movement. "She used to stick strike-
breakers with pins," he says.
Cilman, who attended the
University of Wisconsin, inherited
his great-aunt's affinity for political
activism, and he also felt an immedi-
ate connection with the seniors who
joined Young@Heart at the beginning.
"The people I was surrounded with,
the older people from that World War
I generation, were so amazing on
some level: Cilman explains. "They
didn't have the seriousness that our
parents' generation had. They were
wild and wacky. My great-aunt [had
been] into big-time wrestling, and she
would make us go and watch Hans
Schmidt and Fritz von Erik — all
these German wrestlers — and make
us throw popcorn at them."
Immersed in a Jewish universe
growing up, Cilman was determined to
expose himself to the broader culture.
"I think we as Jews have to be open
to the rest of the world:' he says. "And
the more we do that, the better off we
are. We can't see things from just a
Jewish prism all the time."
At the same time, he notes, "Jews

have been very into integration. It's
one of our strong suits, I think, and
so it's natural that a number of the
people involved in this project would
be Jewish."
One is Stan Goldman, a likable
chorus member whose inability to
remember the words to James Brown's
"I Got You (I Feel Good)" adds some
tension to the film.
Young@Heart's song list includes
the work of Jewish composers such as
Bob Dylan ("Forever Young") and Lou
Reed ("Walk on the Wild Side").
"We also do a great band that all
Jews should be proud of' Gilman
points out. "They were called the Fugs,
and we do a song called 'Monday
Nothing.' That song is where they sing
in Yiddish. They have a Jewish radical
sensibility" ❑

Young@Heart is scheduled to
open Friday, April 25, at the
Maple Art Theatre in Bloomfield
Hills. Check your local film
listings or call (248) 263-2111.

Shatner retells Passover story.

s

oon after the death of Chariton
Heston,
another of
Hollywood's great over-
actors is taking center
stage in the retelling of
the Passover story.
Last week, the Jewish
Music Group released
Exodus: An Oratorio In
Three Parts, a dramatic
biblical reading by
William Shatner (Star
Trek, Boston Legal) accompanied by the
Arkansas Symphony Orchestra. The
album is taken from recordings of back-
to-back evening performances in April
2005 at the Robinson Center Music Hall
in Little Rock, Ark.
Shatner credits David Itkin, the
orchestra's conductor, with writing the
music and bringing together passages
from the Bible and the Haggadah to
produce the final text. "It's his creation:'
Shatner says, adding that he thought so
highly of the production that he made

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arrangements to have the two perfor-
mances recorded.
Does the Exodus reading, along with
a film in the works titled The Shivah
Club (about comics who
crash a house of mourn-
ing), point to some sort of
later-in-life artistic engage-
ment with Jewish roots?
No, Shatner says, just
a coincidence. "My being
Jewish does not inform the
things I do, necessarily,"
Shatner explained. "Exodus
is a wonderful piece, no mat-
ter what religion you are."
He also insists that his turn as the nar-
rator of Exodus has not led to any sort of
personal transformation or altered his
connection to the Passover holiday.
"I come from a Conservative Jewish
home in Canada, which is pretty much
like an Orthodox home here in the
States:' says Shatner. "And we celebrated
Passover every year and held a long seder."
Nowadays, "my daughter makes a seder,
but it's a little more modern" — plenty of
English, he explains — "and a little less
time than the old-fashioned ones." ❑

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April 24 • 2008

B23