The Thomashefskys brings to life the words and music of the American Yiddish theater. The storys lead characters-Bessie and Boris Thomashefky-also happen to be the grandparents of San Francisco Symphony music director Michael Tilson Thomas. Bessie and Boris emigrated to the United States from Eastern Europe in the 1880s, and while still in their teens, they began to play major roles in the development of New York Citys Yiddish theater. For Jewish immigrants who settled on the lower East Side of Manhattan, the Yiddish theater was central to their lives, and provided a stage for the new ideas that were shaping the transition to an American way of life. In The Thomashefkys, Tilson Thomas serves as guide through the lives and repertoire of his grandparents. His grandfather died before he was born, but his grandmother lived until he was 17. His close relationship with her is a source of much of the performance material. Performed at the New World Symphonys spectacular new Frank Gehry-designed home in Miami, Tilson Thomas shares the stage with a 30-piece orchestra and ensemble cast to bring the repertoire and words of Bessie and Boris to life. With time, aspects of klezmer and cantorial sounds became more integrated and more American, as Jewish composers became immersed in their new surroundings, greatly influencing composers like Irving Berlin and George Gershwin.

Smith, through her chameleon-like virtuosity, creates an indelible gallery of portraits, from a rodeo bull rider to a prize fighter to a New Orleans doctor during Hurricane Katrina, as well as boldface names like former Texas Governor Ann Richards, legendary cyclist Lance Armstrong, network film critic Joel Siegel, and supermodel Lauren Hutton. She performs 19 characters in the course of an hour and thirty five minutes. Their stories are alternately humorous and heart-wrenching, and often a blend of both. Building upon each other with hypnotic force, her subjects recount personal encounters with the frailty of the human body, ranging from a mere brush with mortality, coping with an uncertain future in today’s medical establishment, to confronting an end of life transition. The testimony of health care professionals adds further texture to a vivid portrayal of the cultural and societal attitudes to matters of health.

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Great Performances is a production of THIRTEEN for WNET, one of America’s most prolific and respected public media providers.

Having been credited with creating a new form of theater, to create Let Me Down Easy Smith interviewed an eclectic group of people (300 on three continents) and performs several in an evening that is funny, moving and engaging.

The title resonates on several levels reverberating with meanings of lost love, the faith that sustains people in times of difficulty, and ultimately, the end of life.

Smith, through her chameleon-like virtuosity, creates an indelible gallery of portraits, from a rodeo bull rider to a prize fighter to a New Orleans doctor during Hurricane Katrina, as well as boldface names like former Texas Governor Ann Richards, legendary cyclist Lance Armstrong, network film critic Joel Siegel, and supermodel Lauren Hutton. She performs 19 characters in the course of an hour and thirty five minutes. Their stories are alternately humorous and heart-wrenching, and often a blend of both. Building upon each other with hypnotic force, her subjects recount personal encounters with the frailty of the human body, ranging from a mere brush with mortality, coping with an uncertain future in today’s medical establishment, to confronting an end of life transition. The testimony of health care professionals adds further texture to a vivid portrayal of the cultural and societal attitudes to matters of health.

With keen observation and understated compassion, Smith – without judgment and maintaining the dignity of her subjects at all times — effortlessly submerges her own persona, and assumes her characters’ vocal and physical mannerisms with unerring accuracy.

Despite the profound poignancy of the issues at hand, Smith leavens the evening with many lighter anecdotes, some outright hilarious: choreographer Elizabeth Streb recounts how she accidentally set herself on fire as part of an elaborate birthday celebration; Smith’s own Aunt (Lorraine Colman) recalls the last (and distinctly unsentimental) words uttered by her elder sister; and when a Yale School of Medicine oncology fellow informs cancer patient Ruth Katz that the hospital has lost her records — he is dumbfounded to discover she is actually the associate dean of the medical school there. Other characters address the intensity of the will to live even in the face of dire sickness: University of Notre Dame musicologist Susan Youens rhapsodizes on the Adagio from Schubert’s String Quintet in C Major, one of over a thousand works Schubert composed before his untimely death at age 31; and while undergoing chemotherapy, Ann Richards defiantly tells of learning how to hang up the phone to preserve her precious “Chi.”

Called “the most exciting individual in American theater” by Newsweek magazine, Smith (Fires in the Mirror, Twilight: Los Angeles) turns on this occasion to tell a powerful story which points to the financial and psychological cost of care, the preciousness of life and the inevitability of our mortality.

