Campbell, CA – The Pm Theater of New York City will bring a touring production of their Off-Broadway hit “A Star Without a Name” to the Starbright Theater in Campbell, California on April 13th and 14th, 2024 (click here for tickets/info) The following is a review from last weekend’s show (April 7th) in Chicago, Illinois.
“A Star Without a Name” is pure theater, as the Pm stage company weaves a charmer almost cinematically, with distinct/excellent performances, clever production design and an on-stage musical accompaniment that is witty and energetic. Translated from ‘Steaua Fără Nume” by Mihail Sebastian with all of its appeal intact, the melodramatic comedy was adapted and set into English by Ilya Eckstein, and directed by Gera Sandler, also a cast member and award winning actor, featured on Netflix’s “Unorthodox” and “Transatlantic.”
April 13-14, 2024, at the Campbell, California, Starbright Theater
Photo credit: PMTheater.com
The setting...
“A Star Without a Name” is pure theater, as the Pm stage company weaves a charmer almost cinematically, with distinct/excellent performances, clever production design and an on-stage musical accompaniment that is witty and energetic. Translated from ‘Steaua Fără Nume” by Mihail Sebastian with all of its appeal intact, the melodramatic comedy was adapted and set into English by Ilya Eckstein, and directed by Gera Sandler, also a cast member and award winning actor, featured on Netflix’s “Unorthodox” and “Transatlantic.”
April 13-14, 2024, at the Campbell, California, Starbright Theater
Photo credit: PMTheater.com
The setting...
- 4/12/2024
- by [email protected] (Adam Fendelman)
- HollywoodChicago.com
Chicago – The heralded Off-Broadway play from 2023 is on tour and headed for Chicago. “A Star Without a Name,” a melodramatic tragicomedy translated from Mikhail Sebastian’s “Steua Fare Nume” will be performed at the Chopin Theatre on April 6th and 7th, 2024. For details and ticket information, click Pm Theater.
The setting of the play is a provincial town in Romania, situated along the popular train route from Bucharest to Sinaia. By sheer chance, an express train makes a quick stop a the town’s only train station, leaving behind a sole passenger: a mysterious young redhead named Mona. Her beauty strikes right through the heart of a simple school teacher, who’s captivated by astronomy. Will their improbable love survive past its cosmic conception or will it combust like so many nameless stars in the sky?
April 6-7, 2024, at Chicago’s Chopin Theatre
Photo credit: PMTheater.com
Presented by New York City’s Pm Theater,...
The setting of the play is a provincial town in Romania, situated along the popular train route from Bucharest to Sinaia. By sheer chance, an express train makes a quick stop a the town’s only train station, leaving behind a sole passenger: a mysterious young redhead named Mona. Her beauty strikes right through the heart of a simple school teacher, who’s captivated by astronomy. Will their improbable love survive past its cosmic conception or will it combust like so many nameless stars in the sky?
April 6-7, 2024, at Chicago’s Chopin Theatre
Photo credit: PMTheater.com
Presented by New York City’s Pm Theater,...
- 4/3/2024
- by [email protected] (Adam Fendelman)
- HollywoodChicago.com
Asia Review — Asia (2020) Film Review, a movie directed by Ruthy Pribar, and starring Shira Haas, Alena Yiv, Tamir Mula, Ruth Farhi, Gera Sandler, Eden Halili, Liran David, Or Barak, Nadia Tichonova, Mirna Fridman, Tatiana Machlinovski, Evgeny Tarlatzky, Eran Ivanir, Matanya Bar-Shalom, and Andrey Bar. Asia, directed by Ruthy Pribar, showcases two fine [...]
Continue reading: Film Review: Asia (2020): Shira Haas & Alena Yiv Excel in Ruthy Pribar’s Israeli Drama...
Continue reading: Film Review: Asia (2020): Shira Haas & Alena Yiv Excel in Ruthy Pribar’s Israeli Drama...
- 6/27/2021
- by Thomas Duffy
- Film-Book
A winner at the Tribeca film festival, this intelligent and intimate drama traces how a teenager’s relationship with her mother intensifies after she falls ill
This is a candid, sober, well-acted debut by the first-time director Ruthy Pribar which won her the Nora Ephron award at this year’s Tribeca film festival – an admirable choice, though it’s up for discussion as to how exactly it “embodies the spirit” of Ephron as the winner is supposed to.
The setting is Jerusalem where Asia (Alena Yiv) is a Russian Jewish incomer to Israel. She is in her mid-30s, working as a nurse and looking after her teenage daughter, Victoria, or Vika, whom she had very young – excellent work from Shira Haas. Vika has never had a boyfriend; as for Asia, she has a kind of friends-with-benefits relationship with a doctor, Stas (Gera Sandler), who for unexplained reasons connected with...
This is a candid, sober, well-acted debut by the first-time director Ruthy Pribar which won her the Nora Ephron award at this year’s Tribeca film festival – an admirable choice, though it’s up for discussion as to how exactly it “embodies the spirit” of Ephron as the winner is supposed to.
