houses, their spaces, their habitat -I would look inside the people and learn how they live on the inside.

“I decided to study psychology--a way to create a better habitat inside ourselves. We all need personal blueprints-- a plan--to define our place in the world and help us achieve a sense of wellbeing and happiness,” she insisted.

“We need to create an environment that lets us enjoy simple things with family and friends, or those moments when you share an orange with someone close to you,” she smiled.

“Without this, we can live in palaces and still be miserable.”

To paraphrase The Creative Way, by Julia Cameron, creativity is the natural order of life--the pure creative energy of the universe--a spiritual electricity, an act of the soul.

Susi Frydman-Levin agrees. “Painting, music, ballet are different expressions of the human soul,” she says. “Movies, books, theatre are others. In any of them you can find the best essence of human nature, and many times you can intuitively discover the Divine presence.

Those are sparks that touch me.”

If creativity is the natural order of life -if each of us is born with creative ability--then we’d be wise to remember that each of us is unique and each expression of creativity is also unique. We should be easier on ourselves--so what if we’re not Picasso or Michelangelo--and recognize that art and creativity come in many forms.

“I love to cook,” Susi says. “Now, you can cook in different ways. You can be a blind follower of recipes and mix the ingredients without any original thought.

“Or you can be a creative cook and imagine the different tastes and figure out how they will melt and combine in your mouth,” she added.

“Life is like a good recipe with different tastes, textures and feelings. You have different experiences, different memories, different tastes. In life, we can choose with creativity how to combine all this, what to keep and what to erase.

“I know a nice, joyful lady,” Susi continued. “On her 90th birthday she revealed the secret of her long life. She keeps only the good memories and the others she erases.”

Continued on page 52

EARLY DEADLINE NOTICE Due to the closing of the Jewish Press office the first two and last two days of Passover, deadlines for articles, photos and ads are at noon as follows: Issue Deadline April 16 Monday, April 5 April 23 Wednesday, April 14 Questions? Call 334.6448.

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According to psychoanalyst/philosopher Erich Fromm, “Creativity requires the courage to let go of certainties . . . to be born everyday . . . to feel a sense of self.”

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Page 52

Jewish Press, Omaha, NE

April 2, 2004

METRO CHIROPRACTIC CENTER, P.C.

DR. KRISTINE B. SIMONSON 701 N. 132nd Street Omaha, NE 68154 402/496-6090 Fax: 402/496-6158

Poetically Speaking Continued from page 50 in Prairie Schooner, AGNI, The Journal, Laurel Review, Passages North, Third Coast, Chelsea and the Prague Review.

The once shy and introverted poet has lead and chaired panels, facilitated workshops and conducted individual conferences with students, and contributed papers that are too numerous to list.

On a more personal note-Chris and his wife, Joanie, live in Omaha where he is a restaurant manager. Aaron is finishing his senior year at the University of Iowa. He will attend law school there.

Susan has served as an Assistant Professor of English and creative writing at Creighton University since 2000.

“I’m very lucky because I love what I do,” she smiled. “I believe that everyone has creativity. It’s an innate human characteristic. Not everyone has the desire to express their creativity through language, but everyone has creativity.

“If people think they aren’t creative, they’ve usually been made to feel that way. I see students all the time who don’t think they can write, but they can,” she insisted.

“I’ve been very lucky because I’ve had wonderful support from my husband and family,” she added. “I’ve also had help from other poets and teachers who have encouraged me and now I can pass on their help.

“Now that I teach full time, it has become harder to find time for my own work,” Aizenberg admitted. “On the other hand, teaching and writing feed into each other.

They aren’t separate--because what I teach is the writing--of poetry.”

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Back from three years’ monastery life, working in Europe, he’s in love again with these pacific Heights and genteel streets named for fruit trees that could never grow here, with Willow Street, especially, the yellow house where he lives with Jack, where each dawn they hear – amazing! – a cock crow from some neighboring yard. Mornings he walks the Esplanade above the docks and the traffic seething below towards the city, the tall dazzle of its skyline a jagged, brilliant rising from the East River. He notes the flower man with his archaic dull horse and cart, the young mothers pushing carriages, their candy-bright hair teased high, and makes his way to the end of the docks, where the neighborhood shifts into abandoned warehouses and dim alleys, where there’s a haunted hotel; a fabled ghost who passes each morning by a fifth-floor window. He’s waiting, unable to finish the book he knows will make him until the courts decide: will they swing or no?

They write him from their death row cells. He sends them cigarettes and books – dictionaries for Perry, porn for Dick. Swing or no? Once, Perry told him, Dick ran down a dog on the highway, just for fun.

That’s the kind of man he was. Not like him,

392-2600 On behalf of the staff and musicians of the Omaha Symphony we send you warmest wishes for a Happy Passover.

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Perry said, he was never mean if he could help it, made Mr. Clutter comfortable before he cut his throat.

The wind off the river smells of bait and coffee from the trawlers, and the June mornings fairly gleam. Far west, a Methodist crypt amidst the wheat fields and prairie wildflowers, the sealed Clutter house also waits – for the living to claim what its dead no longer have a use for: pie tins stacked and shining on a kitchen shelf, a girl’s locked diary buried among schoolbooks, her father’s boots ready by the mudscrape. Beside a narrow bed, left where he can find them in the morning, a boy’s thick glasses.

Who Is an Artist?

Continued from page 51 According to Jung, the creative mind plays with the objects it loves. And when Susi Frydman-Levin describes her love of weaving, she reflects this theory.

“When I weave I enjoy handling the natural yarns and creating warm textures with them,” she explained.

“The relationship between the weaver and the loom is magic. It takes me back to other women in other places and in other times. It’s like a dialogue between the past and the present.”

With these words, Susi reminds us that to be creative, you needn’t do something that’s never been done before. You just need to do something that you have never done before.

“You are free to try any form of expression that makes you happy,” she says. “Don’t be afraid to try

something new, something playful, enjoyable. Don’t worry if you are not the best. People ask me, do I sing, and I answer, of course I sing. I may not have the best voice, but I sing.”

She dances, too. “With no regrets,” she adds. “I dance like no one is watching.”

So, who is an artist? And what is creativity?

The French philosopher, Henri Bergson, said, “To exist is to change, to change is to mature, to mature is to go on creating oneself endlessly.”

Susi Frydman-Levin fits that description. From Argentina to Omaha, from outside spaces to inner landscapes, she continues to evolve. “Judaism teaches us that we can improve ourselves, “ she adds. “Our tradition challenges us to grow and evolve, and live a meaningful and creative life. This is what I try to do.”

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Jewish Press, Omaha, NE

Page 53

Federation Foundation Endowments Support Arts and Jewish Artists gramming at the JCC, reported that the “The support (by the Miller Fund) Schulman Memorial Fund, supported Miller Memorial Fund was also accessed allows us to feature films that are harder “Yehuda on the Green,” an outdoor conto show the film, The Life and Times of to get and allows us to publicize the cert in May 2001 in celebration of Yom Hank Greenberg, in 2000. event,” said Guy Matalon, Executive Yerushalayim. Established in 1995 by Blum said, “We are very fortunate to Director of JELS. “The Film Festival is Harry Schulman in memory of his first have sponsors for our cultural program- one of the best ways of strengthening wife, the fund is used for cultural arts m i n g . activities at the JCC. Endowments Established in 1977, the like these Morton A. Richards help us bring Endowment Fund, one of quality prothe first endowment funds gramming to of the Jewish Federation, the commuhas also been used for culnity.” tural arts programming such In Novemas subventing the cost of ber 2002, the Yom Ha’atzmaut celebraAvy L and tions over the years, bringRoberta L. ing Klezmer music groups Miller Fund to perform here, and supalso helped porting Jewish theater and sponsor the dance programs especially first Omaha at Hanukkah.

Jewish Film Richards was a foundFestival. Four ing member of the original films plus a Endowment Fund Board of children’s Directors, the precursor of matinee were today’s Omaha Federation featured. The Foundation. He was active film festival Molly Franklin, center, is one of many residents of the Rose Blumkin Jewish Home who ben- for more than 30 years with was inaugu- efit from the Sara Rose Woskoff Arts and Crafts Resource Fund of the Foundation. This the Jewish Federation as rated during endowment funds projects like the ceramics workshop Franklin attends at the Home. well as many other civic the Jewish organizations including Federation’s centennial celebration and Jewish identity and bringing important Beth El Synagogue, the National was presented again last month by Jewish films to Omaha that can serve as Conference of Christians and Jews (now Jewish Educational and Library Services a launch pad for learning and discus- the National Conference for Community (JELS) and the Kripke Jewish Federation sion.” and Justice), and Israel Bonds.

Library.

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by CLAUDIA SHERMAN Foundation Public Relations Director Through endowment funds that support the arts and Jews who participate in the arts, the Foundation of the Jewish Federation has been involved in enhancing the quality of Jewish life for more than 20 years. By establishing and accumulating enduring assets, including those for the advancement of the arts, the Foundation is fulfilling its mission to assure the stability and continuity of Jewish life in Omaha and the surrounding area.

One of the funds administered by the Foundation that supports the arts is older than the Foundation itself.

Justice Lindsey Miller-Lerman, who is now a Nebraska Supreme Court judge, established the Avy L. and Roberta L. Miller Fund in memory of her parents in 1978. The purpose of the fund is to subsidize major productions or exhibits and films for the Jewish community.

In recent years, the Jewish Community Center (JCC) Cultural Arts Department used income from the fund to help bring the film, Dita and the Family Business, here in 2002. The film documents the rise of the fashion industry while exploring the colorful history of the Jewish family who founded Bergdorf Goodman, the posh New York department store.

The film was shown as part of “Film and Fashion”, which also featured BBYO teens modeling clothing from Gordmans.

Rachel Blum, Director of Jewish pro-

Page 54

Jewish Press, Omaha, NE

April 2, 2004

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Endowments Support Arts and Artists Continued from page 53 Marcia Lipsman, chairman of the former JCC Theater Committee for 10 years and a past member of the JCC Board of Directors, had a dream to establish a theater endowment fund. She was able to bring enough key donors together to set up the fund, the JCC Theatre Program Fund, in 1994. She would still like to see the fund grow and be able to support bringing theatre productions of interest to the Jewish community.

Shirley Trachtenbarg set up the Mort and Shirley Trachtenbarg Family Endowment Fund in memory of her husband who was the first chairman of the Jewish Federation Foundation. The fund is used to buy permanent Judaic art for the corridors and rooms of the JCC. Shirley said that she and her husband, who died in 1992, wanted to make it possible for the JCC to purchase some of the art exhibited in the various art shows held at the Center.

Dorothy Lustgarten Riekes “was a famous musician,” said her daughter Linda Riekes in an interview several years ago. Dorothy played the violin at the age of three and as a teenager, she was a soloist with the Chicago and New York Symphonies. Later, she was instrumental in starting the Omaha Youth Symphony.

“She was interested in anything dealing with music and young people,” Linda Riekes explained.