“Even in the darkest hour, even where the crisis is the greatest, you’ll often find people who have the gift of grace, the gift of kindness, the gift of healing,” Smith observed. “Ultimately, through this play I am trying to spark a conversation that is easier, and maybe more enjoyable to have through art and entertainment than through politics.”

Let Me Down Easy was inspired by work she did at Yale School of Medicine, where she was invited as a visiting professor. Bill Moyers dedicated a full hour segment to profiling Ms. Smith and Let Me Down Easy, noting with amazement how her play transformed “a houseful of strangers” into “an intimate community.”

Throughout the evening, Smith assumes the parts of (in order):

• James H. Cone, author, reverend, and professor, Union Theological Seminary, NYC
• Elizabeth Streb, choreographer, Streb Dance Company, NYC
• Brent Williams, rodeo bull rider, Idaho
• Lance Armstrong, Tour de France Victor
• Sally Jenkins, sports columnist, The Washington Post
• Michael Bentt, world champion heavyweight boxer
• Hazel Merritt, patient, Yale-New Haven Hospital
• Lauren Hutton, supermodel
• Ruth Katz, patient, Yale-New Haven Hospital
• Kiersta Kurtz-Burke, physician, Charity Hospital, New Orleans
• Dr. Phillip A. Pizzo, dean, Stanford University School of Medicine
• Susan Youens, Musicologist, University of Notre Dame
• Eduardo Bruera, palliative care M.D., Anderson Cancer Center
• Ann Richards, former governor, Texas
• Lorraine Coleman, retired teacher, Anna Deavere Smith’s aunt
• Joel Siegel, ABC movie critic
• Peter Gomes, reverend, Memorial Church, Harvard University
• Trudy Howell, director, Chance Orphanage, Johannesburg
• Matthieu Ricard, Buddhist monk, author, French translator for the Dalai Lama

NBC’s Today raved, “Run – do not walk – to see this play! Watching Anna Deavere Smith on stage is magical. One minute you are laughing, the next you are crying. It is truly brilliant and stunning.” Variety heralded the work as “a totally vital piece of theater, mixing a standup comic’s instincts with a great reporter’s keen eye.” It was named one of Entertainment Weekly’s Top 10 of 2009.

On the West Coast, the San Francisco Chronicle declared the work “extraordinary,” and added, “This is Smith at the top of her unique documentary theater form, in writing, performance, and timeliness.”

Smith has been credited with creating a new form of theater. When granted the prestigious MacArthur Award, her work was described as “a blend of theatrical art, social commentary, journalism and intimate reverie.” She has performed in film and TV as well as on stage. She currently plays Gloria Akalitus on Showtime’s hit series Nurse Jackie, and is well remembered for her role of national security advisor Nancy McNally on NBC’s The West Wing. Her major film credits include “The American President,” “Philadelphia,” and “Rachel Getting Married.”

Smith’s Twilight: Los Angeles played around the U.S. and on Broadway. It received two Tony nominations, an Obie, Drama Desk Award, the New York Drama Critics Circle’s Special Citation and numerous other honors.

She produced, wrote and performed the film version of Twilight for PBS. Another of her plays, Fires in the Mirror, examined the Crown Heights riots in Brooklyn (1991), when racial tensions between black and Jewish neighbors exploded. It received an Obie Award, numerous other awards and was a finalist for the Pulitzer Prize. She performed the play around the U.S., in London and in Australia. The film version was also broadcast on PBS.

Let Me Down Easy – directed for the stage by theater and opera director Leonard Foglia — was directed for television by veteran Matthew Diamond (Cyrano de Bergerac, From Broadway: Fosse, Swan Lake with American Ballet Theatre, all for Great Performances, and an Oscar nominee for the 1999 documentary Dancemaker).

After its Arena Stage run, the production embarked on a national tour with stops at The Wexner Center for the Arts; Philadelphia Theatre Company; a collaborative presentation of San Diego REPertory Theatre, La Jolla Playhouse, and the Vantage Theatre, Berkeley Repertory Theatre, and The Broad Stage.

Great Performances is funded by the National Endowment for the Arts, the Irene Diamond Fund, Vivian Milstein, the Philip and Janice Levin Foundation, the Starr Foundation and Joseph A. Wilson, LuEsther T. Mertz Charitable Trust,public television viewers, and PBS. For Great Performances, Bill O’Donnell and Mitch Owgang are producers; O’Donnell is series producer; David Horn is executive producer.

Watch the acclaimed production of The Little Mermaid from San Francisco Ballet here on the Great Performances Web site.

