102 Sentences With "supertitles"

How to use supertitles in a sentence? Find typical usage patterns (collocations)/phrases/context for "supertitles" and check conjugation/comparative form for "supertitles". Mastering all the usages of "supertitles" from sentence examples published by news publications.

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Ms. Gambrell's translations appeared as English supertitles above the set. from The New York Times
They speak Italian; we read the excellent supertitles on the scrim. from The New York Times
We curse our memory, which is given no aid by supertitles. from The New York Times
The actors speak and sing in Yiddish, with English and Russian supertitles. from The New York Times
Performed largely in Yiddish, with English and Russian supertitles, the story is simple. from The New York Times
The words are printed in the program; the general topic appears in supertitles. from The New York Times
Was what he said a condescending equivalent of supertitles for the inferentially challenged? from The New York Times
That tradition was already losing sway even before supertitles were introduced and widely embraced. from The New York Times
The popularity of supertitles has sidelined the honored tradition of performing opera in translation. from The New York Times
The opera will be sung in English and accompanied by supertitles in English and Chinese. from The New York Times
Words like freedom — liberté if you don't like looking at the supertitles — lose all meaning. from The New York Times
Don't worry too much if you're not always following the English supertitles, by Orfeas Apergis. from The New York Times
In the rows in front of me, I see supertitles glowing in German, in Spanish. from The New York Times
Under John Pasquin's ba-dum-dum direction, this is a show, supertitles aside, that longs to be a sitcom. from The New York Times
Anyway, with opera these days there's always new kinds of staging, and they're using more and more video and supertitles. from Hyperallergic
The energetic staging — in French with English supertitles — is a master class in how to make a bad play better. from The New York Times
Since the fashion is now for Russian — and since few understand Stravinsky's partly archaic words — I wish supertitles were employed. from The New York Times
The play, performed in English and French with occasional supertitles, has its excessively tangential moments and some indulgent ones, too. from The New York Times
Watch for their hilarious second-act "Muqin," in which the brothers sing "My Mammy" in Chinese while supertitles do the translating. from The New York Times
Framing the scenes with Karma, he therefore gives us both a preshow and a prologue, supertitles and asides, "exhibits" and parables. from The New York Times
At least for those who do not understand Flemish, the onscreen version will generally win; that's where the English supertitles are. from The New York Times
As fleet as it is, the play, performed in the Sicilian and Apulian dialects with English supertitles, also has an earthy density. from The New York Times
But when I checked the supertitles a moment later, she was talking about lying on her deathbed while being dismembered for recycling. from The New York Times
You need not understand the Tamil words (or read the supertitles) to be knocked over by the sung power of her feelings. from The New York Times
The elusive story elements tended to fade incomprehensibly into the background, as did the supertitles, which were dimly visible behind the puppetry screen. from Hyperallergic
In any case, supertitles in English and Russian are helpfully projected on Beowulf Boritt's simple set, a collage of paper and fabric panels. from The New York Times
The play will be performed in Dutch, with English supertitles for some performances, but Ms. Yanagihara said she hadn't read a final translation. from The New York Times
The supertitles sometimes translated the Michif lines into English and sometimes translated English lines into Michif, subtly offering a powerful reminder about perspective. from The New York Times
For this reason, even Anglophone listeners hearing a piece in their own language often find it helpful to read supertitles at the opera house. from Hyperallergic
Sheldon Harnick, 94, said he thought this version was "lovely" and Tevye "delightful," but he relied entirely on the supertitles to understand the dialogue. from The New York Times
Expect dreamy, glamorous stage tableaus by the director Rimas Tuminas ("Eugene Onegin"), and an extraordinary troupe of actors performing in Russian with English supertitles. from The New York Times
There did not seem to be enough rhinoceros masks to go around and the supertitles flipped back and forth as actors fumbled for lines. from The New York Times
Starring Evgeny Mironov as the brooding title character and Chulpan Khamatova as his ailing wife, it will be performed in Russian with English supertitles. from The New York Times