In 1991, Max Riekes, set up the Dorothy Lustgarten Riekes Music Fund to provide funding for a music program for Omaha’s Jewish schools or to provide a college scholarship to a Jewish student from Omaha majoring in music. The fund has also been used for the community’s Yom HaShoah observance.

In more recent years, the income from the fund was used to pay for music lessons for several youngsters in the Jewish community some of whom are Russian immigrants.

Residents of the Rose Blumkin Jewish Home are able to participate in arts and crafts activities thanks to an endowment fund in memory of Sara Rose Woskoff.

Woskoff started volunteering at the Blumkin Home when her mother, Nellie Kadis, was a resident there. An artist in her own right, Woskoff participated in various art projects, primarily painting with the residents. She also came on weekends and showed Broadway musi-

cals or Yiddish theater from her own video collection.

After Woskoff died in 1993, her family set up a “living memorial” through the Sara Rose Woskoff Arts and Crafts Resource Fund. Its purpose is to enrich the lives of the residents of the Blumkin Home through involvement with arts and crafts.

Cathy Carroll, Blumkin Home activities director, said, participating in the arts gives the residents an “opportunity to create something with their own hands, and being able to create something gives them much joy.”

Marty Ricks, Executive Director of the Federation Foundation, expressed how fortunate the Jewish community is to have endowment funds that promote the arts and Jewish artists.

“We are indebted to the people who set up these funds. They enhance the quality of Jewish life in Omaha,” Ricks said. “I hope that others will follow in their footsteps by contacting me at the Foundation office if they are interested in setting up additional endowments to support cultural arts or for any other purpose.”

For more information about establishing a fund at the Federation Foundation--whether it is to benefit the arts or for a myraid of other purposes, contact Ricks at: 402.334.6440.

At last month’s Women’s Seder, Anna Mosenkis, left, makes a purchase from Merilee Rimmerman, who acts as treasurer for the Blumkin Home’s gift shop. The ceramics are made by residents in a class funded by the Woskoff Endowment.

Passover: The Family Guide to Spiritual Celebration

by Dr. Ron Wolfson (Jewish Lights, $19.95)

94th & F Street • Omaha

Wishing you peace during Passover and always.

R EAD IT AND EAT Reviewed by LOIS FRIEDMAN On the self at the Kripke Library is a project of the Federation of Jewish Men’s Clubs and the University of Judaism. This book is the second in the Art of Jewish Living Series (the first was Shabbat: The Family Guide to Preparing for and Celebrating the Sabbath) and presents “one set of rituals at a time”.

“The meaningfulness derived from one ritual will generate the incentive to internalize others,” states former Omahan Dr. Ron Wolfson, who is a Vice-president at the University of Judaism in Los Angeles and the author of this series.

“The magical Seder nights transcend and unite history,” he wrote. The celebration of Passover begins on the first full moon of spring, the 15th of Nisan on the Jewish calendar and this year on Monday evening, April 5.

This “all about Passover book” is divided into Part I: The Passover Seder, which presents an outline of the complete seder ritual by dividing the elements of the Haggadah into an innovative format. It includes four acts: The Beginning, Maggid-The Tellings, The Feast and Redemption. The goal of Part I is “to lead the read-

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er through the Haggadah step by step.” Part II: Preparing for Passover, offers a comprehensive guide to the preparation for Passover and for conducting the seder experience. It describes everything from Preparing for Passover to Learning to Make Pesach to After Pesach. One family interviewed stated that to make their seder different from all others, they had the Four Questions translated into 255 languages; several are recited at each seder.

This recipe is a reminder “of the mortar with which the Israelite slaves made bricks during the days of bondage-a symbol of slavery.”

SEPHARDI HAROSET 1 pound pitted dates 1/2 pound shelled walnuts 1/2 pound shelled almonds 1/2 pound hazelnuts 1/2 cup white raisins 1 apple Here’s how: Chop nuts until fine in food processor.

Save nuts in bowl. Chop dates and raisins, a few at a time. Add nuts, and continue chopping. Add slices of apple. Continue chopping until consistency of paste.

The use of these fruits by the Sephardim has been traced to verses in the Song of Songs, a book of the Bible read on the Shabbat of Passover: Nuts: “I went down to the nut grove.” (6:11) Dates: “Let me climb the palm.” (7:9) Apples: “Under the apple tree I roused you.” (8:5)

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Jewish Press, Omaha, NE

Page 55

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Page 56

Jewish Press, Omaha, NE

April 2, 2004

In a Pickle About Painting

by JOAN K. MARCUS Omaha artist Hazel Zavett Turchen smiles beautifully as she sits in her apartment and points to her artwork. “That one won a prize,� says Turchen shyly.

At age 90, Turchen says she is no longer able to paint because of a tremor in her hand. However, her outlook on life is cheerful and she is grateful for all of the blessings she has had during her long and productive life.

Hazel was born in Omaha to Abraham and Bertha Ruderman Zavett. The family lived at 3221 Lincoln Boulevard and they ran a secondhand store downtown.

She went to Cass Grade School and graduated from Omaha Technical High School in l930.

Although she still has happy memories of her childhood, Hazel’s father died when she was only eightyears-old. Her mother, also a seamstress, continued to run the store, with everyone in the family helping.

After high school graduation, Hazel worked in a medical office as a laboratory technician. Although she had no formal training, she learned quickly--and it wasn’t necessary to be licensed in those days. In later years, she worked in retailing.

She remembers many boyfriends during high school and a “dual� between young Max Turchen of Sioux City, IA, and a fellow from Omaha. “They were at odds because they both wanted to date me,� she laughed. “I remember the first time I met Max. It was a blind date and he wanted to ‘check me out’ before our date. I was 17 when I met him and he came back right away after that first date!�

They were married in 1934, the midst of the Great Depression. But, the couple had a big fight right away. “Max wanted to live in Sioux City,� she recalled, “and I wanted to live in Omaha. So, we compromised and went to Sioux Falls, South Dakota.�

Max worked for Gilinsky Brothers Fruits and Vegetables, selling to grocery stores north and south of Sioux Falls. There were 100 Jewish families in Sioux Falls then who maintained two synagogues. “It was a very small, closely knitted Jewish community. If a Jewish businessman was in financial trouble, Max would call a meeting at our house and all of them would pitch in to get that person back in business.�

She added that “all the Jews would get together and have picnics and social events. I would make Sloppy Joes for over 100 people and keep calling Max to ‘bring home more hamburger!’�

Hazel and Max had three children born while they lived in Sioux Falls. They are: Phyllis Aronson and her husband, Harvey, who live in Omaha; Virginia Becker and her husband, Marshall, also in Omaha; and Dr. Michael Turchen and his wife, Lesta, who are in South Dakota.

The Turchens had four granddaughters and seven

great-grandchildren, too. “Mom was always there for us when we were growing up,� Virgina Becker recalled. “She was there--making gowns for homecoming and supporting us. Our parents were involved in everything we did.� ln about 1959, with all her children grown, Hazel began to feel the need for a hobby. While Max spent hours with his coin collection, she decided to take a class in oil painting. “I took classes from a wonderful teacher for two years and I loved it! The teacher was such an inspiration to me. I used to do a lot of drawing but I didn’t realize that I had any talent,� she admitted. “Max was so supportive of my painting that he built a studio for me. I began to have private showings when people commissioned me to do paintings and rented paintings to banks. I sold many to people who came quite a distance to get them.

Showings took place at various clubs in the Sioux Falls

area.�

Some of the subjects that inspired her were landscapes, barns and pheasants in the countryside. She soon began to draw anything she found in the house.

An antique mortar and pestle set and children were all objects of her work. Many family members were also subjects of her paintings.

Left: Hazel Turchen, still spry at 90, sits in front of a wall with only a few of her many paintings. Above: One of her favorites: a prize winning painting.

In addition to coin collection, Max’s other hobby was making kosher dill pickles. Hazel decided she would paint them. The picture now adorns Phyllis’ kitchen.

(Max could never be convinced that Max’s Dill Pickles weren’t named for his pickles!

In 1972, Hazel and Max moved to Arizona where she continued to paint, but she had to quit after two heart surgeries because of a tremor in her hand. “I did a lot of it in my day and I missed it for a while,� she admitted. But, “I enjoyed it while I was able to do it.�

In 1993, The Turchens moved to Omaha because of Max’s failing health. Hazel took care of him until it became too difficult for her and he went to live at the Rose Blumkin Jewish Home. He died in 2000.

Hazel reflects on the past and says, “We had a wonderful marriage and celebrated our 60th anniversary.

We had happy times and a close, loving family for many years. “If I had any other choices when I was young, I would have pretty much decided to do what I’ve done!�

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Hanukkah Kids’ Books Author Creates a Treat for Passover

by PENNY SCHWARTZ of Jewish humor and talmudic lore.

BOSTON (JTA)--The cover of Wonders There are unfamiliar morsels such as and Miracles: A Passover Companion is so the Greek origins of the word glorious that readers of all ages might be “afikomen,” the “hidden” matzah that is tempted to enjoy its splendor and forget eaten as dessert. Kimmel’s treatment of the pages that follow. food that is kosher for Passover offers a That would be a mistake. humorous explanation for the reason Eric A. Kimmel’s bold entrance into the some people avoid eating chickpeas. world of Passover offers rewards well The word for chickpeas in Hebrew is beyond the golden-haired cherubs and humus, which sounds like the word for brightly adorned figurine-like images of chametz--the leavened food not allowed Moses and his brother Aaron, which on Passover. grace the cover. The illustration is a 21stWonders and Miracles is equally outcentury adaptation of an 18th-century standing for Kimmel’s adept explanation haggadah patterned on even earlier of the powerful story of the exodus, haggadot. which, Kimmel noted, is not told fully in Wonders and Miracles (Scholastic the traditional haggadah.

Press), illustrated with art spanning 3,000 Kimmel also devotes three pages to years, is a Passover companion, not a Miriam, Moses’ sister, who played a large haggadah, Kimmel recently explained in role in the story of exodus but isn't a conversation at the enclosed rooftop included in the Haggadah. greenhouse of Scholastic’s lower Three reproductions of Miriam’s cups by Manhattan American office. artists disKimmel said play the he intended it range of to be read expression before the holiin Judaic day begins, in contempopreparation for rary art. It is Passover, and one example to be used of the abunduring the dance of Seder as a supunusual artplement to the work culled haggadah, from musewhich has been um collecevolving for tions around more than the world, 2,000 years. w h i c h “This is a Kimmel is book for peoquick to ple who are credit as a putting on a labor of love seder who may by his editor. not know One of exactly why we Eric A. Kimmel’s Wonders and Miracles: A Passover K i m m e l ’ s do the things Companion. favorite we do, or Passover what's a seder all about,” Kimmel said. “I stories, a personal recollection, didn’t wanted to have something for every make it into the book. “In our house in member of the family.”

