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Lacoste Gallery: Don Reitz: The Expressive Genius EXTENDED THROUGH APRIL 8, 2017

SHOW EXTENDED
DON REITZ : THE EXPRESSIVE GENIUS
Through April 8, 2017

20170225_152317Much enjoyed the current show at Lacoste--which has long been my favorite Concord, MA, Gallery. This time, owner and former ceramicist Lucy Lacoste is featuring the work of ceramicist Don Reitz– pieces from as far back as the 1960s through equally-if-not-more exciting work from 2014, just before he passed away in his 80’s.

As Lacoste explains, “Don Reitz is one of the great geniuses of contemporary ceramics and was devoted to clay, color and expression throughout his career.

20170225_154601“The show  encompasses three periods in the Reitz’s career– the Sara series, in which he used color to narrative stories on earthenware clay, his wood-fire period using fire and ash for expression, and his color with wood-fire and salt, which was a summation of the many elements in his life works.

‘There are also connector pieces that led from one period to the next such as the colorful plates that preceded the use of color in the Sara series and earthenware with expressive brushwork that came at the end of his life.”

20170225_152447My favorite pieces were those embodying both painting and sculpture. That is, ceramics in the three-dimensional form of brush strokes, incorporating  and exhibiting both color and motion. 20170225_152307

 
According to Lacoste, “The driving force in Reitz’ life was to be an artist and communicate through his art.  As a youth with dyslexia, he found making marks in dirt to be expressive. He took this into his ceramics throughout his career with markings on clay being his personal language. His marks, symbols and signature were always important to him whether in his salt-fire work, where the salt melted in firing to become a revealing skin; or in the ‘Sara’ period where everything was a mark or symbolic imagery done with a colorful palette; or wood-fire where the marks were revealed through the ash. The artist has always approached his work intuitively and expressively.

I Go Without Fear edited

I Go Without Fear, 1984, earthenware, low-fire salt with engobes,

“Among the pieces in the show is a  wall plaque I Go Without Fear, 1984, earthenware, low-fire salt with engobes, 2 x 25 x 20” from his ‘Sara’ series.  Reitz’s ‘Sara Series’ was born of adversity: while he recovered from a serious car accident and his young niece from cancer, the two exchanged drawings in what amounted to a healing partnership. A childlike sensibility with color and form in abundant informs Reitz’s work from this period. This is an endearing yet powerful work showing a stick figure cautiously and optimistically moving out into the world.

 

Jammin _DSC5645

Jammin’

“Jammin’, 2013 is a powerful triptych being shown for the first time from the private collection of his family.  This piece stands out for its bold, dynamic color and free calligraphic painting.  It is one of the strongest and largest of his series of triptych showing the artist at his most painterly.”
The exhibition is free and open to the public and is wheel chair accessible.
Through March 27, 2017 at the
Lacoste Gallery
25 Main Street • Concord, MA 01742
978.369.0278 • www.lacostegallery.com

 

–Anita M. Harris

Anita M. Harris is a writer, photographer and communications consultant based in Cambridge, MA. 
New Cambridge Observer is a publication of the Harris Communications Group, also in Cambridge, MA. 

 




Convergence Science Transforming Biomedicine, MIT Report says

We thought our readers would like to know about “Convergence and the Future of Health,” a  report released today by the Massachusetts Institute of Technology. (Slightly self-serving full disclosure: New Cambridge Observer‘s Anita Harris was one of the writers).  

MIT Graphic, Convergence Report 2016

MIT Graphic, Convergence Report 2016

CAMBRIDGE, MA — What if lost limbs could be regrown? Cancers detected early with blood or urine tests, instead of invasive biopsies? Drugs delivered via nanoparticles to specific tissues or even cells, minimizing unwanted side effects? While such breakthroughs may sound futuristic, scientists are already exploring these and other promising techniques.

But the realization of these transformative advances is not guaranteed. The key to bringing them to fruition, a landmark new report argues, will be strategic and sustained support for “convergence”: the merging of approaches and insights from historically distinct disciplines such as engineering, physics, computer science, chemistry, mathematics, and the life sciences.

