*Congressional Democrats Howard Berman and Tom Lantos of California and Eliot Engel of New York are among a group of congressional representatives pushing the Justice Department to investigate allegations that some American companies in the United States have employed drug-smuggling gangs in Colombia for criminal protection of their interests in Colombia.  The story by Josh Meyer is in today's Los Angeles Times.

*Rabbi  Marvin Hier and Rabbi Abraham Cooper of the Simon Wiesenthal Center have taken the Los Angeles Times to task for providing a forum on its opinion page to a writer for Hamas.  Their op-ed piece is in today's Los Angeles Times.

*Dallas Mavericks owner Mark Cuban has been pioneering a new concept in movie theatres—living room like viewing areas with soft chairs and foot rests, a nearby bar from which you can carry your drinks, and surround sound.  Individual tickets cost $11, or a party can rent the Landmark theatre for one movie showing for $1,500.  He built the concept into a theatre at the shopping center at Westwood  and Pico Boulevards.  The story by Lee Grant is in today's San Diego Union-Tribune.

*Al Aqsa Brigade terrorists on the West Bank are laying down arms in response to a call by Palestinian President Mahmoud Abbas to give peace with Israel a chance.  Mahdi Maraka and Nasr Kharuz say times are changing.  The New York Times News Service story is in today's San Diego Union-Tribune. David Ignatius of the Washington Post suggests in a column that the United States is consciously following a West Bank first option in the hope that moderates in Gaza will split from Hamas and seek union with the Palestinian state headed by Abbas.

*The guilt felt by young Germans over the acts of their fathers and grandfathers in furtherance of the Holocaust is a recurring theme.  Now author Rachel Seffert explores the phenomenon in the novel Afterwards.  A review by Heller McAlpin is in today's Los Angeles Times.

*San Diego Sheriff Bill Kolender has reversed his stand of several years ago and now is opposed to the continuance of a state liquor license for the casino and hotel on the Barona Indian Reservation.  He said even though Barona agreed not to serve liquor on the floor of the casino, the number of drunk driving crashes on windy Wildcat Canyon Road has been increasing steadily.  The story by Onell R. Soto is in today's San Diego Union-Tribune.

*In a story of international intrigue, the question is being asked "Who used thallium to poison Yana Kovalevsky and her mother, Dr. Marina Kolvalevsky, two former Soviet Jewish emigres to the United States, when they made a return visit to Russia? Paul Pringle tells the story in today's Los Angeles Times.

*Singer Barry Manilow has been making financial contributions to a variety of presidential candidates including Joe Biden, Hillary Clinton, John Edwards, and Barack Obama.  But the one that has some people scratching their heads is his contribution to Republican Ron Paul (who typically votes against Israel). The story by Don Frederick and Andrew Malcolm is in the "Top of the Ticket" column in today's Los Angeles Times.

*It is not an easy topic to tackle, not for playwrights nor for audiences, but more and more dramas are dealing with genocides in Rwanda and in the Sudan.  One of them is Rash by Jenni Wolfson.  The story by Zachary Pincus-Roth is in today's Los Angeles Times.

*Los Angeles County Supervisor Zev Yaraslovsky and other members of the board have expressed skepticism over County Counsel Ray Fortner's decision to no longer release summary memos concerning out of court settlements reached by the county government.  They may reverse his decision at an upcoming meeting. The story by Mark Haefele is in today's Los Angeles Times.

In Fay and Michael Kanin’s adaptation of Ryunosuke Akutagawa’s Rashomon, based on the 1950’s film directed by Akira Kurosawa which is taken from  two stories or fables by Akutagawa, reality and the idea of truth get intertwined  when three men, a woodcutter,  a priest and a wigmaker find themselves taking shelter under the Rashoman  Gate near Kyoto, Japan and share a tale.

Both the priest and the woodcutter tell that they witnessed the rape of a young woman and the murder of her Samarai husband at the hands of a renowned bandit. The wigmaker (played by Doren Elias who gives another perfect performance as a curmudgeon who knows too much) is intrigued by the event and being somewhat of a troublemaker himself, eggs them on to them to tell what they saw  happen.

Each has a different account of what they thought they saw. As the events are told in flashback, what we hear are a series of contradictions leaving the listener to arrive at his own conclusion. Adding to the confusion, the Bandit, the Samurai’s wife and the dead Samurai also give their account in an emotional series of  flashbacks.

At the North Coast Repertory Theatre in Solana Beach, artistic director David Ellenstein takes his talented cast of nine on a journey to find the truth, that oh, so elusive idea hidden in the stories each of the participants has to offer. Robert May ( low keyed and soft spoken) is the Priest who saw the Samurai and his wife the day the incident happened. The woodcutter, (Diep Huynh) claims he found the body of the Samurai three days before while looking for wood. Frightened, he went to the authorities and reported what he found.