Or, as the first non-English line is sung, your seat going full Brookstone shiatsu chair as everyone behind you jabs for the supertitles? from The New York Times
Christopher Nolan's film Dunkirk runs along three parallel time tracks, and early in the film, those tracks are indicated by supertitles on the screen. from Vox
A monologue — spoken in Italian with English supertitles — finds Ms. Calderoni making lyrical statements about the inadequacy of the vocabulary we have to work with. from The New York Times
Productions in German, Russian and French (all presented with supertitles) are to be included in this year's festival, a popular international cultural attraction since 1947. from The New York Times
That's not necessarily what one would expect of a Sophoclean drama performed in Japanese with English supertitles at one of Manhattan's most highbrow cultural institutions. from The New York Times
As headline-like supertitles describe the events that secure Hitler's power, these fractious friends spend several years drinking a lot and contemplating engagement and escape. from The New York Times
This is especially true when you're hearing her (many, many) words spoken in Dutch, as adapted by Koen Tachelet, and then translated into projected English supertitles. from The New York Times
The show begins with a reference, in projected supertitles, to the internationally infamous kidnapping of 276 schoolgirls from the village of Chibok by the Boko Haram. from The New York Times
By then we have heard — or read; the production is in German, with English supertitles — the political interpretation that Louis and Ostermeier construct for the events. from The New York Times
Despite the vital topic of aging, the Ukrainian-language production was aimless, while the atmospheric stage smoke sometimes obscured the English supertitles, making it impossible to follow. from Hyperallergic
This production, in Yiddish with English and Russian supertitles, has been extended four times since it began performances July 4, and has been lauded as an unexpected success. from The New York Times
Yukio Ninagawa's production of Shakespeare's tragedy, performed in Japanese with English supertitles, relocates the action from medieval Scotland to feudal Japan, recalibrating the witches, woods and political ambition. from The New York Times
Full of music, movement and carnality, that production arrives on Wednesday, May 2, at St. Ann's Warehouse in Brooklyn, where it will be performed in Greek with English supertitles. from The New York Times
"Fiddler on the Roof" is a theatrical translation of Sholem Aleichem's Yiddish language tales, and the National Yiddish Theater-Folksbiene has translated it right back, with English and Russian supertitles. from The New York Times
A joint effort by two experimental European collectives, Belgium's TG Stan and the Netherlands' Dood Paard, this "Art" doesn't have marquee stars and will be performed in French with supertitles. from The New York Times
Performed in Russian with English supertitles (by Francine Yorke) projected at an uncomfortable distance from the action, this is a production that demands patience and doesn't reward it richly enough. from The New York Times
Song is its principal means of communication, yet its video-rich projection design (by Greg Emetaz), which surrounds the audience on four sides, doesn't bother with supertitles for the lyrics. from The New York Times
English supertitles, translated by Jamey Gambrell, scroll across the top of the gazebo, so there isn't too much distance for the eye to travel between the words and Mr. Baryshnikov below. from The New York Times
There are English supertitles, projected onto walls behind the characters, which means that in most scenes non-Yiddish speakers risk eyestrain from trying to watch the actors and read the speeches. from The New York Times
Unlike more common supertitles, which live above the stage, the Met's system allows each operagoer to turn his or her screen on or off — or change the channel to another language. from The New York Times
Ambitiously, the dialogue slips in and out of multiple languages (the program lists a dozen translators and five accent and dialect coaches), but the scrolling supertitles are clunky and not well placed. from The New York Times
"Anthropos" (meaning human) is a term that the birds of "The Birds" — which is performed in Greek, as well as in nonverbal song and squawk talk, with supertitles — pronounce with fear and loathing. from The New York Times
The show begins with a prologue delivered (in Italian, with supertitles) by a commedia dell'arte-style clown in a codpiece (an antic Francesca Sarah Toich), who gleefully describes the transformative power of love. Huh? from The New York Times
Yet Mr. Teste's retelling of the story, in French with English supertitles (conveniently placed as long as you don't sit too close to the stage), is most concerned with paying homage to directorial technique. from The New York Times