The report, “Convergence: The Future of Health,” was co-chaired by Tyler Jacks, the David H. Koch Professor of Biology and director of MIT’s Koch Institute for Integrative Cancer ResearchSusan Hockfield, noted neuroscientist and president emerita of MIT; and Phillip Sharp, Institute Professor at MIT and Nobel laureate, and will be presented at the National Academies of Sciences, Engineering, and Medicine in Washington on June 24.Convergence Image

The report, available at http://www.convergencerevolution.net/2016-report draws on insights from several dozen expert participants at two workshops, as well as input from scientists and researchers across academia, industry, and government. Their efforts have produced a wide range of recommendations for advancing convergence research, but the report emphasizes one critical barrier above all: the shortage of federal funding for convergence fields.

“Convergence science has advanced across many fronts, from nanotechnology to regenerative tissue,” says Sharp. “Although the promise has been recognized, the funding allocated for convergence research in biomedical science is small and needs to be expanded. In fact, there is no federal agency with the responsibility to fund convergence in biomedical research.”

National Insitutes of Health

National Insitutes of Health

The National Institutes of Health (NIH) are the primary source of research funding for biomedical science in the United States. In 2015, only 3 percent of all principal investigators funded by NIH were from departments of engineering, bioengineering, physics, biophysics, or mathematics. Accordingly, the report’s authors call for increasing NIH funding for convergence research to at least 20 percent of the agency’s budget.

Progress and potential

MIT Dome, Convergence ReportIn 2011, MIT released a white paper that outlined the concept of convergence. More than just interdisciplinary research, convergence entails the active integration of these diverse modes of inquiry into a unified pursuit of advances that will transform health and other sectors, from agriculture to energy.

The new report lays out a more comprehensive vision of what convergence-based research could achieve, as well as the concrete steps required to enable these advances.

“The 2011 report argued that convergence was the next revolution in health research, following molecular biology and genomics,” says Jacks. “That report helped identify the importance and growing centrality of convergence for health research. This report is different. It starts us off on a true strategy for convergence-based research in health.”

The report released today makes clear that, despite such obstacles, this “third revolution” is already well underway. Convergence-based research has become standard practice at MIT, most notably at the Koch Institute and the Institute for Medical Engineering and Science. dna

“About a third of all MIT engineers are involved in some aspect of convergence,” says Sharp. “These faculty are having an enormous impact on biomedical science and this will only grow in the future. Other universities are beginning to evolve along similar paths.”

Indeed, convergence-based approaches are becoming more common at many other pioneering university programs, including the Wyss Institute for Biologically Inspired Engineering at Harvard University, and the University of Chicago’s new Institute for Molecular Engineering, among others.

The report also points to several new federal initiatives that are harnessing the convergence research model to solve some of society’s most pressing health challenges.

For example, the Brain Research through Advancing Innovative Neurotechnologies (BRAIN) Initiative, launched by the Obama administration in 2013, seeks to improve our understanding of how individual cells and neural circuits interact, in order to develop new ways to treat and prevent brain disorders. And the National Cancer Moonshot Initiative, launched earlier this year to accelerate research to develop cancer vaccines and early detection methods and genomic tumor analysis, will also operate largely using convergence tools and approaches.Brain-Initiative

But the integration of new technologies and methods from genomics, information science, nanotechnology, and molecular biology could take us even farther.

The report outlines three major disease areas — brain disorders, infectious diseases and immunology, and cancer — and promising convergence-based approaches to tackling them. It also presents case studies of four emerging technology categories: advanced imaging in the body, nanotechnology for drug and therapy delivery, regenerative engineering, and big data and health information technology.

A sampling gives a sense of their transformative potential. Convergence techniques could enable rewiring the genes of mosquitoes to eliminate Zika, dengue, and malaria. They could help solve the emerging threat of drug-resistant bacterial strains, which infect over two million people in the U.S. every year. Convergence-based immunotherapy could activate a person’s immune system to fight cancer, reprogramming a person’s T-cells or antibodies to find and attack tumor cells. Big-data techniques could be used to generate and analyze huge amounts of data on people’s exposures to industrial chemicals, environmental toxins, and infectious agents, creating a new field of “chemistry of nurture,” to complement the “chemistry of nature” developed by the documentation of the human genome.

“Convergence might come just in time,” says Hockfield, “given our rapidly aging population, increasing levels of chronic disease, and mounting healthcare costs due to demographic trends throughout the developed world. But we must overcome significant barriers to get to convergence.”

Cultivating convergence

Realizing the full potential of the convergence revolution will require much more ambitious and strategic coordination and collaboration across industry, government, and academia, the report argues.

