Word: fiddler
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Dates: during 2000-2009
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...written as a duet for two voices. One belongs to Jonathan Safran Foer (or his fictional alter ego of the same name), who relates the history of Trachimbrod, the East European village where his ancestors lived. Trachimbrod is a lyrical, fairy-tale creation, a Yiddish idyll of the Fiddler on the Roof variety, inhabited by randy, gossipy villagers like Bitzl Bitzl the gefilte-fish monger, and the melancholy maiden Brod, the narrator's great-to-the-fifth grandmother, who precociously enumerates 613 varieties of sadness by the time she's 12 years...
...feel the impact you have on people," he says. "It's humbling." Now, at 51, he is set for perhaps the most humbling giant step of his career, one that may finally make people stop asking, "Henry who?" Q&A TIME: There was talk after Shylock of your doing Fiddler on the Roof, but you were reluctant to be typecast as a Jewish actor. So why Bialystock, a very Jewish role? GOODMAN: I want to celebrate being a Jewish actor, but I don't want to become trapped and ghettoized. My Jewishness is there to be tapped into when...
...part of a minor phenomenon on the Asian music scene. Audiences in the region are demonstrably drawn to fetching violinists who can play the moldies?as long as compositions are laced with contemporary hooks, dance beats, and the occasional hip thrust. Record labels are busy marketing other young fiddler-cum-vamp acts such as Diana Yukawa of the U.K., American Hilary Hahn and Akiko Suwanai of Japan...
...DIED. CALVIN CARRIERE, 80, renowned fiddler and zydeco music pioneer, regarded by many as one of the last links to French-Creole musical traditions; in Opelousas, Louisiana. Carriere's most recent recording was Les miseres dans le coeur (The Misery Direct from the Heart) in 2000. He was scheduled to perform in the New Orleans Jazz and Heritage Festival this April...
...standard for the one-woman stage memoir, Arthur's look back at her career would be a lame specimen of the genre. Instead of a freestyle skate, Arthur settles for the compulsory short program: a once-over-lightly reprise of her hits from stage (Fiddler on the Roof, Mame) and TV (Maude, The Golden Girls); a funny anecdote about each of the famous people she's worked with (Lotte Lenya, Tallulah Bankhead); and stilted "extemporaneous" banter with her pianist, Billy Goldenberg. The audience leaves to the accompaniment of the theme song from Maude but learns virtually nothing about...