There are no supertitles, so monolingual theatergoers will be at a bit of a disadvantage, but Mr. Jimenez usually hopscotches deftly between the two languages so you can pick up some of what you may have missed. from The New York Times
For one thing, the cast is speaking almost entirely in Dutch and the (very audience-friendly) projected supertitles (from a translation by Rob Klinkenberg) tend to iron the music right out of the plays' more memorable lines. from The New York Times
Komatsu, who has apprenticed with the fabled experimental director Peter Brook, here makes use of a similarly rich economy of theatrical means in "Andares," which is performed in Spanish (and Mayan, Zapotec, Tzotzil and Wixarika) with supertitles. from The New York Times
The story will remain somewhat opaque to those who haven't read the book or at least a summary, especially since the positioning of the supertitles means that non-Hebrew speakers must ignore either the acting or the translation. from The New York Times
In the first segment of Caesar, an actor inserted an endoscope into his throat to show his speech organs at work as he played both characters in the opening scene in Italian, with English supertitles above in the rotunda. from Hyperallergic
The disjuncture between the angry, often horrible words being spoken (in Spanish, with English supertitles) and the bits of hilarious costume the characters soon started to don and change compulsively made the historical material seem almost like a pretext for fabulousness. from The New York Times
This pulsing four-hour work (performed in Dutch with supertitles) telescoped five of Shakespeare's history plays — from "Henry IV" to "Richard III" — into one concentrated package of all-too-realpolitik and reset them in what felt like a contemporary surveillance state. from The New York Times
It is part of a wave of experimentation with new ways of making theater more accessible, and there have been a variety of efforts to accommodate people who are deaf or hard of hearing, including sign language, supertitles and glasses with captions. from The New York Times
Performed in Russian with English supertitles (projected, with too little thought for the audience, high above the action on the BAM Harvey stage), this production had its premiere in Moscow in 2013, long before the #MeToo movement emerged as a cultural force. from The New York Times
The timeliness of this production — performed in Yiddish with English supertitles — has everything to do with the arrival on Broadway this spring of Paula Vogel's "Indecent," a powerful drama depicting the tumultuous history of the play and including some passages from it. from The New York Times
They're amplified, and there are supertitles, but the voices nevertheless bounce wildly off all the stone and glass, and lose some of their impact, even given uniformly crisp enunciation; the instrumentalists, far-off under the Branch Bank facade, sounded less snappy than they should. from The New York Times
A reimagining of Zalmen Mlotek and Moishe Rosenfeld's 1984 musical, here presented entirely in Yiddish with Russian and English supertitles by the National Yiddish Theater Folksbiene, "Amerike" tells the story of Jewish people's emigration from Europe to America in 1897 and their adjustment through the 1940s. from The New York Times
The thought crossed my mind while I was in Toronto reading the supertitles that flashed above the stage as the Canadian Opera Company rehearsed Harry Somers's "Louis Riel," which tells the story of a mixed-race Métis leader who led two uprisings against Canada and was hanged. from The New York Times
And, oh, the things he does to keep our attention — swinging from a cable like a hyperactive monkey, stripping down to the affrontive altogether, urinating in a triumphal arc, getting cozy with audience members as he roves the aisles, making fun of the projected supertitles that translate his German into English. from The New York Times
In the 1950s and '60s, when opera was truly for the wealthy and highly educated — before supertitles and high-definition simulcasts made it more like a Broadway musical or a really sharp Netflix movie on a large laptop — an opera singer of Callas's stature was a pop icon, and perhaps nobody played the prima donna role better than Callas. from The New York Times
"Fiddler," directed by the Tony-and-Oscar-winning actor Joel Grey and deploying English and Russian supertitles, is a project of the National Yiddish Theater Folksbiene, and began with a run last year at the Museum of Jewish Heritage before transferring in February to Midtown Manhattan, where the lead producers are Hal Luftig and Jana Robbins. from The New York Times
The overwhelmingly favorable response prompted the company to introduce the practice in increasing numbers of performances in subsequent seasons. Supertitles are now used for all San Francisco Opera productions and SFO also rents its supertitles internationally to other opera companies. In 1986, Sir John Pritchard was appointed music director, and served until 1989. On 8 February 1988, McEwen announced his resignation.
