Colby foytik married

My maternal grandmother, when she was just 12 years old, was placed in a hay wagon among a group of strangers and was sent from her small village of Mikhaelevka, in the Ukraine, across northern Europe to Hamburg, where she boarded a boat for America. She was all alone, with her name on a tag pinned to her coat, and without a word of English.

In America she joined her older sisters, sent one by one before her, but she never saw her mother or her older brother again.

No additional names listed.

According to family apocrypha, her father, by then a widower, eventually joined his seven daughters in America, married again, and fathered a second family. The village broken up, its inhabitants dispersed, presumably never to meet again. And the resultant break with Jewish traditions that was only to be accelerated in the next century: arranged marriages superseded by the demands of love, daughters and sons marrying out of the faith, and new wives following their husbands to far-flung outposts, away from things familial and familiar.

The original Broadway stage production in was directed and choreographed by the legendary Jerome Robbins, and won him two Tonys for his work. He subsequently starred in the film, for which he won a Golden Globe, and he has played the role consistently all over the world and in revivals in London in and on Broadway in Now 73, but trim and lithe as a year-old, his voice as strong as ever, Topol will play in Los Angeles through Aug.

After that, presumably, he will return to his books he has written two and illustrated 25 and his Jordan River Village, a campground in the lower Galilee region of Israel for children with incurable and life-threatening diseases. Joining Topol as his wife, the bossy Golde, is Susan Cella, a luminous member of the cast of 35 that sparkle onstage as the quirky citizens of Anatevka.

All with magnificent voices and the energy to dance through this three-hour musical marathon. The wildly enthusiastic audience, however, manages to divert that impulse to sing and dance by clapping in time to the music at every opportunity. And the marvelous Arthur Atkinson, as The Fiddler, is a show all on his own. With wooden houses that swing open, revolve, and sometimes swivel across the stage, the scenery is nearly as active as the players.