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January 22, 2017 / 24 Tevet, 5777

Posts Tagged ‘Sesame Street’

Video: Anti-Semitic Elmo Ejected from Central Park

Wednesday, June 27th, 2012

A man in an Elmo costume was ejected from Central Park and hospitalized after going on an anti-Semitic rant in the middle of the New York landmark.

While the man’s name was not released because he was not arrested. Police said that Monday’s incident was not the first time he had been dressed as the Sesame Street character and gone on a racial rant.

Videos of the costumed Elmo’s anti-Semitic comments began to circulate Sunday and show him directing bystanders to read “The International Jew” by Henry Ford, the automobile manufacturer who was known for his anti-Semitic views.

“I’m not making money because the Jewish costume company is harassing me,” said the man, caught on video. “That’s why I’m doing it and that’s why I want people to read ‘The International Jew,’ because if you start your business in this city, Jews will harass you.”

The man also complained that he wasn’t making any money because of “Jewish cops and company.”

A spokesman for the Sesame Street Workshop, the nonprofit group that produces “Sesame Street,” released a statement on Monday saying that “The ‘Sesame Street’ Muppets are known the world over, and we do not condone unauthorized representations of our characters.”


Pennsylvania Labor Day Trips

Wednesday, September 2nd, 2009

If you’re looking to sneak in one last day trip before the kids start yeshiva, then the obvious place to look is Pennsylvania, filled with numerous kid-friendly theme parks. Two great ones for all children under the teenage years are Sesame Place in Langhorne, and Dutch Wonderland in Lancaster.


            Sesame Place is built around Sesame Street, and therefore built for kids. The park is filled with sections that cater to all age groups from 1 till, say, 12-14. The Elmo’s World section is a delight and a definite destiny for parents who (after a morning of running around in the more active parts of the park, or, simply, after life) are ready to sit and watch their toddlers and even pre-toddlers play by themselves and with other similar-aged tykes. The cargo netting, also in Elmo’s World, offer a particularly fun romp for the bit older set (about 5 and up).


            Sesame Place is full of mechanical rides – and these too offer something for every age group, from the carousel for the youngest to Blast Off (just as it sounds) for the older group. The theatre-like shows are age variable, as well.



Elmo with visitors in Sesame Place



            While there are plenty of dry rides, Sesame Place tends to emphasize the wet; On the Count’s Splash Castle, which just opened this year, and on Sky Splash, a water raft ride that takes place in an enormous rubber duckie, and on Bert & Ernie’s Slip & Slide, you can expect to get wet. There are also large pools and fountains in several locations. While most kids love to get wet on hot, sticky days, readers should bear in mind that many visitors come dressed like they are having a day at the beach, and stay that way for the duration of their trip, and decide accordingly which members of the household should come along.


            The great thing about Sesame Place is that everyone can enjoy it, even if they’ve never seen the show. But if your family does enjoy Sesame Street, then they’ll appreciate many added benefits, such as the model set of Sesame Street and the many Sesame Street character mascots walking around the park, plus the twice-daily parade. As you drive to Langhorne, put “C Is for Cookie” in the DVD player and rev yourselves up.


            Dutch Wonderland has a theme, too – just not one you’d recognize from any PBS viewing. Knights and princesses rule the day here, but they are really an afterthought to the multitude of activities, shows and events spread out over 48 acres that you have to occupy your time.


            Dutch Wonderland is brimming with rides for all ages: Yes, also a carousel, plus a rollercoaster billed as appropriate for kids, and everything in between (bumber cars and the sky ride (think ski lift) and the fun slide, and much more). Children can race motorized speedcars or sailboats, and enjoy a dozen or so other carnival-like attractions (such as trying to knock the blocks off the table) replete with large stuffed dolls for the victors. A cute and tacky protrait area allows families to dress up as knights and princesses for a souvenier snapshot.



The rollercoaster in Dutch Wonderland



            There is a large water attractions area, but because it is a smaller part of the overall park than at Sesame Place, the problem of underdressed visitors is much much smaller.