What takes place next is a trial of sorts where the Bandit, Tajomaru, (played by Richard Baird who is bigger than life in this part which is meant for him) tells his interpretation of events. He claims he tricked the Samurai to step off the mountain trail with him to look at a cache of ancient swords. There he ties the Samurai to a bamboo  tree and goes back for his wife. He planned to rape the woman, who initially fought him off only to submit later on. The woman, wracked with shame and guilt, begged the bandit to a duel with her husband to the death. While they fought honorably and Tajomaru became the victor, Masago escapes.

The Samurai’s wife, Masago, (Seema Sueko has just the right balance of scheming wife, violated woman and frightened bird to give her credibility) has an entirely different story to tell. She claims that after the Bandit raped her, she begged her husband, who is tied to a bamboo tree, to forgive her, but he ignores her. She then freed him and begged him to kill her with her dagger, but he only stares at her in cold disbelief. She faints with the dagger in her hand and when she awakes she finds her husband dead with the dagger in his chest.

Through a medium, (Jensen Olaya completely realistic), because all of the stories are so different, the deceased Samurai, (a poised and believable Mitchell Wyatt) is allowed to give his account. After he was captured by Tajomaru, and after his wife was raped, Tajomaru asked Masago to travel with him. She accepts only after asking the Bandit to kill her husband so she wouldn’t feel the guilt of being with two men. Shocked by her request the Bandit  asks the Samurai if he should let his wife go or kill her. At this point, Masago escapes again and after an aborted attempt to recapture her, the Bandit lets the Samurai free. 

With the woodcutter, the Priest and the wigmaker looking on as are the rest of the audience, we are all left to draw our own conclusions  of the rape and murder for all versions are so different. Finally,  the attention is drawn back to the woodcutter, who says his earlier story was a lie and he tells yet another version of what he saw which is completely different from his own first story and from the others.

Entertaining? Absolutely. And there’s more!

Again, under Ellenstein’s direction and fine and powerful  acting overall, with wonderful costumes by Jeanne Reith, appropriate music by Chris Luessmann,  Matt Novotny’s fine  lighting design and on another excellent set by Marty Burnett, Rashomon is on the ‘not to be missed’ list. It’s better than watching Truth or Consequences. It plays through Aug. 12th. For more information call 858-481-1055 or visit northcoastrep.org

Jewish Postscripts:

Both Fay and Michael Kanin have been recognized with high praise within the Jewish Community. Fay Kanin has assumed various leadership roles in the film industry. She was the second female president for The Academy of Motion Picture Arts and Sciences. She received numerous nominations and awards as writer and producer for stage, screen and television. They include several Emmy and Peabody awards, the Crystal Award for Women in Film and the Burning Bush Award from the University of Judaism. She is listed in American Jewish Women of Achievement Oral History Collection, which is the source of this information.

The late Michael Kanin was a distinguished playwright and screenwriter who  encouraged young playwrights to write for stage and screen. For more information on Michael Kanin visit Michael Kanin Playwriting Awards Program

Dance~The Jewish C~o~n~n~e~c~t~i~o~n                                     by Sheila Orysiek

Two scenes from ABT's production of Sleeping Beauty.    Gene Schiavone photos

ABT's theatrical new Sleeping Beauty

COSTA MESA, California—American Ballet Theatre’s new production of this major ballet made its appearance at Orange County Performing Arts Center in Costa Mesa, with a worthy Saturday evening performance on July 21.  The house was filled – and well it should have been.  Premiering in New York on June 1, the production received mixed reviews; not for the dancing but for some unhappy theatrical effects, some tinkering with the drama of the story as well as choreographic “tune-ups.”  Always be careful when re-arranging a beloved classic.

If there is an obvious lesson to be learned from Sleeping Beauty it is to check and re-check an invitation list and that who one invites is more important than whom one wants to invite.  But perhaps the greater lesson is that a harsh verdict by an offended individual may need to be ameliorated by one of good heart.  That is why equity is married to common law.

A good lesson for a dance critic, too. This is a fairy tale and all too often critics try to discern within it heavy handed analysis perhaps coming to the theater prepared to condemn rather than with an equal measure prepared to enjoy.  The same can be said of librettists – it doesn’t really need much psycho-drama.  I simply enjoyed it. 