Peattie was publications editor at Welsh National Opera, before leaving to help launch Opera Now magazine, and then going freelance, creating Opera Bites for Glyndebourne, surtitles for Scottish Opera and supertitles for the Royal Opera.
After a successful test run in 2015, the French-German surtitling company Panthea launched a pilot project on a larger scale introducing multilingual surtitles on smartglasses to the Festival d’Avignon 2017. The system was the subject of a study which was later published by the French Ministry of Culture. The device became commercially-available the following year and was tested by several houses, such as the Opéra de Paris. The Theatre Times' test user report that: “Supertitles are displayed on the lenses during the performance so that you can concentrate more on what is happening on the stage rather than reading supertitles.”.
Principal roles are Sonja Schlesin, Mahatma Gandhi, Hermann Kallenbach and Parsi Rustomji. The title refers to Gandhi's concept of nonviolent resistance to injustice, Satyagraha, and the text, from the Bhagavad Gita, is sung in the original Sanskrit. In performance, translation is usually provided in supertitles.
Gordon is on the staff of the Carmel Bach Festival in California.Carmel Bach Festival (2010) Aside from his international vocal career, he is a teacher of Baroque vocal styles and has been an innovator in the creation of English supertitles for the great choral masterworks of Bach and Handel.
Upon taking leadership of Seattle Opera in 1983 Speight Jenkins stated a goal of producing all ten of the major Wagner works in Seattle. Beginning with Tannhäuser in 1984 (the first Seattle Opera production with supertitles), Jenkins finally achieved his goal with the August 2003 production of Parsifal that opened McCaw Hall.
The play has been performed in an English translation by Jeffrey Wainwright. One New York production used a Polish text with English supertitles. The play was co- produced in Montreal by two theatre companies, "Sibyllines" and "Creation", from January 23 to February 10, 2018, at the Montreal theatre, Usine C. It was directed by Brigitte Haentjens and starred Hugues Frenette and Sebastien Ricard.
The original Opera House structure (left) and stagehouse extension along Madison Avenue Michigan Opera Theatre (MOT) is the principal opera company in Michigan, USA. The company is based in Detroit, where it performs in the Detroit Opera House. Each year it presents an opera and dance season. The company presents four operas in their original language with English supertitles and hosts dance companies with touring repertoire.
Initially committed to producing opera in English, DMMO first presented a foreign-language production, Tosca, in 1998 at the Civic Center in Des Moines. Egel and Smith, p. 27 Since then, the company's season typically includes one opera in English and two operas in other languages (Italian, German, French, Russian or Czech), all presented with supertitles. The season also usually includes an opera written in the twentieth century.
The British theatre company Complicite collaborated with Japan's Setagaya Public Theatre to produce a stage adaptation also entitled The Elephant Vanishes.Complicite.org The production featured three of the stories in Murakami's collection ("Sleep," "The Second Bakery Attack," and the title story). Directed by Simon McBurney and starring a Japanese cast, the play opened in May, 2003, in Tokyo before touring internationally in limited festival runs. The performance was in Japanese with English supertitles.
Yale Opera, in a partnership with the Beinecke Rare Book & Manuscript Library and the Yale French Department, performed the piece with the Satie recitatives in April 2004 in New Haven, Connecticut. Utopia Opera in New York City performed the work in French with English supertitles in March 2013 and February 2014. Still given from time to time in the French provinces, the Grand Théâtre de Genève mounted a production by Laurent Pelly in April 2016.Nicolas Blanmont.
Ruch (2004) The work is envisaged as an integration of orchestral passages, children's chorus, sung and spoken text, movement, and visual theater. It will be performed in English, Chinese, Russian and "Martian" with each of the astronauts performing in their own language without supertitles. Librettists and composers from each country will write the dialogue and music for the astronauts, with a new language created for the Martian. American poet Nikki Giovanni's We're Going to Mars forms the text for the children's chorus.