The report accordingly calls for a concerted joint effort by federal agencies, universities, and industry to develop a new strategic roadmap to support convergence-based research. As a concrete next step, the report’s authors recommend establishing an interagency working group on convergence with participation from NIH, the National Science Foundation, and other federal agencies involved in funding scientific research, such as the Food and Drug Administration and the Department of Energy.

Other pressing challenges include grant review processes based on narrow, outdated disciplinary structures, which limit the availability of resources for cross-functional research teams. The report also proposes new practices to foster “cultures of convergence” within academic institutions: cross-department hiring and tenure review, convergence “cluster hiring” and career grants, and new PhD programs wherein students design their own degree programs across disciplinary boundaries.

If the potential of convergence is great, so are the stakes.

“Convergence has grown from a little seedling to a sprouting plant, but to become a great tree and orchard yielding fruit for decades into the future, it needs to be nourished, expanded, and cultivated now,” says Sharp. “Students need to be educated, collaborations need to be encouraged, and resources need to be committed to make sure convergence thrives.”

“This integration is important to deal with the great challenges of the future: continued growth in the accessibility and quality of healthcare, growth of the economy, and providing resources for future populations.”

Funding for the report was provided by the Raymond and Beverly Sackler Foundation, The Kavli Foundation, and the Burroughs Wellcome Fund.

The report is available at http://www.convergencerevolution.net/2016-report

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Written by Jonathan Mingle, MIT News correspondent

New Cambridge Observer is a publication of the Harris Communications Group, a Cambridge, MA, PR & marketing firm specializing in health, science and technology.




Italian Life Science Innovators to present at Venture Cafe, Cambridge, Oct. 22

itabiostartupeviteheaderimage03-1Our friend Christa Bleyeben of Mass Global Partners and the Italian Trade Agency cordially invite New Cambridge Observer readers and others to “Discover 13 of Italy’s most Innovative early stage life science companies developing therapeutics, devices and tools.”

Registration and Networking: 3:00 PM

Company pitches: 3:30-5:00 PM

Networking at Venture Cafe: Italian Life Science Night:  5:00-7:00 PM

Participating Italian Companies

  • Abiel – recombinant collagenases for use in regenerative medicine research and cell therapy
  • Cell Dynamics – real time visualization of cells in culture
  • egoHealth – wearable sterilization device ffor stethescopes
  • Grademi – device to diagnose specific diseases using erythrocyte sedimentation rate
  • GreenBone – biomemtic (resorbable) implants, initially for non-union fractures
  • I-Delivery –  nanocarrier to deliver drugs and cosmeticals to the hair root to treat acne and hair loss
  • Immagina Biotechnology – high throughput tools for isolation and analysis of polyribosomes
  • Universita degli studi di Udine – Research university exploring technology transfer opportunities
  • Xenus – topically delivered therapeutic for erectile dysfunction

REGISTER

If you are interested in connecting with any of the companies, please contact the meeting organizer at:  robertmg52@gmail.com.
Have questions about Italian Trade Agency Early Stage Life Science Showcase? Contact Italian Trade Agency and MassGlobal Partners
New Cambridge Observer is a publication of the Harris Communications Group, an award-winning pr and marketing firm based in Kendall Square, Cambridge, MA



CDSC TO CELEBRATE 3 COMMUNITY PEACEMAKERS IN CAMBRIDGE ON OCTOBER 14th

(Cambridge, MA) The Community Dispute Settlement Center (CDSC) will be honoring three community peacemakers for their work in the courts, at-risk young adults, and high school students. The public is invited to join us in celebrating with community mediators, educators, lawyers and community leaders at the Venture Café in the Cambridge Innovation Center on Wednesday, October 14th. Tickets to the event need to be purchased in advance on CDSC’s web site: www.communitydispute.org

Cambridge Dispute Resolution Center

Cambridge Dispute Resolution Center

At the event CDSC will be recognizing the work of: Hon. John Cratsley (ret.), a leader in alternative dispute resolution standards and implementation in the Massachusetts courts; Jon Feinman, the founder of InnerCity Weightlifting of Cambridge, an innovative program that uses fitness training as a tool to reduce violence and promote professional, personal and academic achievement among urban youth; and The Cambridge Rindge and Latin School Mediation Team, a resource for the school’s students to develop skills and resolve interpersonal issues fully and peacefully.
CDSC, established in 1979, is a private non-profit mediation and training center, dedicated to providing an alternative and affordable forum for resolving conflict. CDSC promotes better ways to understand and deal with conflict through skilled teams of volunteer mediators, training programs in mediation and conflict management, and broad community outreach. It also collaborates with local schools to create peer mediation programs and skill-building workshops that help youth deal with conflict.
For more information about CDSC or to arrange a training workshop for a school, youth group or organization, please call 617-876-5376, emailcdscinfo@communitydispute.org, or visit the CDSC’s website at: http://www.communitydispute.org.

