Word: enos
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Dates: during 1980-1989
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...Orthodox synagogue in the wilds of Great Neck, N.Y. And what about the Beth Jacob Synagogue in Montpelier, where Orthodox, Conservative and Reform all worship together under the same roof? There's a Nobel Peace Prize in there somewhere. "Unfortunately, this is newsworthy in the Jewish world," concedes R.D. Eno, publisher of a bimonthly called KFARI, which means "my town" in Hebrew, and subtitled The Jewish Newsmagazine of Rural New England and Quebec...
What is this -- Woody Allen meets L.L. Bean? The American Jew is supposed to be an urban creature, not a New England rustic. Most synagogues are in cities and their environs. So are Neil Simon and the diamond district. "Our ghosts aren't there," explains Publisher Eno about the country. Rabbi Daniel Siegel of Hanover, N.H., recalls, "If someone wanted to have a garden, people would say, 'So go to Israel...
...easy to reject. A lot of people walked away from that." Many college-age Jews in the late '60s and '70s left the cities for the arresting landscapes of Maine, New Hampshire and Vermont in the back-to-the-land movement -- a diaspora from the Diaspora, says Eno. After the novelty of clean air wore off, this Jewish Big Chill contingent confronted the harsh realities of isolated rural life, compounded by the gnawing issue of their lapsed Jewishness. "We're just at the stage of finding out what works," says Rick Schwag, 35, who runs the Para-Rabbi Foundation...
...connected with no common theme and only the most superficial circumstance. A more ludicrous feature is the fact that the makers of this turkey used a wretched single by a heretofore unknown potbelly (John Parr) as the title theme, when a great song of the appropriate title by Brian Eno was available. The most ludicrous feature, however, is that a nauseating effort like St. Elmo's Fire (both movie and song...
...London last month, the English National Opera (ENO) unveiled Director Jonathan Miller's production of Puccini's Tosca set during World War II and played in the style of one of Hollywood's gritty, black-and-white melodramas of the period. Earlier this season, the same company presented a Mad Max version of Bizet's Carmen by David Pountney that replaced castanets and mantillas with feral children darting amid junked American automobiles. In Paris, Producer Seth Schneidman staged Strauss's Elektra as a dream-theory psychodrama, freely mixing images of Greek antiquity and 19th century Europe...