Brooklyn, the Passover stuff belonged to The family-oriented book follows the our grandma, who lived with us,” order of the haggadah and explains all Kimmel recalled of his childhood. “She the elements of the seder--from setting kept it in a barrel in the basement. All the seder plate to the four cups of wine the Passover silverware, very heavy stuff, and the full story of Passover. But had the word ‘willow’ engraved on the Kimmel’s companion is a rare combina- handle. For years I wondered what’s the tion of scholarly and popular material, of connection between Passover and wilinterest to the learned and accessible to low?” beginners.

The young Kimmel’s mind wandered Readers are treated to a behind-the- to hidden Jewish interpretations of variscenes look at the rituals embedded in ous trees. generations of traditional seders with “I finally asked my father, who smooth-as-silk storytelling and writing. laughed when he explained that grandKimmel also fills in historical back- ma and grandpa lived on Christie Street ground, giving context and meaning to in Brooklyn across the street from the haggadah passages that may be unex- Willow Cafeteria.” plained or glossed over in the years of Kimmel also has included the works of repetitive reading. others--stories by well-known Jewish Kimmel, the highly acclaimed, award- children’s writers such as Peninnah winning writer and storyteller best Schram, Nina Jaffe and a well-adored known for Hershel and the Hanukkah classic Passover K’tantan story by Sadie Goblins, said he wanted to add his voice Rose Weilerstein. to the abundance of Passover literature.

The first recipe Kimmel includes is for “I have a hearty respect for tradition Huevos Haminados, long-cooked eggs and I have a hearty disrespect for it. I which turn brown from onion skins. It is think a lot of things we do are funny. A one of Kimmel’s favorites, which he said lot of the things people tell children or he learned from his wife, Doris, to explain to gentile visitors to the seder whom the book is dedicated. are often total nonsense.”

Wonders and Miracles concludes with Kimmel aims to set the record straight. the words to Hatikvah, Israel’s national Youngsters in particular might enjoy anthem. “I wanted a book that was alive, learning that there was once a different not a lesson,” Kimmel said. “I wanted a fourth question in the “Mah Nishtanah.” book to keep you awake after four An explanation of the acronyms for the glasses of wine--and something interestTen Plagues also will intrigue children, ing to look at.” and his original play, How Many The book is available at the Kripke Plagues?, enlivens the seder with a touch Jewish Federation Library.

Jewish Press, Omaha, NE

Page 57

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Page 58

Jewish Press, Omaha, NE

April 2, 2004

Invigorate Passover Menus with “Maverick Matzo Balls”

by LINSEY OSTROFF New York, NY--Susie Fishbein, the author of the innovative new cookbook Kosher by Design, is putting a delicious spin on the traditional matzo ball with recipes that are as dazzling in flavor as they are vivid in color. Her new matzo ball recipes, all using prepared matzo ball mix to reduce time spent in the kitchen, call for fresh spinach, tumeric, and tomato. The resulting matzo balls-green, yellow, and orange/red--stand out beautifully in a bowl of chicken soup and the flavors meld deliciously.

“With Passover approaching--it begins at sundown on Monday, April 5 this year--I wanted to offer a new way of preparing a classic of the Passover meal. These ‘Maverick Matzo Balls’ not only bring color to the seder menu, they also provide new tastes that enliven the meal in unexpected ways,” explained Fishbein.

“I use fresh baby spinach leaves in the spinach matzo balls, which could not be more healthy and flavorful.

For the yellow matzo balls ground tumeric gives them an earthy flavor and sprightly colo,” she added. “The concentration of tomato flavor found in tomato paste is what gives the red/orange matzo their fresh taste and

wonderful color.”

Fishbein’s book, Kosher by Design, has been out for 10 months and it has sold more than 60,000 copies.

With 250 triple-tested recipes, it is revolutionizing the way home cooks approach kosher meal preparation.

According to Publishers Weekly, Kosher by Design is “a beautiful volume that straddles that delicate line between modern and traditional and between refined cuisine and everyday ease.”

Here are the recipes for “Maverick Matzo Balls.”

SPINACH MATZO BALLS 2 large eggs, plus 1 egg white 2 tablespoons olive oil 4 ounces fresh baby spinach leaves 1/2 cup matzo ball mix (usually 1 bag out of a box) In a medium bowl whisk the eggs and the oil.

In the bowl of a food processor fitted with a metal blade, process the spinach until pureed.

Add 10 tablespoons of the puree into the egg mixture.

Whisk to incorporate. Sprinkle in the matzo ball mix.

Stir in with a fork, mixing as little as possible. Don’t overwork it.

Chill in refrigerator for 20 minutes.

Meanwhile bring a pot of water or chicken stock to a boil. Wet your hands in a bowl of cold water. Using your hand, and manipulating as little as possible, scoop out a ping pong ball size of the mixture. Form it into a ball with your fingertips, using no real pressure. Turn the water down to a simmer. Drop the balls into the water.

Cover the pot and simmer for 20 minutes.

Yields: 6 large matzo balls.

TUMERIC MATZO BALLS 2 large eggs, plus 1 egg white 2 tablespoons vegetable oil 1 teaspoon tumeric 1/2 cup matzo ball mix (usually 1 bag out of a box) In a medium bowl whisk the eggs and the oil.

Add the tumeric into the egg mixture. Whisk to incorporate to an even yellow color. Sprinkle in the matzo ball mix. Stir in with a fork, mixing as little as possible.

Don’t overwork it.

Chill in refrigerator for 20 minutes.

Meanwhile bring a pot of water or chicken stock to a boil. Wet your hands in a bowl of cold water. Using your hand, and manipulating as little as possible, scoop out Continued on page 60

April 2, 2004

Jewish Press, Omaha, NE

Page 59

If You’re Serving Mint and Pistachios, It Must Be a Syrian-influenced Seder

by LINDA MOREL NEW YORK (JTA)--Jennifer Felicia Abadi’s Passover memories hover between the matzah balls and briskets from her father’s family--and the mint and pistachios that flavored her mother’s and grandmother’s cooking. Intoxicated by the aroma of exotic spices, she also savored stories about her grandmother’s youth in Aleppo, Syria, and the Syrian Jewish world of Ocean Parkway,

Brooklyn, where her mother grew up.

Recalling the piquant seasoning of her great-grandmother’s food, Abadi explains that in her family cooking techniques have been passed from one generation of women to the next. Three decades ago, her mother and aunt gathered a substantial number of their recipes and placed them in a three-ring binder, which moved back and forth between their homes.

In her 20s, Abadi decided to throw dinner parties and introduce her friends to Syrian food. She consulted the black binder and realized that in many recipes ingredients were missing and directions unclear.

“Holding the binder in my hands, I thought about the importance of traditions and the ease with which they are lost.” She decided to flesh out this valuable recipe collection, starting where her mother and aunt had left off.

“I began to spend time in my Grandma Fritzie’s kitchen,” says Abadi, the author of A Fistful of Lentils: Syrian-Jewish Recipes from Grandma Fritzie's Kitchen (The Harvard Common Press, 2002).

“At first, my grandmother cooked without explaining what she was doing, making it impossible for me to write down recipes. My initial attempts to help her were met with resistance. As I earned my stripes, her resistance waned, and advice came fast and furiously.”

Although Abadi was exposed to Syrian food from an early age, she always felt like an outsider looking in. Unlike many of her Sephardic relatives who lived in Brooklyn or Deal, N.J., Abadi whose father was Ashkenazi grew up in Manhattan, somewhat secluded from the Syrian Jewish world.

Her grandmother Fritzie hosted Passovers for years, but to please everyone at her table, she served a mixture of Ashkenazi and Sephardi cuisine.

“My grandmother merged two seders into one,” says Abadi. “We always had matzah ball and spinach-mint soup.” She created a haroset that was a cross between Ashkenazi and Sephardi styles, made from apple butter, cinnamon, walnuts and sweet wine.

Yet as warm as these Passovers were, Abadi eagerly questioned her mother about the Syrian seders of her youth.

“Every year on the afternoon of Passover eve, my father went to temple,” says Abadi’s mother, Annette Hidary. “He came home and gave me a sweet wrapped inside of a napkin. I received it, because I was the first born.”

This sweet symbolized how the Angel

of Death had spared the first-born son of the Hebrew slaves, while he visited sorrow upon the Egyptians during the last of the Twelve Plagues. Hidary explained that she had no brothers.

“Even though I was a girl, I had this sweet all to myself, which made me feel special. I wasn’t allowed to share it with my sister, who was very jealous.” This dessert, which could be anything from sponge cake to macaroons or the pistachio cookies that Syrians adore, was always kosher for Passover.

“During seders on Ocean Parkway, the men sat separately from the women,” says Hidary, explaining that her grandfather, a rabbi, led the seder from the head of a long table, flanked by uncles and male cousins. During much of the ceremony, the women busily clustered in the kitchen overseeing the meal’s many courses. Because lamb shanks are integral to seder plates, Syrians customarily serve them as an entree. “It’s nice because they’re not just ceremonial,” says Hidary. “At no other time besides Passover do we eat lamb shanks--they’re a seasonal thing.”

Rice always accompanies the lamb.

According to Sephardi law, it is permissible to eat rice during Passover.

“The honor of carrying the main course to the table was given to the next marriageable female in a family,” says Hidary, explaining that Syrians probably brought this custom from the Old Country to prepare young women for their future role. The glory was Hidary’s for many years, partially because her younger sister married first and never got a chance.

“My mother and aunt would open the swinging doors between the kitchen and dining room as I waited in the wings,” says Hidary. “Both nervous and thrilled, I carried a tray of steaming lamb shanks and rice, terrified that I would drop it. All eyes were on me as I approached my grandfather.”

The men in her family were scrupulous about reading every word in the Haggadah. Passover celebrations were long, often ending at midnight. After dinner while the women cleared the dishes, the men returned to the table to finish the ceremony.

“As my grandfather read the 10 plagues in Hebrew, his tone grew serious,” says Hidary. “One of the children stood by his side holding a pot, as he poured a generous splash of wine inside for each plague. The act was so intense that the women stopped their work to watch. He really dramatized the severity of the penalties. We children got the message that our enemies were severely punished.”

As a child, Abadi watched with excitement as the afikomen was made by wrapping a napkin around a piece of matzah. At Grandma Fritzie’s seders, the afikomen was hidden according to Syrian tradition. The youngest child swung it over his shoulder like a satchel as a symbol of slavery and the hasty travel that followed freedom. People at the table asked him in Hebrew: “Where do you come from?”

“Egypt,” he replied.

“Where are you going?”

“Jerusalem,” he answered.

“What provisions do you carry?”

“At our seders, everyone answered ‘matzah’ in a chorus,” says Abadi. “As in other Syrian homes, we passed the afikomen around the table and everyone asked and answered the same questions.

That was a nice tradition. I really

enjoyed it.”

Equally pleasing, Syrian haroset is a medley of dried fruits, which is versatile and delightfully sweet.

“My mother loves haroset,” says Abadi.