New Cambridge Observer is a publication of the Harris Communications Group, an award-winning PR and marketing firm based at the Cambridge Innovation Center in Cambridge, MA.




Guest Post: Ithaca Diaries author Anita Harris interviewed on NPR’s “Here and Now”

Here and Now with Robin Young and Jeremy HobsonIn an interview with Lisa Mullins on “Here and Now” a daily program of National Public Radio,  author Anita Harris reflected on how her college years shaped her career path.  The interview, which aired June 11, focused on Harris’s book, Ithaca Diaries, a memoir and social history of her years at Cornell University in the 1960s.

Those years “gave me courage to start a newspaper and become a journalist,” said Harris about her time at Cornell.  “They gave me the courage to fight for social change through my work and my writing.  They have me the courage to work with students and help them understand better their own place in the world.”

Harris attended Cornell University during a time of racism and world turmoil.  In Ithaca Diaries, she writes about heavy topics such as the tearing up and burning of draft cards by students opposed to the Vietnam war and demonstrations for civil rights.

“There were all kinds of demonstrations and eventually all hell broke loose,”said Harris.  “At the university, nationally, and internationally students were demonstrating and even rioting all over the world.”

While Harris tried to focus on her studies and stay “sane,”  she also explored and wrote about Cornell’s dating scene, which was filled with “boys, and frats and football games,” she told Mullins.

Harris used her journals, letters to her parents, and Cornell’s independent student newspaper, the Daily Sun, to help tell her story, which takes readers on a coming-of-age journey from Harris’ arrival on campus  in 1966 with her pink suitcase to her graduation day, when she led a demonstration against the military.

“One reason I wanted to write the book was to understand what had happened and how it still affects me today,” said Harris.  “To this day, I think back to the events of that time.”

“Ithaca Diaries” can be purchased on Amazon at http://www.amazon.com/Ithaca-Diaries-Coming-Age-1960s/dp/0692294988.

Harris’ “Here and Now” interview  is available at http://hereandnow.wbur.org/2015/06/11/ithaca-diaries-anita-harris.

— Morgan Brittney Austin
Morgan Brittney Austin is a 2015 graduate of LaSalle College, near Boston.

New Cambridge Observer is a publication of the Harris Communications Group, an award-winning PR and marketing firm based in Kendall Square, Cambridge, MA.




New York’s New Whitney Museum A Work of Art in Itself. Opening May 1, 2015.

Whitney #1

Photo: Anita M. Harris

I was privileged to  preview  the stunning new Whitney Museum in New York City, which has moved from its Marcel Breuer-designed building on Madison Avenue at 78th Street to 99 Gansevoort St. Scheduled to open to the public on May 1, the  225,000 sq.ft. glass-and steel building designed by architect Renzo Piano is located in the old me20150424_124655at packing district, a stone’s throw from the Hudson River.

Whitney 2

It has already attracted a  number of restaurants and upscale  shops, says friend and New York arts writer Terry Trucco.

 

 

 

 

Trucco was wowed by the current exhibit–“America is Hard to See”– which is comprised of more than 400 works from the Whitney’s own collection (now numbering 22,000 works by some 3,000 artists).  20150424_120427

The exhibit spans the entire building, occupying both interior and exterior spaces. It’s organized into a series of 23 “chapters”, each titled after an individual work.

 

 

 

It begins on the glass-enclosed first floor, with an introduction to the Whitney’s early history. (The mus20150424_124709eum was founded by sculptor and arts patron Gertrude Vanderbilt Whitney in 1931.)  The exhibit then moves to the eighth floor, and proceeds down to the 5th and, finally to the third, with work from a different period on each floor.

