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Plot Summary
"My grandparents became mega-stars," Michael Tilson Thomas remembers, "and found themselves smack in the public eye. Legions of crazed fans were obsessed with every detail of their work and their lives. It was a far cry from the simple Jewish family life in the Ukrainian villages of their origin." In THE THOMASHEFSKYS, Tilson Thomas explores the lives of his grandparents, Boris and Bessie Thomashefsky, through a musical performance that features five performers and the New World Symphony orchestra. Founding members of the Yiddish Theatre in America, the Thomashefskys owned theatres, published their own magazine, wrote columns in the popular Yiddish newspapers, sponsored and encouraged generations of young artists, brought countless Yiddish artists to America, tirelessly raised funds for progressive social causes and, through it all, were adventurous trendsetters. This story, reclaimed by Thomashefsky Project, presents a musical sound that few have heard, assimilating Eastern European klezmer and cantorial modes with American tones and rhythms. Over time, as the Jewish American music theater writers became absorbed in their new surroundings, they greatly influenced the American Songbook. All of this and more are captured in this stunning performance.
Customer Reviews
A Wonderful Invitation by MTT to hear about his family of theatre in theatre!
Unlike the quoted critics above, I am a San Franciscan born and raised. At six I was taken to the Curran Theatre to see Student Prince with my parents. They loved live theatre and that was my birthday gift that has remained a Joy in all of my life. As a teacher, I try to include some live performance for my students in order to experience a similar joy my family gave me.
It is from this place my mother and I enjoyed this folkloric telling of Michael Tilson Thomas's grandparents. In his intro, MTT talks of all the different sources that were used to put this story together and I love the parts he would tell us was from the family at dinners or in daily life events. The setting is equally intimate - two large chairs, a rug and side tables with a lamp for each of them (one for each grandparent), MTT's use of actual photos of the time (shades of Ken Burns and a slide show) with MTT talking to us (because the intimacy has moved us away from audience to guests hearing a family story) about what happened next to whom.
Now the music - the history of the Yiddish theatre and hearing the music -as a lover of musicals, operettas, some opera and classical (as well as other music), I could hear and see what influences are in the genre today. In Asian culture (I told you I am from San Francisco a lot of cultures are normal influences in SF), the respect and understanding of your ancestors enable you to feel and see them in the present in many forms; MTT's production was a reminder of that truth.
As I listened to the music I could hear elements of Jerry Herman, Gershwin's use of solo instruments giving the feeling of being alone and individual before the crowd of instruments pour into the music, and Fiddler on the Roof even Hello Dolly! had an aura that reminded me of MTT’s grandmother. Of course Yentil, Funny Girl and Funny Lady and elements of Albert Nodds are stories his grandmother was a part of first with the help of his grandfather producing and often writing her in.
Even politically, hearing her song of a woman president and women's rights was a joy and these lyrics reminded me of what women need to remember this election year of 2012.
MTT has invited all of us to this - please as you get your invite, drop by and bring the leftovers home or in this case get it and enjoy it again and again.
I saw this theatre performance with my mom on PBS and we are looking forward to ordering it - Betty Rose Allen, SF Theatre Go-er, March 31, 2012