“During the seder, we spread it on matzah, making sandwiches.

Throughout the week, we eat it for breakfast with cream cheese or yogurt, and consume it by the spoonful for dessert.”

Grandma Fritzie always prepared huge amounts of haroset, because after seders, she sent each family home with a jar of this treasure. “We kept up that tradition,” says Abadi. “Today my mother hands haroset to cousins on their way out the door.”

As Passover approaches, Abadi will be teaching a class at Manhattan’s Edmond

J. Safra Synagogue featuring Syrian holiday specialties. Yet more than the recipes themselves, she feels she is conveying the concept of hospitality, which in today’s fast-paced world has become a dying art. While every culture offers unique ways of entertaining guests, Syrian hospitality in particular is concerned with opening your home to friends and family in the most gracious, generous way.

“I was lucky to find something I can bring to life and pass on,” says Abadi.

At Passover, which resonates hospitality, there’s no better way for Abadi to honor her Sephardic heritage than by sharing the holiday recipes she learned in Grandma Fritzie’s kitchen.

Continued on page 60

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April 2, 2004

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A Syrian-influenced Seder Continued gtom page 59 SYRIAN HAROSET 12 large Mejool dates or 20 regular-size dates, pitted and coarsely chopped 10 dried figs (the amber-colored Calimyrna are best), stems discarded and coarsely chopped 10 dried whole Turkish apricots, coarsely chopped 10 pitted prunes, coarsely chopped 11/2 cups cold water 1/4 cup sweet Passover wine, such as Manischewitz 1/4 tsp. ground cinnamon 1/2 cup coarsely crushed walnuts Combine the fruit and water in a large saucepan and bring to a boil over medium-high heat. Reduce the heat to medium-low and simmer covered for about 30 minutes.

Stir every 10 minutes or so, making sure that the fruit is not burning or sticking to the bottom of the pot. (If the fruit starts to boil up again, lower the heat slightly.)

Once the fruit becomes soft and well blended, remove from heat and mix in the wine, cinnamon and walnuts.

Serve haroset at room temperature in one or two small dessert bowls at either end of the seder table.

SHOORBAH M’SBANECH (SPINACH-MINT SOUP) 1 lb. fresh spinach 2 Tbsp. vegetable oil 3/4 cup coarsely chopped yellow onions 2 tsp. minced garlic 4 cups cold water 1/3 cup long-grain white rice, uncooked (Ashkenazim who don’t use rice on Passover can skip) 1/2 teaspoon salt 1 teaspoon dried mint leaves Rinse spinach leaves thoroughly in cold water to remove dirt. Dry well in a salad spinner or use paper towels to squeeze out excess water. Coarsely chop spinach, discarding the stems. Set aside.

Heat the oil in a large soup pot over medium heat and cook the onions, stirring until golden and soft, 3-4 minutes. Add garlic and cook, stirring until golden, about 1 minute. Be careful not to let it burn.

Add the spinach to the pot, one handful at a time. Toss to coat with the oil and onions. When all of the spinach has been added and mixed, cover and let steam over low heat until the spinach is cooked down and wet in texture, about 10 minutes.

Add the water, rice and salt. Add the mint by crushing it between the palms of your hands. Mix well. Cover and cook over medium-low heat until the flavors meld, 20-25 minutes.

Ladle soup into individual bowls. Serve hot or cold.

Yield: 2-4 servings ZERO’AH (LAMB SHANKS) 4 lamb shanks 4 large garlic cloves, cut into halves Generous dash of salt Generous grindings of black pepper 2 Tbsp. vegetable oil Generous dash of paprika 21/2 to 3 cups cold water, as needed l large lemon, cut into 8 wedges Mint jelly Preheat oven to 350º. Rinse each lamb shank well under cold running water. Pat dry with paper towels. With the tip of a sharp knife, make two deep slits on either side of each shank. Stuff slits with half a garlic clove.

Sprinkle the shanks generously with salt and pepper and rub into meat. Sprinkle each shank with 1/2 tablespoon of oil and rub in as well.

Place the shanks in a deep, ovenproof casserole or roasting pan and sprinkle generously with paprika. Add 2 cups of the cold water, cover tightly and place in the center of the oven. After 30 minutes, turn the shanks over, add 1/2 cup cold water, and continue to bake for

Happy Passover!

an additional 11/2 to 2 hours, turning meat every 30 minutes. Add 1/2 cup more cold water, if the liquid appears to be drying up. The meat is done when very tender and falling off the bone.

Spoon the juices in the roasting pan over the shanks as you serve them. Serve hot with rice, lemon wedges and mint jelly on the side. Yield: 4 servings RIZ (BASIC MIDDLE EASTERN RICE) 1 cup long-grain white rice 4 cups plus 2 cups cold water 3 Tbsp. plus 1 Tbsp. vegetable oil 1/2 cup finely chopped yellow onions 1/2 tsp. salt 2 Tbsp. warm water Place the rice in a medium-size bowl, add 4 cups cold water, and soak for 10 minutes.

Over a medium flame, heat 3 Tbsp. oil in a mediumsize, heavy bottomed saucepan for about a minute.

When oil is warm, add the onions and cook, stirring until wilted and golden, 3 to 4 minutes. Do no allow to brown or burn.

Add the remaining 2 cups cold water and the salt to the saucepan and bring to a boil over high heat. Drain the rice in a fine mesh strainer and add to the boiling water. Stir once gently and continue to boil briskly uncovered, until the water is cooked down to the surface level of the rice, about 5 minutes.

Cover tightly, reduce the heat as low as it will go, and steam until all the water is fully absorbed, and the rice is tender but not mushy, 10 to 20 minutes.

Fold rice over gently with a soup spoon. Sprinkle the top with warm water to moisten. Serve hot. Yield: 4-5 servings (2 1/3 cups) KA’IK IB’FIS’DOK (FLOURLESS PISTACHIO COOKIES) 11/2 cups shelled pistachios Egg whites from 2 large eggs 3/4 cup granulated sugar Preheat oven to 350º. Place the pistachios in a food processor and blend until finely ground. Set aside.

In a large bowl, beat the egg whites on high speed with an electric hand-held mixer, until stiff peaks form.

Gently pour sugar over stiff egg whites and fold in with a wooden spoon. Add the pistachios and fold in with a wooden spoon, until fully incorporated.

One tablespoon at a time, place the pistachio dough on a greased baking sheet, leaving an inch between each cookie. Bake until lightly golden around the edges, about 15 minutes. Cool 30 minutes before removing from the sheet or cookies may break. Yield: 12-18.

“Maverick Matzo Balls” Continued from page 58 a ping pong ball size of the mixture. Form it into a ball with your fingertips using no real pressure. Turn the water down to a simmer. Drop the balls into the water.

Cover the pot and simmer for 20 minutes.

Yields: 6 large matzo balls.

TOMATO MATZO BALLS 2 large eggs, plus 1 egg white 2 tablespoons olive oil 3 tablespoons tomato paste 1/2 cup matzo ball mix (usually 1 bag out of a box) In a medium bowl whisk the eggs and the oil.

Add the tomato paste into the egg mixture. Whisk fully to incorporate.Sprinkle in the matzo ball mix. Stir in with a fork, mixing as little as possible. Don’t overwork it. Chill in refrigerator for 20 minutes.

Meanwhile bring a pot of water or chicken stock to a boil. Wet your hands in a bowl of cold water. Using your hand, and manipulating as little as possible, scoop out a ping pong ball size of the mixture. Form it into a ball with your fingertips applying almost no pressure. Turn the water down to a simmer. Drop the balls into the water. Cover the pot and simmer for 20 minutes.

Yields: 6 large matzo balls.

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Next Year in Jerusalem!

by BERNARD MANN/Legacy Crosswords, © 2004 ACROSS 1. AND ALL ___ DOWN AT THE SEDER TABLE 4. BRINGS THE BROCCOLI TO NEAR BOILING 10. Weapon, in France 14. OUR ANCIENT-MODERN LAND AND PEOPLE (abbrev.)

15. You can say “look!” in English _ ___ in Spanish (options) 16. Actress Patricia 17. DIR. FROM MT. SINAI TO JERUSALEM 18. WHAT WE ALL WANT IN OUR SOUP! 20. THE LAND OF ______, WHERE MANY OF OUR ANCESTORS LIVED IN EGYPT 22. Appease or pacify 23. “AND SHE PLACED ____ _ _ OPEN BASKET AND SET IT ON THE WATERS” (3 words) 26. Engine additive brand 27. FLOCK, in Hebrew 28. Nobel Laureate Andric, namesakes 30. AND THE ISRAELITES CROSSED THROUGH THE ___ OF REEDS 33. Late British princess 36. Piano servicemen 39. THE BOOK THAT TELLS IT ALL, READ FROM GENERATION TO GENERATION 43. Fuel gas 44. Othello Moor and namesakes 45. Ave. 46. Starter for word dealing with bigotry 48. Famed Jewish photographer 52. Otic organ 55. RABBI GAMLIEL’S STUDENTS _______ (revered) HIM 58. JEWS RESISTING THE ROMANS CELEBRATED PESACH ON THIS FORTRESS

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MOUNTAIN 61. SISTER OF THE INFANT IN 30 ACROSS, SHE COMPOSED AN EPIC POEM, SANG IT, AND DANCED TO CELEBRATE THE VICTORIOUS EXODUS 62. TWO-WORD TERM FOR YOUNG SHEEP PREPARED FOR SEDER TABLE 65. 56, in Superbowl numerals 66. Sandwich cookie 67. Philadelphia based coffee company 68. Mich’s largest city 69. Spanish architect Jose Luis ____ 70. Legislates 71. Adjective endings for clay

Have A Happy and Healthy Passover

DOWN 1. “_____ __ a song”, she said to the balladeer 2. “Put on _ _____”, said the chef to the cook with long hair (2 words) 3. Braid, in Brest 4. There were a few four-____ ahead of them on the fairways 5. Combining form, part of the brain 6. Portion, sum (abbrev.)

7. Claiborne, Taylor, or Carpenter 8. “____ __ plates on the floor!" he cautioned the busboy, a bit formally 9. Comedian Mort ___ 10. “It’s just __ ___”, she said, meaning that

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her kid was just ‘putting it on’ Had a setback Additive to ice-cream sodas Other or otherwise FLOCK SOUNDS THE SHEPHERD ____ _ FLOCK “WHO KNOWS ____?” GOES THE PESACH SONG (number of months of childbirth) Greed Doe's mate Historical period Ember remnant Electrically charged atom State with authority Physicist ___ Fano U.S. car-racing orgn.