Whatever high wire flying fairies there were that garnered negative raves when this new production first premiered – are gone – perhaps for good.  The costumes (by Willa Kim) are sumptuous – lavish – glittering – bejeweled – and thank heavens – colorful.  We’ve become so used to the pale pastels for major and supportive roles or the range of earth tones (brown and dull) for peasants (even when they are celebrating something) seeing real color is almost jarring but welcome. A ballet such as Sleeping Beauty should be an optical feast, a spectacle – a theatrical experience - and this production certainly is all of that.

Susan Jaffe, retired from principal roles in 2002 returned to play the Queen and she was loving as a mother and one could see why the King cherished her when she implored him to spare the lives of the four “village gossips” who contrary to his edict brought a spindle to the Court.  He, danced by Roman Zhurbin, while properly kingly in proclaiming his edict (and other kingly duties) was much too stoical while watching his daughter dance with the deadly spindle or when she succumbed to the spell and swooned to the floor.  Even a king can show emotion as a father. 

Gillian Murphy was a beautiful Lilac Fairy – she didn’t simply dance well – she set jewels across the stage.  She was tender, she was firm in her contravention of Carabosse, and she enticed and convinced the Prince to follow her to find a Sleeping Princess in a forbidding forest.  Calm, sure, regal, she led the story forward and controlled it.

The Garland Dance didn’t dance for me.  As much as I love color – yellow edging toward mustard with turquoise accents, didn’t quite fit the idea of flower garlands.  Likewise the waltz itself never seemed to come together; it should be one of the highlights of the ballet. Two children were used and though they both accomplished with success their task – they were an interruption to the overall action of the waltz.

What a handsome Prince Désiré Jose Manuel Carreno made!  One look would certainly be a pleasant sight to which to awaken – one look would convince the most modest princess.  Julie Kent’s Aurora looked delighted.  (The lady next to me was fanning herself.)  He has the authority of a prince with the smile of a boyish happy heart.

The Vision Scene was introduced by a hunting excursion with the Prince and his friends – this is the first time we see him in the ballet.  Catching sight (actual or imagined) of a castle on a remote hilltop leads him to a reverie and I thought – on no – not another moody prince a la Siegfried in Swan Lake!  However, this scenario did give an opportunity for that rare happenstance – an adagio solo for a male dancer.  To watch a male principal dancer alone on the stage sans mighty jumps and multiple turns is a real treat.  Carreno is a fine dancer, an attentive partner and only lacks the edge of ballon when he does sail through the air.  Of especial note regarding his partnering skills – in the series of fish dives in the Grand Pas de Deux – they were all so smooth, so quickly accomplished and truly beautiful. (I can’t help but wish this particular ballet lift/move had a more flattering balletic name!)

The female corps de ballet in the Vision Scene came into its own and danced as one – coordinated physically and musically.  They completed the Vision – a difficult task very well done.  In addition, the Prince’s friends acquitted themselves in a worthy manner and though I believe it is far more difficult for the male corps to coordinate their signature jumps and turns than it is for the women – they did.

Five fairies – Sincerity, Fervor, Charity, Joy and Valor – earned their applause, but especially, Zhong-Jing Fang as Joy.  She was a delight: quick, clean, clear and yes, joyful.  She is listed in the Company roster as a member of the corps de ballet, but evidently is destined for greater challenges. 

Martine Van Hamel, retired from principal roles, performed as Carabosse and was a treat and then some.  She invested the role with wicked anger and frustrated evil. Unrestrained by strict classical vocabulary, she let loose with her considerable dramatic gifts:  an excellent counterpoise to Murphy’s “triumph over evil.”

 
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The Jewish Sports Fan

BASEBALL—Brad Ausmus appears to be serving as an apprentice for Houston Astros manager Phil Garner, prompting Chris Jenkins of the San Diego Union-Tribune to speculate that a gig as a manager may be in Ausmus' future after he retires as a catcher.  ... T'was day six of the banishment from the American League's top 10 batters list for Kevin Youkilis.  Although he batted a respectable 1 for 3 in the Boston Red Sox's 11-3 defeat of the Chicago White Sox, and added to that a base on balls, scoring both times on the base paths, Youkilis' batting average at .310 is four points below that of the current Number 10 AL batter, Brian Roberts of the Baltimore Orioles.

SCANDALS—National Basketball Association Mark Stern faces a scandal that can hurt his sport more than allegations of dog-fighting by Michael Vicks can hurt the NFL or steroid use by Barry Bonds can hurt MLB because alleged point fixing by referee  Tim Donaghy isn't just about the actions of an individual, it makes the entire sport suspect. That's the opinion of Ethan J. Skolnick of the South Florida Sun-Sentinel in a column appearing in today's San Diego Union-Tribune....