. I
D
the only opera libretto — it's the first
setting of Dr. Seuss' words to classical
music — that kids would know before
walking into the hall. They can learn
what music can do to make something
come alive in a different way"
Kapilow, who started playing the
piano at age 4, moved on to violin,
flute and electric guitar, talents he
used while appearing with teen bands.
When he entered Yale, he had no
intention of making music his profes-
sion, but that changed in his second
year. While spending a summer in
France studying with Nadia Boulanger,
teacher for Igor Stravinsky and Aaron
Copland, he received compelling
encouragement and continued his
studies.
After graduate school at the
Eastman School of Music, Kapilow
began doing guest conducting and
composing. His "What Makes It
Great?" presentations help with his
long-range goal of making music
accessible in distant concert halls, over
television and radio and in documen-
tary film.
All You Have to Do Is Listen — a
book connected to a Web site — will
be out in November to give adults
insight into music.
"Technology is at the heart of
this project:' explains Kapilow, who
expresses his Jewish heritage through
music initiatives such as Elijah's Angel,
a setting of the children's book by
Michael Rosen.
"One of the big problems with
books about music for the general
public has to do with two bad choices,
either omitting musical examples or
putting in examples and notation that
only can be understood by people
with prior knowledge.
"With the help of two assistants
from Juilliard, we've created 93 musi-
cal examples printed in notation with
the Web site playing the real sound
scrolled in real time."
Kapilow, a regular attraction at
New York's Lincoln Center, generally
devotes the summer months to com-
posing.
"Although my projects might look
different, they're really all the same,'
he says. "They're done to open up
this world of great music to as many
people as possible in as many ways as
I possibly can.
"I want to make the concert hall
a place where everyone wants to be,
whether they're 5, 50 or 90, Jewish or
not Jewish:"
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Weinberg does an exceptional job as
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Ghana's abusive husband.
Kathleen Orr is convincingly
resentful as Ghana's eldest daughter,
Bluma. Charlotte Leisinger and Connie
Cowper provide welcome comic relief
as two of Ghana's "yenta" neighbors,
Eta and Tovah.
The simple living-room set,
designed by Alex van Bloomestein,
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struggle that ensues when truth and
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restrain her, but she breaks away and
runs offstage.
So begins the production, a power-
ful play based on the true story of a
Jewish woman who is shunned by
her fervently Orthodox community
for leaving her 12 children behind to
escape an abusive husband.
When Chana, played by Inga
Wilson, returns after two years, she
is denied access to her children by a
group of well-meaning but misguided
former friends and family members,
including her own mother and two
eldest daughters. Chana persuades the
group to form a women's minyan, or
quorum, to decide whether or not she
should be allowed to reunite with her
children.
Under the direction of Shauna
Kanter, the 10 cast members function
well as a group while still express-
ing the individual personalities of
their characters. Henrietta Hermelin
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27847 Orchard Lake Rd., Farmington Hills • 248-553-81004mo
March 27 • 2008
B19