The setting is Jerusalem where Asia (Alena Yiv) is a Russian Jewish incomer to Israel. She is in her mid-30s, working as a nurse and looking after her teenage daughter, Victoria, or Vika, whom she had very young – excellent work from Shira Haas. Vika has never had a boyfriend; as for Asia, she has a kind of friends-with-benefits relationship with a doctor, Stas (Gera Sandler), who for unexplained reasons connected with...
- 11/19/2020
- by Peter Bradshaw
- The Guardian - Film News
"Really, the only thing I ever got from a man is you." A promo trailer has been released for an Israeli drama titled Asia, marking the feature directorial debut of filmmaker / editor Ruthy Pribar, who has made a few shorts before this. The film premiered at the Tribeca Film Festival earlier this year, where it won Three different prizes: Best Actress (Shira Haas), Best Cinematography, and the Nora Ephron Prize for director Ruthy Pribar. Asia is a young mother of a teen daughter. The two have a distant relationship, though living together they barely interact. While Asia is dedicated to her job as a nurse, the daughter Vika hangs out with her skateboard friends. Their routine is shaken when Vika's health deteriorates rapidly. Asia must step in and become the mother Vika so desperately needs. Starring Alena Yiv as Asia, and Shira Haas as Vika, along with Tamir Mula, Gera Sandler,...
- 8/21/2020
- by Alex Billington
- firstshowing.net
Asia Tribeca International Film Festival 2020 Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten Director: Ruthy Pribar Screenwriter: Ruthy Pribar Cast: Alena Yiv, Shira Haas, Tamir Mulla, Gera Sandler Screened at: Critics’ link, NYC, 4/17/20 Opens: Tbd Israel has been academy-award nominated more times than any other country in the Middle […]
The post Asia Movie Review appeared first on Shockya.com.
The post Asia Movie Review appeared first on Shockya.com.
- 4/24/2020
- by Harvey Karten
- ShockYa
Who Will Write Our History Abramorama Reviewed for Shockya.com and BigAppleReviews.net by: Harvey Karten Director: Roberta Grossman Screenwriter: Roberta Grossman, Samuel Kassow from Kassow’s book “Who Will Write Our History? Rediscovering a Hidden Archive from the Warsaw Ghetto” Cast: Jowitz Budnik, Piotr Glowacki, Piotr Jankowski, Wojciech Zielinski, Karolina Gruzka, Bartlomiej Kotschedoff, Gera Sandler Screened at: […]
The post Who Will Write Our History Movie Review appeared first on Shockya.com.
The post Who Will Write Our History Movie Review appeared first on Shockya.com.
- 1/7/2019
- by Harvey Karten
- ShockYa
Jellyfish
International Critics Week
CANNES -- Etgar Keret is well-known internationally as a writer of offbeat, fragmentary short stories -- his latest collection, The Nimrod Flipout, has been highly praised in the U.S. and British media -- and his debut directorial feature effort, scripted and co-directed by his partner Shira Geffen, is a similarly mosaic composition. Several stories, or scraps of stories, are woven together in the making of Jellyfish (Meduzot), linked by common themes and a shared sense of humor, poetry and loss.
Though the main characters -- Keren and Michael, a newly married couple; Batya, who works for a caterer specializing in weddings; and Joy, an Indonesian domestic -- do not meet, or do so only fleetingly, the movie builds to a wholly convincing finale that lingers in the mind long after the final credits. The film should enjoy a long life on the festival circuit and ample theatrical opportunities in many territories.
When Keren (Noa Knoller) breaks a leg at the wedding reception, their Caribbean honeymoon is called off and they book into a hotel by the beach. The enforced idleness is already creating strains between them when Michael (Gera Sandler) meets an attractive female poet who offers to exchange rooms with them because theirs is facing away from the sea.
Batya (Sarah Adler), who lives in a crumbling apartment and has trouble paying the bills, finds her life turned upside down by a 5-year-old girl (Nicole Leidman), who appears mysteriously out of the sea and passes into her care. Joy (Ma-nenita De Latorre), a sweet-natured maid who lives only to send money and make long-distance telephone calls to her daughter overseas, finds herself the unwitting instrument of a reconciliation between a sick old woman, Malka (Zharira Charifai), and her daughter Galia, an actress (Ilanit Ben-Yaakov).
The action takes place entirely in Tel Aviv, the city where Keret and Geffen have spent most of their lives, and usually a short distance from the sea that, as Keret notes, has become for many Israelis a refuge, a place of shelter and comfort in that troubled country where people can find themselves.
There are frequent visual and verbal references to the sea and ships, and the movie's view of its characters is made plain in the title: Like jellyfish, they are free-floating, driven here and there by forces beyond their control, bereft of moorings.