According to a Whitney brochure: The exhibition reexamines the history of art in the United States from 1900 to the present. It elaborates the themes, ideas, beliefs and passions that have galvanized American artists in their struggle to work within and against established conventions, often directly engaging their political and social contexts. Numerous pieces that have rarely, if ever, been shown appear alongside beloved icons in a conscious attempt to unsettle assumptions about the American art canon.

The title, “America Is Hard to See,”  comes from a Robert Frost Poem and a political documentary by Emile de Antonio.The show constitutes “a kind of collective memory–representing a range of individual sometimes conflicting attitudes toward what American art might be or mean or do at any given moment.”

I very-much liked the numerous “surprises” in the show: elevators opening onto vibrant wallways; 20150424_115643

statues looking at paintings; 20150424_115022

guards willing to pose near sculpture of guards;20150424_120147

 

 

 

 

whimsical works amidst the profound,

20150424_120251

and elevator interiors that are commissioned artworks by the late Richard Artschwager.

20150424_120947

 

 

 

 

But I was blown away by the architectural and design elements of the structure–making the museum itself a work of art.

Inside,  I loved the airy, expansive galleries,

creative placement of work,

and20150424_120227

from windows, views of the Hudson river, New Jersey and New York city scapes.20150424_120511

20150424_112723

 

 

 

 

Looking down–installations of outdoor galleries by artists such as Mary Hellman.

 

And, on the the outside–looking up– wonderful shapes, against the sky.Installation by Mary Hellman

20150424_12513020150424_124859

 

 

 

 

Throughout, there was an air of festivity, with helpful guards who clearly enjoyed their new workspace, and in the first floor cafe,  staffers  taking part in a celebration of their own.20150424_124646

 

 

 

The Whitney opens to the public on May 1. “America is Hard to See” runs through September 27, 2015.

–Anita M. Harris

 

Anita M Harris, a writer and communications consultant based in Cambridge, MA, reported on the arts and other topics for national public television. Currently, she is managing director of the Harris Communications Group, an award-winning public relations firm. She is also the author of Broken Patterns, Professional Women and the Quest for a New Feminine Identity, and Ithaca Diaries, (Cambridge Common Press, 2014) .

c.  Anita M. Harris 2015




Ithaca Diaries Advance Edition Now Available

Book Cover Final Augie Magazine 11-11-14HI! Apologies for my long absence…but am pleased to report that an advance edition of Ithaca Diaries, my new book about college in the 1960s, is (at long last)  available on Amazon–in paperbook and Kindle editions.

 

The official launch won’t take place for another few weeks, but with the help of my sister, Laura Harris Hirsch and friend Stacy Kaufman, I managed to finish the index and formatting in time for the release of a fabulous writeup in the Cornell University Ezra  Magazine, which came out Dec. 23.

Because the writeup  is not an official “review,” I’m not supposed to quote from it, so suffice it  to say that Ezra’s H. Roger Segelken starts out–“Whenever they went to college, most everyone thinks their undergraduate years were a noteworthy epoch of personal and societal transformation. Not everyone was at Cornell between 1966 and 1970, though, and even fewer kept detailed, heartfelt journals during that turbulent period.”  And, if you’d like,  you can read the rest.

I’m hoping to officially launch the book in mid-January, in time for Cornell’s Boston Sesquicentennial celebration, and am now seeking real reviews (and readers!)

Will be sending autographed copies to Kickstarter supporters early next week–as soon as books arrive on  my doorstep.

You can find more information on the Ithaca Diaries website  and buy the paperback or Kindle edition at  Amazon. The Cornell Store will be carrying the paperback in the near future.

Thanks!

—Anita M. Harris

Anita M. Harris is the author of Ithaca Diaries and Broken Patterns, Professional Women and the Quest for a New Feminine Identity. 

New Cambridge Observer is a publication of the Harris Communications Group, the award-winning marketing and PR firm Harris  founded in 1998.

 

 

 

 

 

 




Guest Opera Post: Rachel Yurman on “The Death of Klinghoffer” Controversy

 

Klinghoffer opera photoLast winter, New York’s Metropolitan Opera announced a 2014-15 season that would include its first production of a John Adams’ 1991 work, The Death of Klinghoffer.   The opera portrays the October, 1985 hijacking of a cruise ship, the Achille Lauro, by members of the Palestine Liberation Front who were seeking the release of 50 Palestinians held in Israeli prisons.   A vacationing American Jew, the wheelchair-bound Leon Klinghoffer, was shot by the hijackers.  His body was thrown overboard.