            Children were clearly thought of in all aspects at the park, which has a quaint and quiet story area for kids who can sit cross-legged while listening to tales of – what else – kinghts and princesses, or join the narrator while they shake and dance to “get the wiggles out.” Don’t miss another show, “The Adventures of the Frog Prince,” featuring some very impressive high-dive theatrics. Stay beyond the fifth row if you want to not get wet.


            A great component of Dutch Wonderland is the Kosher Mart which serves up delicious fleishig meals to the throngs of kosher-keeping visitors, who create regular mincha minyanim around dinnertime.


            From the kinds of rides to the variety of things to do, Dutch Wonderland is like a mini-version of Disneyland, only more compact, which is good, allowing families to get to more of the fun stuff in a single day.


            If you and your children are off on Labor Day, Sesame Place or Dutch Wonderland will offer an enjoyable way to end the summer.

Shlomo Greenwald

The Puppet Master Who Denied That The Holocaust (Had Ended)

Wednesday, December 19th, 2007

The Puppetmaster of Lodz

By Gilles Segal; translated by Sara O’Connor

Directed by Bruce Levitt

ArcLight Theatre, 152 West 71st Street, New York

Through December 23




        Puppeteers are supposed to be jolly sorts, who associate with Sesame Street, the Muppets and Mister Rogers’s Neighborhood. They have an eternal smile plastered on their faces, as they surround themselves with happy children carrying lollypops and balloons. But the profession also has a darker side. By manipulating helpless puppets, the puppeteer plays God, and risks blurring the boundary between reality and the imagination.


         Samuel Finkelbaum, who is a Holocaust survivor in Gilles Segal’s borderline Theater of the Absurd play, “The Puppetmaster of Lodz,” confuses his puppets with real people – primarily his murdered wife. The puppets reflect their master’s growing insanity, and yet they also become important props in his story, which is more terrifying than insane.


        Finkelbaum, whom Robert Zukerman plays brilliantly as a King Lear sans storm, is a broken but proud man who refuses to leave his Berlin attic apartment even five years after World War II has ended. Try as she might, Finkelbaum’s landlord (Suzanne Toren), whom he calls “Madame the Concierge,” cannot convince him to emerge from hiding. Nothing short of Stalin appearing at his door will convince the puppet master the war has ended. One senses that even if the Soviet dictator were to visit, the cynical Finkelbaum’s Talmudic interrogative techniques would convince Stalin he was a Nazi spy trying to capture the puppeteer.



Finkelbaum (Zuckerman) performing-decapitating puppets in his grand finale. Puppets by Ralph Lee. Image courtesy of Jim Baldassare Public Relations.



         As Shakespeare’s fools and madmen often realize sobering, brilliant epiphanies, Finkelbaum explains to his landlady that his paranoia that she is feeding him fake newspapers is far from outrageous. “You think that impresses me, your news?” he demands. “Where we were before, they fabricated plenty of other things besides the news. So that people would suspect nothing, they fabricated false train stations, false station masters, false houses, with false flower pots and when they made them enter a gas chamber, telling them it was a shower, they believed.”


         Five years of solitary confinement in one room has convinced Finkelbaum, like it did Lot’s daughters following the fall of Sodom and Gomorrah, that he is the final Jew alive – as it convinces him that perhaps God has forsaken the Jewish people.


         “How can a Jew still believe in a God who’s allowed half his people to be killed?” the puppet master wonders, as many of his fellow survivors wondered themselves. “He can perhaps believe in a God who’s managed to save half his people. They say if you want to, you can. If you absolutely want to believe, you can always find a way.”




Finkelbaum (Robert Zuckerman) plays his father (as puppet) in front of his wife-puppet Ruchele. Puppets by Ralph Lee. Image courtesy of Jim Baldassare Public Relations.



