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Common Ground

One Performance Only!

Saturday, March 4, 2017 at 7:30 p.m.

Three diverse companies – Eisenhower Dance, State Street Ballet,
and ezdanza – bring classical and contemporary styles together to
create Common Ground, a stunningly original piece with visionary
choreography by Edgar Zendejas to Max Richter’s re-composition
of Vivaldi’s The Four Seasons.

At the Detroit Opera House.
FREE Dance Talk one hour prior to performance.

Tickets and Pre-Paid Parking:
michiganopera.org or 313.237.7464

The 2016-2017 Dance Season is made
possible by the Lear Corporation.

This activity is funded in part by the Michigan
Council for Arts and Cultural Affairs and the
Michigan Humanities Council.

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February 23 • 2017

jn

NATE BLOOM
SPECIAL TO THE JEWISH NEWS

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arts&life

NEW ON PREMIUM CHANNELS
Crashing, an HBO series co-created by
comedian Pete Holmes and Judd Apatow,
49, debuted on Sunday, Feb. 17. Holmes
plays Pete, a sheltered suburbanite who
wed his childhood sweetheart and dreams
of making it as a stand-up comedian. But
Pete’s world unravels when he finds out
his wife is cheating on him. He decides
to pursue his dream and plunges into the
rough New York comedy scene. The eight-
episode first season features a number of
real-life comedians/actors using their real
names and playing a version of themselves.
Episodes 2 and 3 feature T. J. Miller, 35
(Silicon Valley) — Gina Gershon, as her-
self, also guest stars in Episode 3. Episode 6
(airs March 26) features Sarah Silverman,
46.
The hit CBS series The Good Wife has
been re-booted as the spin-off The Good
Fight. Wife co-star Christine Baranski
returns as lawyer Diane Lockhart. Financial
reversals force Diane to join another exist-
ing Chicago law firm. The first episode
aired on CBS on Feb. 17. This episode and
nine more (one per week) can be seen on
the new premium streaming service, CBS
All-Access. Justin Bartha, 38, who grew
up in West Bloomfield, co-stars as Colin
Morrello, another lawyer at Lockhart’s new
firm. Producers say that Wife star Julianna
Margulies, 50, may make a guest appear-
ance at some point.

I LOVED MARY, BUT….
I loved Mary Tyler Moore. She lit up the
TV screen in her signature starring roles
in The Dick Van Dyke Show and The Mary
Tyler Moore show. But I was distressed
when I saw a recent tribute piece in the
Jewish press that “cast” Moore and Grant
Tinker (a producer she was married to from
1962-1981) in roles they never played. This
writer credited them with the following: (1)
That the Van Dyke Show had an explicitly
Jewish character in the 1960s, when few
other shows did (Buddy; played by the late
Morey Amsterdam); (2) that Mary Tyler
Moore had a major Jewish character, too
(Rhoda; played by Valerie Harper, who isn’t
Jewish); and (3) that in a memorable epi-
sode of Mary Tyler Moore, Mary, the charac-
ter, stood up to anti-Semitic discrimination
directed at Rhoda.
Moore and Tinker, however, never had a
big hand in the creation and writing of her
shows. Tinker had some role getting Mary
Tyler Moore on the air. But he didn’t create
or write it.
“Think Yiddish, write British,” is an old
line among Jewish writers to describe how

Gershon

Bartha

Reiner

they take material (comedy or drama) from
their Jewish background or sensibility and
translate it into material that retains com-
edy and/or pathos — but is relatable to
the overwhelmingly non-Jewish world. Carl
Reiner, now 94, drew from his own experi-
ence in writing, with a passel of other Jews,
the Sid Caesar Show when he created Dick
Van Dyke. Then he plucked Moore out of
obscurity to co-star. She said they virtually
had a father-daughter relationship. Likewise,
the brilliant James L. Brooks, now 76,
was the main creator and writing overseer
of Mary Tyler Moore. Moore’s contribution,
which was huge, was to take this translated
material and be its brilliant vessel — not a
dumbed down All-American girl — but a
smart American woman that every type of
American could relate to, and laugh with.
Reiner and Brooks knew she had a huge
hand in their success and said so in their
tributes after her recent death. •