Network that broadcasts NOVA Short for French word for film makers like Felini, Antonioni, or Goddard One who creates tension HORSERADISH BRAND Legendary island where Arthur was healed of wounds “You need to place _ ____ above the ‘n’ in canon, in Spanish”, she said Lever with hook and spike at end Comes clean Tie or race track in England Cheerleader vocalization NFL running back Smith Certain nucleic acids, for short Metro. transportation planning agencies Bern’s river “ .. I’m late, for a very important __” Vicious Sudanese “resistance army” operating in northern Uganda Rainbow

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How Passover Is Different in Israel OUR MAN IN ISRAEL

by CARL ALPERT Haifa--Many a weary Israeli housewife, like Jewish housewives elsewhere, has been known to moan that if Moshe Rabbenu had known what housewives have to go through in the weeks before Pesach, he might never have taken the Israelites out of Egypt.

Fortunately, there is more to the preparations leading up to the holiday than kitchen and housework. Many of them are unique to Israel.

• Authorities at BenGurion Airport are on the alert to watch out for Elijah the prophet, after their experience last year.

Not long before the seder, a direct flight from New York brought a passenger with a long white beard, but with no money or credit cards.

In response to inquiries he told that he was Elijah the prophet, and would be getting plenty of food and drink when he visited Jewish homes during seder night. He was detained at the airport and shipped back to the U.S. on the first plane going out.

• The police in many towns here will be on the alert seder night, when it is customary to leave the front door unlocked for Elijah. Last year, one Elijah Becher, perhaps inspired by his name, took advantage of this custom to slip into a number of homes, snatch purses left by guests near the door, and flee.

He was apprehended, but the judge before whom he was brought did appreciate that he was fulfilling an element of the event in Jewish history which recorded that the Israelites left Egypt “with great wealth”.

• Well in advance of the holiday, a rabbinical association devoted to charity has announced that a donation of 180 shekels to provide Passover supplies for needy families will earn the donors and their families 40 days of rabbinical blessings at the Western Wall.

• When the Israel Defense Forces (Zahal) shift over to a complete Passover menu, the military prisons are included.

That means that some thousands of Palestinians held in detention, or already serving long sentences, will “enjoy” the

same matza and other menus that will be provided to the Israelis in uniform.

• As has been customary since the creation of the state, Zahal will be completely kosher for Pesach throughout the holiday. No packages will be accepted sent by families to their sons. Mothers who claim that they are sending only a sweater for the boy will be overruled, in the suspicion that hametz food will be smuggled in.

• A quick look at Zahal’s kitchen needs reveals: 100,000 eggs, 140 tons of matza, 14 tons of matza flour, 18,000 tins of horse-radish, 30,000 gefilte fish patties, six tons of kneidlach, and more.

• Large numbers of individuals, commercial firms and institutions annually “sell” all their hametz supplies to nonJews for the Passover week, so that technically they have no hametz in their possession.

If something should happen to the food during this period, the real owners can have no claim for compensation from their insurance companies since technically they were not the owners during that week.

The Ayalon Insurance Co. now offers a clause in its policies extending coverage for any damage to the food caused by spoilage, fire or flood during the period of the fictitious sale. The value of such merchandise is estimated at tens of millions of shekels.

• Tnuva reports that in the weeks preceding Passover the market demand for eggs rises about 40%.

• For Vishnitz hassidim preparations for the holiday began last July when eight hassidim from Bnai Brak went to the wheat fields of Nahalal and harvested about 100 kilos of special grain, utilizing only hand scythes. The wheat was kept in a sealed room in their yeshiva, and shortly before the eve of Passover it will be produced to make matza shmura for their group.

• And of course, there is only one seder, and the holiday is observed but seven days in Israel.

A quick look at the kitchen of the Israel Defense Force needs reveals: 100,000 eggs, 140 tons of matza, 14 tons of matza flour, 18,000 tins of horseradish, 30,000 gefilte fish patties, six tons of kneidlach, and more.

Wishing You Health, Happiness and Peace this Passover

Carl Alpert can be reached in Israel at: alpert@techunix.technion.ac.il.

EARLY DEADLINE NOTICE Due to the closing of the Jewish Press office the first two and last two days of Passover, deadlines for articles, photos and ads are at noon as follows: Issue Deadline April 16 Monday, April 5 April 23 Wednesday, April 14 Photos published in this issue may be picked up at the Press office during regular business hours.

Questions? Call 334.6448.

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April 2, 2004

Kosher for Passover in Israel JOURNAL ENTRY FROM ISRAEL

by TEDDY WEINBERGER We were at Sachne one day last Passover. Sachne, also known as “The Park of the Three Pools,” is located near Beit Shahn in the Lower Galilee.

It was a beautiful day, and the place was packed with both Jews and Arabs, religious people and non-religious. The kids had a lot of fun going in and out of the waterfalls in the park, and we spent most of the day there. We ate a picnic lunch, and for a treat we walked over to the park’s snack-bar and got the kids some ice cream.

Not such an earth-shaking moment ordinarily, but on Passover it was.

For such a thing does not occur outside of Israel. To begin with, it is difficult to find “Kosher for Passover” ice cream of any kind in most places in the States. And I have never seen “Kosher for Passover” ice cream bars--and if and when these do come into existence, they certainly will not be for sale at the concession stand of your nearest National Park.

My kids have a picture book called Matzah Ball: A Passover Story. The book tells the story of Aaron, who is invited by his friend’s family to join them at a Baltimore Orioles game. It turns out that the baseball game is during Passover, and so Aaron’s mom reminds him that he can’t eat any of the stadium’s junk food.

Aaron complains, “It’s not easy being Jewish, and sometimes it feels downright weird.” (Aaron is rewarded for his sacrifice, though, because while his friends are off at the concession stand, he manages to snag a home-run ball thanks to the resiliency of the matzah he is holding in his hands.)

In Israel it’s easy being Jewish and it’s easy keeping kosher for Passover (though perhaps it’s more difficult for a Jew here to be humane--but that’s a topic for

another column).

Most of your regular grocery items that you use yearround suddenly sprout “Kosher for Passover” labels two weeks before the holiday. Even Elie’s penicillin for his ear infection was stamped “Kosher for Passover” (though I did not request such a stamp).

The only complicating food factor in Israel on Passover, if you are Ashkenazic, is that there are two “Kosher for Passover” food labels: the all-encompassing “Kosher for Passover” and the “Kosher for Passover for those who eat kitniyot (legumes).”

A kosher for Passover buffet at a hotel or restaurant will often include rice, corn, beans, and other legumes, and it’s not always easy to steer your kids or yourself away from these items. Yet now that I am in Israel, this Ashkenazic stringency against eating legumes seems quite extreme. There are just too many religious Jews here who eat kitniyot for me to think that there is anything pious in abstaining from these foods.

If anything is weird about Passover in Israel it’s the lengths that secular Israelis go to cleaning for Passover.

The days leading up to Passover constitute a national spring-cleaning period both for religious and less traditional Jews.

A frequent radio advertisement this pre-Passover season urged women to forego Passover cleaning and vacation in Cyprus, where they would find beautiful beaches and hotels, and wonderful restaurants. Yes, apparently there are many women in Israel who both clean exhaustingly for Passover and who would entertain the possibility of vacationing at a non-kosher Cypriot Hotel for the holiday.

Passover in Israel feels normal because it seems like almost everyone is celebrating. I’m not exactly sure what the payoff is going to be, but it would certainly stand to reason that there are incredible psychic benefits for a Jewish kid who grows up on Israeli Passovers.

In Israel it’s easy being Jewish and it’s easy keeping kosher for Passover.

Teddy Weinberger is a freelance writer who made aliyah to Israel with his wife, former Omahan Sarah Ross, and their five children. He can be reached at: weinross@netvision.net.il.

Jewish Press, Omaha, NE

Page 63

Matzah With A Mitzvah

by SARINA ROFFE Director of Communications Jewish National Fund As you begin your Passover preparations, please take advantage of the Jewish National Fund-OSEM USA Matzah With A Mitzvah™ program.

OSEM Matzah Box, JNF and OSEM are once again partnering to support Israel’s land and its economy.

For every five boxes of OSEM matzah products sold, OSEM will make a donation to JNF to plant a tree in Israel. OSEM will also be advertising JNF's tree planting program and other vital environmental projects, on all Passover and matzah product boxes.

The program, called Matzah with a Mitzvah™ which refers to the Jewish tradition of mitzvot--or good deeds--helps fulfill many mitzvot at the same time.

“The Jewish people are looking for ways to support Israel,” said Izzet Ozdogan, President of OSEM USA. “This is a great way to do it--with one purchase you are helping Israel’s economy, fulfilling the obligations of Passover, and planting trees in Israel-three mitzvot for the price of one!”

Stores selling OSEM matzah and Passover products include A&P, Acme, Albertson’s, Crown, Dominiks, Fairway, Food Emporium, Fred Meyers, Fresh Direct, Fry’s, Giant Food, H.E.B., Hiller Markets, Hungarian Kosher, Jewels, Kings, Kroger, National Wholesalers, Pathmark, Price Chopper, Publix, QFC, Ralphs, Safeway, Shoprite, Smith’s, Super Fresh, Vons, Waldbaum, Wegmans, and others.

OSEM, a 60-year-old Israeli company and the largest food manufacturer in Israel, produces its matzah products in Israel.

“JNF partners with for-profit companies that are looking for a way to support Israel through proceeds from their sales,” said Russell F. Robinson, Chief Executive Officer of JNF. “This partnership brings more meaning to consumers knowing that as they celebrate Passover and eat the matzah and matzah products, they also helped Israel.”

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April 2, 2004

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Running the Seder, or Making Sure Guests Don’t Drown Their Toy Frogs

by JANE ULMAN ENCINO, CA. (JTA)--“A service? What do you mean there’s a service?”

“How long?”

“I’m hungry.”

From guests who arrived an hour late to guests who rushed us through the Haggadah, from guests who wisecracked and whined to guests who drowned their decorative toy frogs in their water glasses, last year’s seder had me wishing the Israelites had never escaped from slavery.

“Let all who are hungry come and eat,” we recite each year as part of the Ha Lachmah Anya prayer. But does this obligatory invitation extend to unruly relatives, who do not, fortunately for them, include my children?

“I’m not working this hard to give a bad dinner party,” I told my husband, Larry, afterward. I was exhausted, exasperated and ready to resign from the seder business.

“Why don’t you lead next year’s seder?” Larry suggested, a little too eager to relinquish his role. “Tell them there's a new seder master in town.”

“Seder masochist,” I say, knowing I’ll still be doing the majority of the cooking and setting up--but still accepting the challenge.

Unlike God, however, who gave the wandering Israelites 40 years to redeem themselves, I’m giving my relatives one night, April 5.

Passover is too important a holiday to ruin because, as I shall read from the haggadah, “Along with Jews all over the world, we celebrate who we are and where we came from; we examine why we are here and link the meaning of our lives to those who preceded us and those who will follow.”

For good reason, Passover is the most celebrated Jewish holiday, with, according to the 2000-2001 National Jewish Population Survey, 77 percent of all Jews attending or holding a seder.

As seder master, I set myself two objectives: • conduct a complete seder according to halachah, or Jewish law.