 

Controversy and protests began almost immediately after the season announcement.   The opera’s libretto, by Alice Goodman, is the source of much complaint and has been cherry-picked for lines deemed offensive and anti-Semitic.   Goodman’s text — poetic, often obscure, and perhaps ambivalent in its meaning — begins with alternating choruses that express the feelings of “Exiled Palestinians” and then “Exiled Jews.”   Besides the Klinghoffers, the other four named roles are those of the hijackers.  (Other characters have generic names, e.g., The Captain.)   By identifying the Palestinians and giving them voice, the charges go, Goodman humanizes and elevates them, while placing their politics at center stage.   Protesters even objected to the title of the opera, asking why it was called The Death of Klinghoffer and not The Murder of Klinghoffer.

These objections were accompanied by repeated calls for cancellation, as well as for a general boycott of the Met.  By spring, General Manager Peter Gelb had acquiesced to at least one demand, calling off a high-definition transmission that would have played in movie theaters around the world.    The summer’s Gaza incursion (by Israel) raised the temperature even higher:  the protesters were certain that the eight scheduled performances of Klinghoffer would provoke further incidents of anti-Semitism, in addition to those that had been reported in Europe throughout those fraught months.

In late September, opening night of the Met season featured fancy dress inside and demonstrations outside.   New York synagogue bulletins urged members to express their displeasure by writing to Mr. Gelb.  The New York Times reported that some individuals had gone further, actually finding ways to reach the performers themselves through threatening messages to their managers.  On October 20, the night of the production opening, protesters sat in a row of wheelchairs positioned opposite Lincoln Center Plaza.

Art, specifically opera, suddenly mattered.  It had become the center of a nasty, noisy, public debate.  Some music journalists reveled in the attention and in the moment of relevance for a 400-year-old form.  I, however, was incensed by the assault, and embarrassed by the willful ignorance of those who ranted while freely admitting that they had never seen the work in question.

That I love opera is often difficult to explain to those who don’t care for the sound of trained classical singing, let alone those who find it a ridiculous mode of expression.  It is improbable, but also compelling and, on the best nights, transporting.

Well-meaning friends, good people who don’t care about opera or opera-going, suddenly wanted my personal take on the argument, a ruling on the allegations of inherent anti-Semitism in Klinghoffer.   I was frustrated by their questions and by my inability to respond.   Were I to answer, I am sure that I would confound their expectations and might even offend my questioners.

I have been looking forward to seeing Klinghoffer for months now.    I’m no fan of Minimalism in music; I actively dislike the monotonous work of Philip Glass.    Although I haven’t studied the music in depth, I find that Adams offers greater texture and variety — more to intrigue the ear.  A few years ago, his Nixon in China made a deep and lasting impression on me.   Why wouldn’t I be curious to hear the next work in the line, an opera that many deem even more successful as music-drama?

Again, my friends don’t care about this.  Most aren’t really even concerned with the politics of art, only with the question of possible anti-Semitism which, in this case, is probably closer to insufficient focus on Jewish characters or inadequately expressed sympathy for their point of view.

I am not apolitical in the least, but my politics are my own, my taste in music is my own, and the terms of my Jewish identity are my own, too.   I am often inclined to choose art over strict tribal allegiance.   Richard Wagner was, by all accounts, a reprehensible man who wrote glorious music.  Many other arguably great composers were probable or certain anti-Semites.  Of this, there is nothing to be said, no dilemmas or choices to weigh.  These were the commonly-held opinions of the day.  Over time, the art has outshone and overshadowed the failings of the artists, patrons, and societies.

I doubt that The Death of Klinghoffer is “anti-Semitic,” if such a thing can be said of music itself.  It may dramatize conflicting points of view, which is usually desirable in the context of theater.    I haven’t seen the opera yet but, once I have, there might be more to say.  (Check this space in a few weeks.)   For now, I hope to be moved:  to me, that is an essential part of watching live performance.   I may feel inclined to anger, not because I expect to find the representation to be unfair, but because the acts themselves were cruel and senseless, and because music and drama can heighten emotion.    But whatever my response, I will have seen and judged Klinghoffer for its success as a work of lyric theater – my own passion – and not as an affirmation of anyone else’s politics.

 

Rachel Yurman ©2014

New Cambridge Observer is a publication of the Harris Communications Group, based in Cambridge, MA.