         But then Finkelbaum hypothesizes, “Since we’ve been in here, since we don’t go out anymore, maybe there’s no longer even half Perhaps God has let all his people be killed. All his people except for us!” To the puppeteer, that means treating himself to an extra egg for breakfast because “it’s a sacred duty to survive” and “sing his glory, so that the faith does not pass away.” Finkelbaum compares his newfound responsibility to Adam and Eve, which is all the more lonely since his Eve is made of canvas and not flesh.


         But there is a bit more at stake in the puppets. The 22 puppets (two life-sized), designed by New York-based puppet artist Ralph Lee, become stand-ins for the playwright as well as Finkelbaum’s friends and family. Gilles Segal is himself a survivor, a Romanian Jew who escaped the Nazis at age 10, even as his family was captured in Paris. Segal lived in Switzerland, before returning to Paris after the war had ended.


         There is no indication that the play is based on any puppeteer in particular, but as Peter Sack suggested in his insightful January 1999 article in the San Francisco Chronicle, “On a String And a Prayer: A Holocaust survivor’s best friends are his puppets,” the story of “The Puppetmaster of Lodz” closely resembles that of Holocaust survivor and puppeteer Henryk Hajwentreger.



Russian soldier Popov (Daniel Damiano) tries to convince Finkelbaum (Zuckerman) to come out of his room. Image courtesy of Jim Baldassare Public Relations.


         In his playwright’s note in the program to the play, Segal observes that 25 years ago – when he first began the play – “I wanted only to pose the question of guilt. I mean: Should Finkelbaum feel guilt at having survived? Because at the time I asked it of myself, like all those who had by some miracle escaped the ‘cataclysm.’ ”


         Twenty-five years later, Segal sees a different significance to the work. “At that moment, the ‘thing’ appeared to be an accident of history, something unimaginable, a tremor of the Universe, a collapse of all values. This monstrosity will, at least let us hope, never be equaled. But now we attend upon little ones – mini-massacres, mini-detention camps, mini-torture, mini-genocide, mini-ethnic cleansing, mini-abominations.” All of a sudden Finkelbaum, Segal, Hajwentreger, the puppets and we, the viewers, begin to blur together.


         Segal, echoing his character Finkelbaum, writes, “Facing the encroaching rise of barbarities we have an obligation to continue to live, to continue to sing, to be happy, to laugh, to laugh, to laugh!” And therein lies the absurdist angle in the play. Finkelbaum seems to be convinced his puppets are real, even after he admonishes his friend and fellow survivor Schwartzkopf (Herbert Rubens) for bursting his fantasy bubble. “Stop, Schwartzkopf, now I can’t pretend anymore,” he says. “You say to yourself, this poor Finkelbaum has gone mad. But you don’t say, let’s also play mad to bring him along. No, you push friendship to the point of wanting to really become mad!”


         In fact, “it’s not enough to want to” go mad, “otherwise I would have gone mad a long time ago Lord knows, I’ve tried tried with all my might,” Finkelbaum tells Schwartzkopf.


         The puppeteer is aware that his puppets are not his dead wife and friends, even as he tries to become mad enough that such a transmutation becomes possible. Yet, even if Finkelbaum claims he is sober and sane enough to know a puppet from a person, viewers must remember that he has locked himself in a room to escape the since-defeated Nazis.


         Was he keeping the Nazis out, or himself in? Was he trying to bring back his dead family members, or was Finkelbaum trying to project the parts of his loved ones that he could retain – their voices, their memories – onto his puppets? There is perhaps an element of madness and fantasy in all artistry. Surely a puppeteer who survives Lodz by using his craft upon corpses for the sadistic pleasure of his guards can be forgiven and pitied for his extra dose of imagination.


        Menachem Wecker is a painter, writer and editor based in Washington, D.C. He welcomes comments at mwecker@gmail.com

Menachem Wecker

Printed from: http://www.jewishpress.com/sections/the-puppet-master-who-denied-that-the-holocaust-had-ended/2007/12/19/

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