A complete seder, my children and relatives will be relieved to hear, doesn’t mean word for word readings of every prayer in English, Hebrew and Aramaic. It doesn't mean imitating the five rabbis in Bnei Brak who, during the second century C.E., debated the story of the Exodus so intensely that they were surprised when their students interrupted them for morning prayers.

But a complete seder, in my view, does include the 15 steps enumerated in the order of the Seder, from the recitation of Kiddish to the prayer that God accepts our service.

• To conduct a seder that will shock, awe and engage all the participants.

“The shock will be when no one comes back next year,” Jeremy, 14, says, fearing an evening of monotony rather than magic.

“No, no,” I assure him, “this year’s seder will be serious and fun.”

“Sounds like an oxymoron to me,” Danny, 12, says.

“Look, I’ll do an opening meditation, which I hope will be meaningful, and then we'll break into ‘There’s no seder like our seder.’” I begin singing it, off-key, to the tune of “There's No Business Like Show Business.”

Danny rolls his eyes.

Undaunted, I have developed a four-step plan: • I have selected a new haggadah, My People Were Nomads, written by our friend Peter Levitan. It began as an outgrowth of his family’s haggadah to a project for his synagogue to an obsessive labor of love slated to come out for Passover in 2005.

The Haggadah, on CD-ROM, is comprehensive, adaptable and color-coded to mark core readings, optional readings and rituals, quotations and discussion questions and various customs from Jewish communities around the world. It contains perspectives from the traditional Jewish denominations as well as from the kabbalist, feminist, humanist, Zionist, New Age and secular communities. It also includes children's puzzles and games, songs and music and recipes.

From a 17-page bare-bones haggadah to a 100-page version, with a 300-page leader’s manual, the possibilities are limitless. For a test run for our family, I have compiled a personalized, mid-range version, cutting and pasting passages that I find meaningful, appropriate and entertaining.

• I have talked to members of my immediate and extended family, explaining my desire for a respectful seder. I have asked them to arrive on time, participate, regroup after the meal without complaining and keep their frogs out of their water glasses.

“It’s like we’re reenacting the story all over again. You’re the pharaoh and we’re the slaves,” Jeremy moans.

“We need a Moses to rescue us,” Gabe says.

• I have allocated assignments ahead of time and distributed them to the participants. Additionally, my mother-in-law, the sole tune-carrier, will be the song master. I have learned to play “Dayenu” and “Eliyahu Hanavi” on the piano. Jeremy with accompany me with his bass guitar. My stepfather will relate his family’s personal Exodus from Eastern Europe. Gabe will read a poem of his choice about freedom. And I have orchestrated a surprise visit from Elijah.

• And perhaps the key to success, I am assigning seats. “Spread out the kids,” Danny suggests. “They’ll keep the adults in line.”

“We have been held together and upheld by common remembering,” philosopher Martin Buber says. My goal is that this year’s family seder will assist in enveloping and elevating us, as a family and as a people. That we will joyfully and respectfully celebrate traditions dating back more than 3,000 years and create new ones for our future.

And so, at the end of the seder, after we recite in unison, “Next year in Jerusalem,” I hope I can add, “Next year in Encino.” And mean it.

Jane Ulman is a freelance writer in Encino, California. She is the mother of four sons.

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April 2, 2004

A Different Kind of Passion FROM THE DESK OF THE PRESIDENT

by STEVE PITLOR, President of the Jewish Federation of Omaha Passion. Passion. Passion.

It has become a significant part of our conversations in recent weeks. As we continue to debate the whys and wherefores of “that movie� playing down at your favorite cinema, it continues to line the pockets of its so-called heralded producer.

Many people with whom I have spoken and from whom I have heard seem to be growing tired of the constant barrage of pros and cons the movie has created. Most of us are hopeful that the fire and brimstone created by this movie and its creator will soon begin to subside no differently than the fate of other hot controversial issues of the day that seem to fizzle out with time.

Although you may be tired of hearing the title of that movie, I have decided to devote this month’s column to a different kind of passion I know you’ll like hearing about.

The passion I want to talk about isn’t appearing on screens nationwide but occurs right here in Omaha within the friendly confines of the Agencies of the Jewish Federation of Omaha and other Jewish organizations. Passion can also be defined as enthusiasm, delight and dedication. You want passion; I’ll show you some things we can all be proud of.

Consider the following sampling of recent events: • Our annual campaign has pretty much concluded for the current year and our goals have been impressively met.

Once again, Omahans have reaffirmed their commitment to maintaining excellence and high quality services for our Jewish community. Because of the dedication and passion of our community volunteers, as well as our Federation Executive Director Jan Goldstein and her staff, we continue to take our place in

the upper tier of all cities in North America in our percapita giving. • The Foundation of the Jewish Federation of Omaha over the past year has increased its assets significantly. Under the leadership of Steven Bloch, along with Executive Director Marty Ricks, the Foundation continues on its mission of solidifying our community’s future through endowments made possible by generous and caring members of our community. • Our Child Development Center under the direction of Corey Kirshenbaum has recently achieved the prestigious National Accreditation Status meeting the rigid requirements of the NAEYC. Always identified as one of the best children’s facility in our city, our CDC now has risen to national prominence. • Our Jewish Education and Library Services (JELS), has successfully brought to our community a wonderful four-part Jewish Omaha Film Festival. • Beth Israel Synagogue has recently moved into an impressive and beautiful new facility. We wish them the very best in their new home. • Jewish Family Service has planned an informative four-session course on parenting techniques during the month of April. Our lay leaders and competent professionals continue to care about our families in this community. • Our Jewish Press has just learned that it will again be the recipient of awards at the annual convention of the Nebraska Press Association. This is the eighth year in a row the Press has been honored for its outstanding publication!

Well, Hollywood may have their blockbusters, Mel might have struck it rich on his venture but as you can see Omaha’s community never leaves the spotlight.

Enlighten your lives and take advantage of what we have to offer and experience our passion.

Jewish Press, Omaha, NE

Page 65

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A World of Fashion

Four Questions Beats Final Four Sports is a Fun Distraction; Judaism’s the Real Game

by ERIC FINGERHUT Staff Writer, Washington Jewish Week WASHINGTON--As I filled out my NCAA tournament bracket last week, and made the annual pick of my beloved Duke Blue Devils as the winner, I noticed the date for this year’s championship game.

If the Dukies make the finals, I won’t be watching the game at a sports bar or hanging out with my fellow Duke alums. No, I’ll be with my family singing Dayenu and dining on gefilte fish and matzah ball soup.

This year, the best Monday of the year for college basketball fans is also the first night of Passover.

The intersection this year between Passover and “March Madness� is not unprecedented. Indeed, it has happened pretty regularly in the past 15 years. Back in 1991, when I was a student in Durham, N.C., one of the most memorable games in tournament history--Duke’s semifinal upset of undefeated, defending champion UNLV -occurred on the second night of Passover.

Once in a while, the National Hockey League playoffs also fall during Passover.

That’s not the case this year, but it would not have been a problem for the lowly Washington Capitals anyway.

After the Caps lost their first-round playoff series in a triple overtime game on Easter Sunday, Leonsis blasted Wizards and MCI Center owner Abe Pollin for an arena schedule that forced the Caps to schedule games on two major religious holidays.

Neither game came close to selling out, and Leonsis said he would re-evaluate how much money should be spent on the team.

So should these events be scheduled on major Jewish holidays? If the NCAA and NHL want the highest possible attendance and television ratings, then one would think they would pay attention to the Jewish calendar. But I don’t expect that--Jews are less than 3% of the population--and it really doesn't bother me all that much.

A couple years ago, I recall some New York politicians urging Major League Baseball to change the date of a playoff game because it fell on Rosh Hashanah or Yom Kippur.

How silly, I thought. Not only does never playing the World Series on Yom Kippur deprive Jewish fathers of sharing with their young sons the most convincing argument ever on the importance of Yom Kippur--that Sandy Koufax refused to pitch a game because it fell on the Day of Atonement--it also skews our priorities.

Following sports provides us with a fun diversion from the daily drudgery of our lives. But some things are more important-such as carrying on Jewish traditions that have existed for thousands of years.

Passover was celebrated long before there was a Final Four, and it is observed in places where they have never heard of the NCAA tournament or office pools. And it will continue to be celebrated for years to come, whether there is an NCAA tournament or not.

So on April 5, I will be excited for the game. But I’ll be more excited to be with my family, once again hearing the Four Questions and eating matzah and bitter herbs.

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Jewish Press, Omaha, NE

Synagogue Listings B’nai Israel Synagogue 618 Mynster St. Council Bluffs, IA 51503-0766 322.4705 email: CBsynagogue@hotmail.com

Beth El Synagogue Member of United Synagogues of Conservative Judaism 14506 California Omaha, NE 68154-1980 492.8550 www.bethel-omaha.org

Beth Israel Synagogue Member of Union of Orthodox Jewish Congregations of America 12604 Pacific St. Omaha, NE. 68154 556.6288 BethIsrael@OrthodoxOmaha.org

Beyt Shalom An Affiliate of the Jewish Reconstructionist Federation 3012 S. 119 St. P.O. Box 390352 Omaha, NE 68139 660.2395 www.beytshalomomaha.org

Chabad House An Affiliate of the Worldwide Chabad-Lubavitch Movement 1866 S. 120th St. Omaha, NE 68144-1646 330.1800 nebraskajudaism.com email: chabad@aol.com

Congregation B’nai Jeshrun South Street Temple Union for Reform Judaism 2061 S. 20th St. Lincoln, NE 68502-2797 435.8004 jewishnebraska.org

Offutt Air Force Base SAC Memorial Chapel 301 Lincoln Highway Offutt AFB, NE 68113 294.6244

Rose Blumkin Jewish Home 333 S. 132 St. Omaha, NE 68154

Temple Israel Union for Reform Judaism (URJ) 7023 Cass Street Omaha, NE 68132-2651 556.6536 templeisrael-ne.org

Tifereth Israel Member of United Synagogue of Conservative Judaism 3219 Sheridan Blvd., Lincoln, NE 68502-5236 423.8569 tiferethisraellincoln.org

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April 2, 2004

Synagogues B’NAI ISRAEL SYNAGOGUE FRIDAY: Services, 7:30 p.m. with oneg to follow.

BETH EL SYNAGOGUE Office Hours: Monday through Thursday, 9 a.m.-5 p.m.; Friday, 9 a.m.-4 p.m.

FRIDAY: Musical Kabbalat Shabbat Service, 6 p.m.

SATURDAY: Morning Services, 9:30 a.m.; Kiddush sponsored

by Beth El. Junior Congregation for grades four to seven, 10 a.m.; K’tantan, 10:45 a.m.; Evening Services, 6:40 p.m.

WEEKDAY SERVICES: Sunday, 9 a.m. and 5:30 p.m., Weekdays, 6:55 a.m. and 5:30 p.m.

SITTER SERVICE During Friday Night and Saturday mornings services, on a drop-in basis, at no charge.