This is to make Jellyfish sound more arty or intellectual than it is. There is an abundance of finely observed detail and plenty of humor, mostly of the wry, ironic kind, often with a keen sense of the absurd. When a policeman wants to explain to Batya, who has just presented him with the lost child, that there is an astonishingly large number of missing people out there, he produces a file of individual cases and proceeds to fold them into origami paper boats.
Though the overall effect of the movie is downbeat but haunting, Keret and Geffen end on a note of optimism. The child returns to the sea as mysteriously as she had emerged from it. Batya plunges in after her and appears set to drown but is pulled from the waves by the photographer friend she has met earlier. The clear implication, as the movie concludes with a Hebrew rendition of Edith Piaf's La Vie en Rose, is that her life is beginning anew.
JELLYFISH
Lama Films, Les Films du Poisson
Credits:
Directors: Etgar Keret, Shira Geffen
Writer: Shira Geffen
Producers: Amir Harel, Ayelet Kit, Yael Fogiel
Director of photography: Antoine Heberle
Production design: Avi Fahima
Music: Christopher Bowen
Editing: Sacha Franklin, Francois Gedigier
Cast:
Batya: Sarah Adler
Little girl: Nicole Leidman
Michael: Gera Sandler
Keren: Noa Knoller
Joy: Ma-nenita De Latorre
Malka: Zharira Charifai
Galia: Ilanit Ben-Yaakov
running time 78 minutes
No MPAA rating...
CANNES -- Etgar Keret is well-known internationally as a writer of offbeat, fragmentary short stories -- his latest collection, The Nimrod Flipout, has been highly praised in the U.S. and British media -- and his debut directorial feature effort, scripted and co-directed by his partner Shira Geffen, is a similarly mosaic composition. Several stories, or scraps of stories, are woven together in the making of Jellyfish (Meduzot), linked by common themes and a shared sense of humor, poetry and loss.
Though the main characters -- Keren and Michael, a newly married couple; Batya, who works for a caterer specializing in weddings; and Joy, an Indonesian domestic -- do not meet, or do so only fleetingly, the movie builds to a wholly convincing finale that lingers in the mind long after the final credits. The film should enjoy a long life on the festival circuit and ample theatrical opportunities in many territories.
When Keren (Noa Knoller) breaks a leg at the wedding reception, their Caribbean honeymoon is called off and they book into a hotel by the beach. The enforced idleness is already creating strains between them when Michael (Gera Sandler) meets an attractive female poet who offers to exchange rooms with them because theirs is facing away from the sea.
Batya (Sarah Adler), who lives in a crumbling apartment and has trouble paying the bills, finds her life turned upside down by a 5-year-old girl (Nicole Leidman), who appears mysteriously out of the sea and passes into her care. Joy (Ma-nenita De Latorre), a sweet-natured maid who lives only to send money and make long-distance telephone calls to her daughter overseas, finds herself the unwitting instrument of a reconciliation between a sick old woman, Malka (Zharira Charifai), and her daughter Galia, an actress (Ilanit Ben-Yaakov).
The action takes place entirely in Tel Aviv, the city where Keret and Geffen have spent most of their lives, and usually a short distance from the sea that, as Keret notes, has become for many Israelis a refuge, a place of shelter and comfort in that troubled country where people can find themselves.
There are frequent visual and verbal references to the sea and ships, and the movie's view of its characters is made plain in the title: Like jellyfish, they are free-floating, driven here and there by forces beyond their control, bereft of moorings.
This is to make Jellyfish sound more arty or intellectual than it is. There is an abundance of finely observed detail and plenty of humor, mostly of the wry, ironic kind, often with a keen sense of the absurd. When a policeman wants to explain to Batya, who has just presented him with the lost child, that there is an astonishingly large number of missing people out there, he produces a file of individual cases and proceeds to fold them into origami paper boats.
Though the overall effect of the movie is downbeat but haunting, Keret and Geffen end on a note of optimism. The child returns to the sea as mysteriously as she had emerged from it. Batya plunges in after her and appears set to drown but is pulled from the waves by the photographer friend she has met earlier. The clear implication, as the movie concludes with a Hebrew rendition of Edith Piaf's La Vie en Rose, is that her life is beginning anew.
JELLYFISH
Lama Films, Les Films du Poisson
Credits:
Directors: Etgar Keret, Shira Geffen
Writer: Shira Geffen
Producers: Amir Harel, Ayelet Kit, Yael Fogiel
Director of photography: Antoine Heberle
Production design: Avi Fahima
Music: Christopher Bowen
Editing: Sacha Franklin, Francois Gedigier
Cast:
Batya: Sarah Adler
Little girl: Nicole Leidman
Michael: Gera Sandler
Keren: Noa Knoller
Joy: Ma-nenita De Latorre
Malka: Zharira Charifai
Galia: Ilanit Ben-Yaakov
running time 78 minutes
No MPAA rating...
- 8/16/2007
- The Hollywood Reporter - Movie News
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