In New York, THIRTEEN will air the program Thursday, July 7  at 8 p.m. The program was originally seen live in movie theaters on December 11, 2010 as part of the groundbreaking The Met: Live in HD series, which transmits live performances to more than 1500 movie theaters and performing arts centers in 46 countries around the world.

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Great Performances at the Met is a presentation of THIRTEEN for WNET, one of America’s most prolific and respected public media providers.

The Met’s production of Verdi’s grand opera, in which love, war, politics, and religion intertwine against the backdrop of the Spanish Inquisition, stars Roberto Alagna as the conflicted title character; Marina Poplavskaya as Elisabeth de Valois; Anna Smirnova as the scheming Princess Eboli; Ferruccio Furlanetto as the tormented tyrant Philip II; Simon Keenlyside as the heroic Rodrigo, Marquis of Posa; and Eric Halfvarson as the Grand Inquisitor.

Critics and audiences greeted this new production and its cast with kudos: “You’ve heard about total theater? This is it.” (Variety); “A clear-cut hit… rarely have I seen an opera audience so unanimously satisfied” (Philadelphia Inquirer); and “Music so glorious not one minute seems superfluous” (Bloomberg).

This production uses the five-act Italian version of Don Carlo, which includes the “Fontainebleau Act.” A co-production of the Metropolitan Opera, Royal Opera House, Covent Garden, and the Norwegian National Opera & Ballet, Hytner’s Don Carlo premiered in London in 2008.

Hytner brought two internationally acclaimed designers to the Met for the first time with Don Carlo: set and costume designer Bob Crowley, the winner of five Tony awards for his Broadway designs, and Tony-winning lighting designer Mark Henderson who has received five Olivier Awards for his work on the London stage.

Great Performances at the Met: Don Carlo was directed for live HD transmission by Gary Halvorson and hosted by soprano Deborah Voigt. Jay David Saks is the music producer. The performance is sung in Italian with English subtitles.

Great Performances is funded by the National Endowment for the Arts, public television viewers and PBS.  Corporate support for Great Performances at the Met is provided by Toll Brothers, America’s luxury home builder®. This production of Don Carlo was made possible by a generous gift from Mr. and Mrs. William R. Miller.

For the Met, Mia Bongiovanni and Elena Park are Supervising Producers, and Louisa Briccetti and Victoria Warivonchik are Producers. Peter Gelb is Executive Producer. For Great Performances, Bill O’Donnell is Series Producer; David Horn is Executive Producer.

Great Performances is a production of THIRTEEN for WNET, one of America’s most prolific and respected public media providers.

Called “the most exciting individual in American theater” by Newsweek magazine, Smith (Fires in the Mirror, Twilight: Los Angeles) turns on this occasion to matters of the human body: the healthcare system, and the resilience of the spirit.

In her signature style of interviewing an eclectic range of people (for Let Me Down Easy, over 300 on three continents), then performing as the interviewee in their own words, Smith creates an indelible gallery of 20 portraits, from a rodeo bull rider to a New Orleans doctor, as well as boldface names like former Texas Governor Ann Richards, legendary cyclist Lance Armstrong, and former supermodel Lauren Hutton.

Anna Deavere Smith

Let Me Down Easy was inspired by work she did at Yale School of Medicine, where she was visiting professor. Bill Moyers dedicated a full hour segment to profiling Ms. Smith and Let Me Down Easy.

NBC’s Today raved, “Run – do not walk – to see this play! Watching Anna Deavere Smith on stage is magical. One minute you are laughing, the next you are crying. It is truly brilliant and stunning.” Variety heralded the work as “a totally vital piece of theater, mixing a standup comic’s instincts with a great reporter’s keen eye.”  It was named one of Entertainment Weekly’s Top 10 of 2009.

It has been said that Smith created a new form of theater. When granted the prestigious MacArthur Award, her work was described as “a blend of theatrical art, social commentary, journalism and intimate reverie.” She has performed in film and TV as well as on stage. She currently plays Gloria Akalitus on Showtime’s hit series Nurse Jackie. She’s probably most recognizable in popular culture as Nancy McNally, national security advisor on NBC’s former hit The West Wing.

Smith’s Twilight: Los Angeles played around the U.S. and on Broadway. It received two Tony nominations, an Obie, Drama Desk Award, the New York Drama Critics Circle’s Special Citation and numerous other honors.

She produced, wrote and performed the film version of Twilight for PBS. Another of her plays, Fires in the Mirror, examined a race riot in Crown Heights, Brooklyn (1991), when racial tensions between black and Jewish neighbors exploded. It received an Obie Award, numerous other awards and was a finalist for the Pulitzer Prize. She performed the play around the U.S., in London and in Australia. The film version was also broadcast on PBS. 