ADULT EDUCATION SUNDAY, 10 a.m. Hebrew Crash Course, taught by Susi Frydman Levin, in the library; 11 a.m. Adult Bible Study Group, with Dr. Leonard Greenspoon, continues with The Book of Samuel, in the library.

SPECIAL PROGRAMS SATURDAY, April 3: Men’s Club Shabbat.

CONGREGATIONAL PASSOVER SEDER TUESDAY, April 6, 6 p.m.

You’re invited to take part, as Rabbi Levin leads us in reading from the Passover haggadah and singing the songs of the holiday with Cantor Bogomolni. Dinner will be prepared by Lucy. Please call Harriet Einziger at 492.8550 to make your reservation.

SATURDAY, April 10, 10 a.m.: “Alternative Service,” featuring spirited singing, new English readings, and an interactive Torah discussion.

SUNDAY, April 11: Join BEAM (Beth El Association for Mitzvot) for Switch Day at the Blumkin Home. Contact Toby Schonfeld at 861.1811, or via email at tschonfeld@unmc.edu, to sign up or for more information.

PASSOVER MONDAY: Shaharit/Siyyum B’khorim, 6:30 a.m.; MinchaMa’ariv, 6 p.m.

TUESDAY, First Day: Shaharit, 9:30 a.m.; Mincha-Ma’ariv, 6 p.m.; Second Seder, 6:30 p.m.

WEDNESDAY, Second Day: Shaharit, 9:30 a.m.; MinchaMa’ariv, 5:30 p.m.

THURSDAY, Hol Hamo’ed: Shaharit, 6:45 a.m.; MinchaMa’ariv, 5:30 p.m.

FRIDAY, April 9, Hol Hamo’ed: Shaharit, 6:45 a.m.; Mincha-Ma’ariv, 6 p.m.

SATURDAY, April 10 Shabbat Hol Hamo’ed: Shaharit, 9:30 a.m.; Mincha-Ma’ariv, 7:50 p.m.

SUNDAY, April 11 Hol Hamo’ed: Shaharit, 9 a.m.; Mincha-Ma’ariv, 5:30 p.m.

MONDAY, April 12 Seventh

Day: Shaharit, 9:30 a.m.; Mincha-Ma’ariv, 5:30 p.m.

TUESDAY, April 13 Eighth Day: Shaharit (Yizkor is said), 9:30 a.m.; Mincha-Ma’ariv, 7:55 p.m.; Passover ends no earlier than 8:25 p.m.

BETH ISRAEL SYNAGOGUE Office Hours: Monday-Friday, 8:30 a.m.-2 p.m.; Services conducted by Rabbi Howard Kutner.

FRIDAY: Kabbalat Shabbat, 6:35 p.m. with a Shabbat dinner following services.

SATURDAY: Morning Services, 9 a.m.; Free babysitting, 9:30 a.m.; Kiddush Lunch will follow morning services; Mincha, 6:25 p.m.; Havdalah, 7:34 p.m.

SUNDAY: Morning Service, 9 a.m.; Evening Service, 6:25 p.m.

Search for Chometz, not before, 8:35 p.m.

Weekday Morning Service, 7 a.m.; Weekday Ma’ariv, 6:25 p.m.

PASSOVER MONDAY, Erev Pesach: Fast of First Born, 5:48 a.m.; Shacharit/Siyum B’chorim, 7 a.m.; Chametz not to be eaten after, 10:53 a.m.; Chametz burned no later than 12:09 p.m.

(Chometz may be burned at the synagogue, 11:15 a.m.); Candlelighting, 7:36 p.m.; Mincha/ Ma’ariv, 7:40 p.m.; Earliest time to start seder, 8:30 p.m.

TUESDAY, First Day: Shacharit, 9:30 a.m.; Mincha, 7:40 p.m.; Candlelighting, 8:37 p.m.; Earliest time to start seder, 8:37 p.m.

WEDNESDAY, Second Day: Shacharit, 9:30 a.m.; Mincha, 7:40 p.m.; Havdalah, 8:40 p.m.

FRIDAY, April 9: Shabbos Chol Hamoed: Kabbalat Shabbat, 7 p.m.; Those who accept Shabbos early by davening, may start Shabbos at 7 p.m.

Kabbalat Shabbat candles should be lit, 7:25 p.m.

SATURDAY, April 10: Shabbos Chol Hamoed: Shacharit, followed by Pesach Kiddush, 9 a.m.; Mincha, 7:35 p.m.; Havdalah, 8:42 p.m.

BEYT SHALOM FRIDAY: Shabbat in the Home.

SUNDAY: No Religious School.

MONDAY: First Seder at Synagogue, 5:30 p.m.

FRIDAY, April 9: Shabbat in the Home.

SUNDAY, April 11: No Religious School--Passover.

CHABAD HOUSE Services conducted by Rabbi Mendel Katzman.

FRIDAY: join us for a breakfast and some learning in honor of the Lubavitcher Rebbe’s 102nd birthday.

SHABBOS HAGADOL: Shacharis, 9:30 a.m., followed by a kiddush sponsored by the Riekes-Calderon family.

Candlelighting Friday, April 2, 6:33 p.m.

Monday, April 5, 7:36 p.m.

Tuesday, April 6, no earlier than 8:37 p.m.

SUNDAY, 8:30 a.m.: Shacharis, followed by breakfast and a mishnah class in memory of Jake Wine, o.b.m. Search for chametz in the evening; for a sale-ofchametz form, please call Chabad House.

MONDAY: Shacharis, 7 a.m.

Mincha/Maariv, 7 p.m., followed by a communal seder at the Chabad House; at 7:30 p.m., a special seder in Russian is at the Jewish Community Center.

Tuesday: Shacharis, 10 a.m., followed by a kiddush. Mincha and Maariv, 7 p.m.

Wednesday: Shacharis, 10 a.m., followed by a kiddush.

Thursday and Friday: Shacharis, 7 a.m.

CONGREGATION B’NAI JESHURUN Rabbi Debbie Stiel will be in the office Tuesdays and Thursdays, all day. You may reach her 9 a.m.-5 p.m. weekdays at 416.2321 (local for Lincoln), or at rabstiel@aol.com.

FRIDAY: Shabbat Service, 7:45 p.m. led by Rabbi Stiel, with oneg to follow.

SATURDAY: Shabbat Morning Service, 9:30 a.m. led by Rabbi Stiel; Torah Study, 10:30 a.m. led by Rabbi Stiel.

TUESDAY, 6:30 p.m.: Temple Seder, $15 for non-members, $10 for members, $5 for children ages five-12. Call the Temple to reserve a space by Sunday.

FRIDAY, April 9: Shabbat nosh, 6 p.m. followed by Family Service, 6:15 p.m. led by Alicia Chapelle, Marc Shkolnick, Scott Stanfield, Elaine Monnier, and Irene Beibe.

SATURDAY, April 10: Torah Study, 10:30 a.m. lay-led.

SUNDAY, April 11: No Religious School.

OFFUTT AIR FORCE BASE FRIDAY: Services, 7:30 p.m.

ROSE BLUMKIN JEWISH HOME SATURDAY: Services, 9 a.m.; led by Rabbi Maximo Shechet.

PASSOVER MONDAY, First Seder: 6 p.m. led by Andrew Greenberg.

TUESDAY: Services, 9 a.m. led

by Rabbi Maximo Shechet; Second Seder, 6 p.m. led by Miles & Eileen Remer.

WEDNESDAY: Services, 9 a.m. led by Rabbi Maximo Shechet.

MONDAY, April 12: Services, 9 a.m. led by Rabbi Maximo Shechet.

TUESDAY, April 13: Services with Yizkor, 9 a.m. led by Rabbi Maximo Shechet.

Note: Passover Seders will be held in the JCC Auditorium. Call 334.6520 for reservations.

Passover Services will be held in the Rose Blumkin Jewish Home Goldsten Chapel.

TEMPLE ISRAEL FRIDAY: Tot Shabbat, 6 p.m.

Rabbi Craig Marantz will officiate with a special guest; Shabbat Evening Service, 7:30 p.m.. Rabbi Craig Marantz and Cantor Wendy Shermet will officiate. Rabbi Marantz will give the sermon, “A Taste of the Gospels and Their Significance” as part of the “Christianity Through Jewish Eyes” series.

SATURDAY: Bagels and Sacred Books, 9-10:15 a.m.; Shabbat Morning Service, 10:30 a.m.

Samuel Salzinger, son of Lynn and Fred Salzinger, celebrates his Bar Mitzvah at Shabbat morning Services.

TUESDAY, April 6: Passover Morning Service, 10:30 a.m.

FRIDAY, April 9: Rabbi Marantz and members of Temple Youth Group will lead a Shabbat Service at Remington Heights, at 4 p.m.

MONDAY, April 12, Conclusion of Passover: Moments of Remembrance, 9:45 a.m.; Morning Service and Yizkor, 10:30 a.m.

SITTER SERVICE Available at each Friday evening service, Saturday mornings when there is a bar/bat mitzvah, as well as Sunday mornings when there is Religious School.

Please make a reservation through the office so we may plan accordingly. Cost is $2 per family. Sorry, no facilities for infants.

ADULT EDUCATION THURSDAY, April 8: Adult Study with the Clergy with Rabbi Marantz, 10-11:30 a.m.

TIFERETH ISRAEL Services conducted by Rabbi Stanley M. Rosenbaum. Minyan, Monday & Thursday, 7:15 a.m.

FRIDAY: Services, 8 p.m.

SATURDAY: Morning Service, 9:30 a.m.

PASSOVER MONDAY, Shacharit/Siyyum Bechorim (First Born), 7:15 a.m.; Light candles no later than, 7:38 p.m.; Mincha/Ma’ariv, First Seder, 6 p.m.

TUESDAY, First Day: Shacharit, 9:30 a.m.; Light candles no earlier than 8:41 p.m.; Mincha, Second Seder, 6 p.m.

WEDNESDAY, Second Day: Shacharit, 9:30 a.m.

FRIDAY, April 9: Shabbat Chol HaMoed Pesach.

Kabbalat/ Ma’ariv, 8 p.m.

SATURDAY, April 10: Shacharit, 9:30 a.m.

SUNDAY, April 11: Mincha/ Ma’ariv, 7:45 p.m.

MONDAY, April 12, Seventh Day: Shacharit, 9:30 a.m.

Mincha/Ma’ariv, 7:45 p.m.; Light candles no earlier than, 8:48 p.m.

TUESDAY, April 13, Eighth Day: Shacharit, Yizkor, 9:15 a.m. End of Pesach, 9 p.m.

Wishing you and your family a peaceful and prosperous Passover.

