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Translucent Luminosity

Artist's work evolves from exploration

of survivalto the creation of beauty.

Suzanne Chessler
Special to the Jewish News

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'An Inspector Calls'

THE GALLERY RESTAURANT

Top-notch production ends JET season.

Enjoy gracious dining amid a beautiful
atmosphere of casual elegance

Susan Zweig

BREAKFAST • LUNCH • DINNER

Special to the Jewish News

OPEN 7 DAYS:

MON.- SAT. 7 a.m.- 9:30 p.m. SUN. 8 a.m.- 9 p.m.
Bloomfield Plaza • 6638 Telegraph Road and Maple • 248-851-0313

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P 248.967.1161 F. 248.967.1605

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April 26 2007

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FEATURING AUTHENTIC
CHINESE/ASIAN
COOKING, SUSHI BAI?
& DIM SUM

(corner of Haggerty in the Newberry Square Pla7a),

iN

rene Frolic found artistic beauty
while watching the film version
of the Tchaikovsky opera Eugene
Onegin, and she translated her feel-
ings into a work of white glass that is
being shown as part of Michigan Glass
Month.
The Toronto artist's sculpture,
Winter Tale: The Maiden Braid, was
created in the lost wax casting process
and presents a realistic woman's head
on an abstracted torso. It relates to an
aria recalling first love.
The piece, on view through May 19
as part of the 35th International Glass
Invitational at Habatat Galleries in
Royal Oak, joins glass projects com-
pleted by 90 artists from 16 countries.
"The beauty and lushness of the

opera — with its singing, dramatic
stories and the heightened emotion
of love — inspired me," says Frolic, a
Holocaust survivor who left Poland
when she was 7 and settled in Canada.
Frolic, 65, found her glass career in
her 40s, after working as a teacher. She
has been invited to exhibit since her
student years at the Ontario College of
Art in Toronto.
After connecting to a New York
gallery through the Glass Arts
Society, Frolic found interest in
her work spreading. Her projects
became part of many public col-
lections, including those held by
the Museum of Decorative Art in
Lausanne, Switzerland; the Canadian
Clay and Glass Museum in Waterloo,
Ontario; and the Museo del Vidreo in
Monterrey, Mexico.
"In my early works, I used a differ-

248-960-7666

1247480

A

great whodunit goes down as
satisfyingly as a glass of lem-
onade on a stifling afternoon;
J.B. Priestley's An Inspector Calls, at the
Jewish Ensemble Theatre through May
19, offers a swig of something even
more provocative and chilling.
The upper crust Birlings at table in
1912's pre-war Edwardian Britain are
the stuff of an era poised
to be bygone, though
they hardly know it. They
dine surrounded by cut
crystal, at arm's length
from struggle. Here are wealthy families
about to fuse in marriage, engaged and
laughing on that brink; nothing can
harm them. Arthur Biding speaks of
a pseudo-utopian England in 30 years
time without any grasp of the world
wars that are to rock its foundations.
Such events are beyond this family (and
their station's) radar.
Leave it to the roving conscience
and specter of Inspector Goole and his
report of Eva Smith's death to make
this dinner party see blood on their

hands.
Written at the close of World War II,
Priestley's play was a parable for a more
egalitarian society. A powerful voice
of his generation over the airwaves
and through all forms with his pen,
Priestley worked to reshape Britain and
indeed the world to be congruent with
his classless, brotherly ideals.
Staged within JET's walls, it's
hard not to detect a potent whiff of
Holocaust denial in Priestley's expertly
crafted script. Its charac-
ters roil with pleadings of
"it doesn't have anything
to do with me" and "it's
not my problem"; there
also is that grisly, oft-repeated detail
that a woman died from swallow-
ing disinfectant "that burned out her
insides:' A crime against humanity has
been committed; though their roles
seem murky, this micro-society — and
many just like it — would choose to
stay swaddled in cushy detachment
rather than reach out over the breach
to condemn the evils swirling so obvi-
ously around them.
Under Chris Bremer's keen, decisive
direction — with a stately, opulent set