Let Me Down Easy – helmed by theater and opera director Leonard Foglia — will be taped during its run in Arena Stage’s Kreeger Theater in Washington, D.C. It will be directed for television by veteran Matthew Diamond (Cyrano de Bergerac, From Broadway: Fosse, Swan Lake with American Ballet Theatre, all for Great Performances, and was nominated for an Oscar for the 1999 documentary Dancemaker).

After its Arena Stage run, the production will embark on a tour to include The Wexner Center for the Arts; Philadelphia Theatre Company; a collaborative presentation of  San Diego REPertory Theatre, La Jolla Playhouse, and the Vantage Theatre; and Berkeley Repertory Theatre.

Great Performances is funded by the National Endowment for the Arts, Vivian Milstein, the Irene Diamond Fund, the Starr Foundation, the Philip and Janice Levin Foundation and Joseph A. Wilson, with additional major support from the LuEsther T. Mertz Charitable Trust.

For Great Performances, Bill O’Donnell and Mitch Owgang are producers; O’Donnell is series producer; David Horn is executive producer.

The co-production between WNET.ORG and Illuminations Television, in association with the BBC, stars Sir Patrick Stewart in his triumphant, Tony-nominated performance as the ambitious general, and Tony-nominated Kate Fleetwood as his coldly scheming wife.

The production, though retaining the Goold’s exciting concept of relocating the bloody action to a nameless 20th-century militaristic society, has been rethought in vivid filmic terms. The movie, marking Goold’s cinematic debut, will be presented on PBS as part of the Great Performances series Wednesday, October 6, at 9 p.m. (check local listings).

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Great Performances is a production of THIRTEEN in association with WNET.ORG, one of America’s most prolific and respected public media providers. Originating at England’s innovative Chichester Festival Theatre, the play – the Bard’s shortest tragedy — is taken out of its Scottish context to offer an allegory of war and the quest for power in the modern world. Writing for the Hollywood Reporter after its London opening, Ray Bennett enthused, “Seldom can Shakespeare’s murky Scottish tragedy ‘Macbeth’ have been staged with so much clarity and emotional punch as in Rupert Goold’s exhilarating production.”

When the production opened stateside at BAM, Ben Brantley of The New York Times praised Stewart’s “fearsome insight and theatrical fire.”

Elysa Gardner in USA Today observed Stewart’s “witty, nuanced work, which reveals Macbeth as an intelligent, rational person driven to madness by outside forces and his own violent transgressions. There is something of Lear — and Hamlet, too — in this portrait of a thoughtful, corruptible man.”

This is not your grandfather’s “Macbeth.” Shot in High-Definition at Welbeck Abbey in the U.K., Goold maintains the atmosphere and tone of the stage version, heightening the Shakespearean classic with an edgy style reminiscent of Illuminations’ recent film adaptation of the Royal Shakespeare Company’s Hamlet, which was also broadcast on PBS in April 2010 by THIRTEEN’s Great Performances. Among the actors recreating their roles for the film are Michael Feast (Macduff); Martin Turner (Banquo); Scott Handy (Malcolm); Paul Shelley (Duncan); Suzanne Burden (Lady Macduff); and Christopher Patrick Nolan (The Porter).

In support of the presentation, WNET.ORG is offering a Teachers’ Guide for educators to utilize the PBS broadcast in classrooms around the country. Hosted on www.pbs.org/gperf, the activity-based analysis of the play is illustrated by various lesson plans and activities. After the October 6 PBS broadcast premiere, the complete film will be available for viewing online at pbs.org/gperf and video.pbs.org.

Macbeth was produced by John Wyver and Sebastian Grant, with Mark Bell as executive producer for the BBC; for Great Performances, Bill O’Donnell is series producer, and David Horn is executive producer.

Great Performances is funded by the Irene Diamond Fund, Vivian Milstein, the National Endowment for the Arts, the Corporation for Public Broadcasting, public television viewers and PBS.

GREAT PERFORMANCES mourns the passing of Doris Eaton Travis (1904 – 2010)—the last surviving Ziegfeld Girl—who first lit up the 1918 edition of The Ziegfeld Follies with her All American Girl star power.  Doris’ enduring song and dance charms were memorably featured in Episode One of the Emmy Award-winning Broadway: The American Musical (2004), in which she recreated one of her routines, Irving Berlin’s “Mandy,” on the set of The Lion King in the beautifully restored New Amsterdam Theater—the very stage on which she had performed in the Follies eight decades earlier.