April 2, 2004

Jewish Press, Omaha, NE

Page 67

Index of Advertisers Advertiser Page Abraham Catering ................................................ 12 Abrahams Kaslow and Cassman LLP .................. 61 Absolutely Fresh Seafood ..................................... 53 Acura of Omaha ................................................... 28 Advantage Mortgage Service, Inc. ........................ 27 Ak Sar Ben Beef ................................................... 21 Alkar Billiards and Bar Stools ............................... 50 All Makes Office Equipment Co. ........................... 63 All Seasons Home Improvement .......................... 64 Allens ..................................................................... 6 Allergy, Asthma and Immunology ......................... 63 American National Bank ...................................... 21 American Tile and Marble Co. .............................. 18 AMIT Women ....................................................... 48 AmSan Nogg Chemical & Paper Co. .................... 33 Anderson O’Brien Fine Art Gallery ........................ 11 Associated Couseling Professionals ...................... 18 B’nai B’rith Henry Monsky Lodge ......................... 48 B’nai B’rith Youth Organization ....................... 24, 48 B’nai Israel Synagogue ........................................ 48 B’nai Jeshurun Synagogue .................................. 22 Bag ‘N Save ......................................................... 38 Bagel Bin ............................................................... 8 Bakers .................................................................... 3 Belgrade Family ................................................... 27 Bergman’s ........................................................... 54 Bernina Sewing Centers ....................................... 43 Beth El Sisterhood ............................................... 48 Beth El Synagogue ............................................... 48 Beth Israel Sisterhood .......................................... 48 Beth Israel Synagogue ......................................... 48 Beyt Shalom ........................................................ 48 Big Red Carpet Cleaning ...................................... 64 BILU USY ............................................................. 24 Bloomfield Forum ................................................ 22 Blue Cross Blue Shield of Nebraska ..................... 46 Blumenthal Cady & Associates ............................ 57 Body Basics ......................................................... 55 Borsheim’s ........................................................... 13 Brandeis Catering .................................................. 2 Brighton Gardens Assisted Living ........................... 7 Broadmoor Development ..................................... 62 Broadmoor Market ............................................... 11 Brodkey’s ............................................................. 42 Brownell Talbot ..................................................... 65 Builders Supply .................................................... 35 Canfield’s Sporting Goods .................................... 33 Caps Etc. T-Shirts & More .................................... 45 Care Consultants ................................................. 64 CBRE/MEGA ....................................................... 15 CBS/Home-Gary Kuklin ...................................... 60 Chabad of Nebraska ............................................ 48 Christel’s .............................................................. 13 Cohen Family ....................................................... 60 Commercial Printing Co. ...................................... 15 Countryside Village ............................................... 11 Cox Communications .......................................... 58 Crown Pointe ........................................................ 10 Crowne Plaza ....................................................... 30

Advertiser Page Custom Gems, Inc. ................................................ 6 Dance Shoppe ..................................................... 11 David Morton Food Marketing .............................. 33 Davidsons ............................................................ 18 Direct Digital ........................................................ 60 Elliott Equipment Company .................................. 15 Elliott Moore Enterprises ...................................... 54 Eye Essentials ...................................................... 43 Factory Eyeglass Outlet ........................................ 20 Fahey, Mayor Mike ................................................. 7 Family Enrichment, Inc. ....................................... 39 First Westroads Bank ........................................... 65 Fluxion Art Gallery ................................................ 64 Foundation of the Jewish Federation of Omaha ..... 5 Frankel, Zacharia, Arnold, Nissen, Stamp and Reinsch .................................................. 4 Fraser, Stryker, Meusey, Olson, Boyer and Bloch, P.C. ............................................ 52 French Cafe ........................................................... 8 Friedel Jewish Academy ....................................... 47 Garbo’s Salons & Spa .......................................... 14 Gedroez, Tony ...................................................... 33 Genji .................................................................... 59 Genzyme Corp. .................................................... 50 Girl Scouts-Great Plains Council ........................... 22 Girls and Boys Town ............................................. 16 Gordmans ............................................................ 68 Grace/Mayer Insurance ....................................... 29 Great Western Bank ............................................. 28 Greek Islands ....................................................... 36 Grillhouse ............................................................. 36 Grubb and Ellis/Pacific Realty ................................ 5 Hadassah ...................................................... 48, 62 Hagel, Senator Chuck and Lilibet ......................... 20 Hair Color Experts ................................................ 22 Hampton Inn ........................................................ 14 Harris Center for Judaic Studies at UNL ............... 33 Herman’s Nut House/Pear’s Coffee .................... 46 Hockenbergs ....................................................... 44 Hoich Irrigation ..................................................... 18 Honeyman Rent-All .............................................. 39 Horizon Dental Center .......................................... 67 Hy-Vee ................................................................. 49 I-Go Van and Storage ........................................... 35 Ideal Pure Water ................................................... 52 Indian Oven ......................................................... 59 Industrial Label Corporation ................................. 44 Industrial Packaging Corporation .......................... 41 Jacobson Fish Co., Inc. ........................................ 39 Jewish Community Center ................................... 31 Jewish Federation of Lincoln ................................ 34 Jewish Federation of Omaha ................................ 25 Jewish Press ......................................................... 24 Jewish Senior Services ................................... 41, 48 Jewish National Fund ............................................. 9 Jewish War Veterans ............................................ 48 John A. Gentleman Mortuaries ............................ 21 Julio’s ................................................................... 37 Katelman’s Antiques ............................................ 50 Kohll’s Pharmacy and Homecare .......................... 4

Answers to Crossword Puzzle on Page 61

Advertiser Page KPMG LLP ........................................................... 43 KPTM/KXVO ........................................................ 61 Krieger and Krieger .............................................. 45 L. Tomaso Studio ................................................. 42 Lafata’s Caffe Italiano and Bakery ........................ 59 Lakeside Dentistry ............................................... 28 Lakeside Hills Apartments ................................... 63 League Offering Volunteers for the Elderly ............ 48 Lerner Company .................................................. 26 Lesser and Associates .......................................... 45 Li’l Prince and Princess ........................................ 11 Lion’s Automotive Upholstery ............................... 46 Lizardi Collections ................................................ 51 Louis Liquor Grill and Bar ..................................... 17 Louie M’s Burger Lust ............................................ 8 Lund Company ...................................................... 6 Lynn Roberts International ................................... 12 Malashock Jewelry ................................................. 2 Malbar Vision Centers .......................................... 46 Marathon Realty .................................................. 65 Mark Sanford Group ............................................ 35 Marks Clare and Richards .................................... 40 Marriott Regency Hotel ......................................... 16 Mazon .................................................................... 2 McDermott and Miller .......................................... 47 McGill, Gotsdiner, Workman and Lepp, P.C., L.L.O. ................................. 21 McGrath, North, Mullin and Kratz, PC LLO .......... 54 Mediterranean Bistro ........................................... 37 Metro Chiropractic Center, P.C. ............................ 52 Metropolitan Community College ......................... 34 Mid City Bank ...................................................... 12 Mid-City Jewelry and Loan .................................... 14 Mid Con Systems ................................................. 60 Midwest Ear Nose and Throat .............................. 65 Midwest Woodworkers ......................................... 27 Mulhall’s ................................................................ 4 Mutual Protective Insurance ................................. 20 N. Pitlor and Son, Inc. .......................................... 38 National Council of Jewish Women ...................... 48 NCSY of Beth Israel Synagogue ............................ 24 Nebraska Childrens Home Society ....................... 40 Nebraska Furniture Mart ...................................... 53 Nebraska Jewish Historical Society ...................... 48 Nebraska Wine and Spirits, Inc. ........................... 10 Nelson, Senator Ben and Diane ........................... 57 No Frills ................................................................ 26 Nobbies ............................................................... 42 Noddle Development Company ........................... 31 Nu Trend Dry Cleaners ........................................... 7 Omaha Center for Torah Learning ........................ 48 Omaha Compound Company .............................. 41 Omaha Steaks ..................................................... 14 Omaha Surgical Center .......................................... 6 Omaha Symphony ............................................... 52 Omaha Temple Youth Group ................................ 24 Omaha Trans Video ............................................. 60 One Drake Place .................................................. 61 Open Shutters Artworks ........................................ 10 Paley Landscaping ............................................... 63

Advertiser Page Papillion Times ..................................................... 10 Parcel Place ......................................................... 64 Park Plaza Regency Lodge ................................... 56 Parsow’s .............................................................. 65 Pasta Amore ........................................................ 55 Pennie Z. Davis Child Development Center .......... 53 Peterson Bros. Realty ........................................... 50 Pip Printing ........................................................... 16 Pollak and Hicks .................................................. 54 Prudential Insurance-Joseph John ....................... 18 Pulverente ............................................................ 60 Randy’s Pharmacy ............................................... 28 Recroom .............................................................. 39 Remington Heights Retirement Community ......... 32 Residential Mortgage Services, Inc. ...................... 27 Rockbrook Floors ................................................. 62 Rockbrook Village ................................................. 55 Rossi .................................................................... 55 Rotella’s Italian Bakery ........................................... 6 Ryco Packaging Corp. .......................................... 44 Salon Aura ........................................................... 30 Sarah’s ................................................................. 11 Savannah Pines ................................................... 45 Schrier Ford ......................................................... 42 Schwalb Realty .................................................... 64 Second Story ....................................................... 43 Security National Bank ........................................... 4 Senor Matias ........................................................ 37 Shield Crest Irrigation ........................................... 12 Siegler’s Catering Service ..................................... 39 Sir Speedy ............................................................ 15 Sol’s Jewelry and Loan ........................................ 52 Sonny Gerber Auto Sales ...................................... 10 Source One .......................................................... 57 Sparks Computerized Car Care ............................ 64 Spirit World .......................................................... 36 St. Joseph Villa ..................................................... 29 Stokes .................................................................. 59 Sunridge Village ................................................... 56 Superior Pools and Spas ...................................... 60 Swartzbaugh Farber and Associates .................... 63 Taxi’s Grille and Bar .............................................. 36 Temple Israel ........................................................ 48 Terry, Congressman Lee ...................................... 31 Tier One Bank ...................................................... 54 Turnbull, Dennis-Contractor .................................... 6 University of Nebraska Medical Center ................. 19 V. Mertz ................................................................ 17 Valentino’s ........................................................... 37 Venice Inn ............................................................ 17 Visions ................................................................. 48 Wells Blue Bunny ................................................. 23 Wells Fargo Bank ................................................. 34 Wiesman Development ........................................ 42 Winery .................................................................. 17 Wolfson Used Cars .............................................. 67 Wyndham Street LTD. .......................................... 54 Young Energetic Seniors (YES) ............................. 48 Zio’s Pizzeria ........................................................ 37

Wishing you a happy and healthy Passover.

WOLFSON USED CARS

Happy Passover

Wish All A Happy Passover And Many More

HORIZON Dental Center NORMAN M. SHELDON, DDS

Harry Wolfson Rod and Paula Kessler 1308 North Saddle Creek Road Omaha, Nebraska 558-3233

12100 W. Center Road #110 Omaha, NE 68144

330-5080 e-mail: info@horizondent.com www.horizondent.com

Page 68

Jewish Press, Omaha, NE

April 2, 2004

Best Wishes for a happy Passover and a celebration of freedom with family and friends.