In 1999, as an alternative to installing a translation system using the projected supertitles (or surtitles), an electronic titles system was installed in the Crosby Theatre. Invented by Figaro Systems of Santa Fe (and only the second one installed after the Metropolitan Opera's Met Titles in 1995), the system provides small rectangular electronic screens in front of each patron's seat, showing a two-line translation of the sung text in either English or Spanish. The system has the possibility of handling up to six languages.
However there was a new production in Amsterdam (2017), and one is scheduled for Bratislava (2018).Operabase website, accessed 25 November 2017 Also in 2018, a rare U.S. series of performances is scheduled for March in Silver Spring, Maryland. Sung in Russian with English supertitles, the production is produced by Bel Cantanti Opera Company, led by BCO artistic director Katerina Souvorova in collaboration with the Four Seasons Dancers (directed by Elena Indrokova-Jones) and the Olney Ballet (directed by Patricia Berrend). Designer Ksenia Litvak.
The first opera ever presented by the organization was Puccini's Madama Butterfly, which was performed in McKinley High School auditorium in Honolulu in 1961. For the next two decades the company was part of the Honolulu Symphony. In 1980 it became an independent tax-exempt corporation. The first independent season was in 1981 and consisted of three productions: La Bohème, Lucia di Lammermoor, and Carmen. Supertitles were introduced in 1987 and 1989 was the first year in which all available seats were sold before opening night.
For several years, most MROC productions of foreign-language operas were performed in English translation, though the company has, in recent years, mounted several productions of operas in the original language with projected English supertitles. The company hires professional singers, directors, designers and musicians for every production. Auditions for roles in all productions take place in Quincy, St. Louis, Missouri and Chicago, Illinois prior to the beginning of every new season. The company also utilizes the Quincy community's impressive reserve of professional and amateur singers, musicians and artists.
Okada made his American debut in 2009 with a seven-city tour of Five Days in March. The premiere of the play was presented with supertitles by chelfitsch Theater Company at Japan Society in February 2009. The following year in April–May 2010, New York-based company, the Play Company, produced Enjoy at the 59E59 Theaters with Dan Rothenberg from Pig Iron Theatre Company as the director and Aya Ogawa as the translator. The Play Company has also produced works of other renowned Japanese playwright- directors such as Yōji Sakate in the past.
The piece opened in conjunction with the annual meeting of the Music Critics Association, guaranteeing what the Houston Chronicle described as a "very discriminating audience". Members of the association also attended meetings with the opera's production team. When Carolann Page, originating Pat Nixon, waved to the audience in character as First Lady, many waved back at her. Adams responded to complaints that the words were difficult to understand (no supertitles were provided) by indicating that it is not necessary that all the words be understood on first seeing an opera.
300x300px Nicholas Goldschmidt and Herman Geiger-Torel founded the organization in 1950 as the Royal Conservatory Opera Company. Geiger-Torel became the COC's artistic director in 1956 and its general director in 1960. The company was renamed the Canadian Opera Association in 1960, and the Canadian Opera Company in 1977. Geiger-Torel retired from the general directorship in 1976. Lotfi Mansouri was the COC's general director from 1976 to 1988. In 1983, the COC introduced surtitles (supertitles) to their productions, the first company to use them in an opera house.
Speight Jenkins was appointed General Director in 1983, and immediately set about creating a new Ring production. Die Walküre appeared first, in 1985, followed by complete cycles in 1986, 1987, 1991, and 1995. (Jenkins determined that the company could achieve higher quality performances by presenting the Ring every four years.) The new production was directed by Francois Rochaix, with sets and costumes designed by Robert Israel, lighting designed by Joan Sullivan, and supertitles (the first ever created for the Ring) by Sonya Friedman. The production set the action in a world of nineteenth-century theatricality.
"Maccabee: an Epic in Free Verse", (Book Review), Wisconsin Bookwatch, January 1, 2005 He has also written SHILOH: A Narrative Play, The Defiant Soul, and Romance of the Western Chamber—a Musical (Book and Lyrics) with Music by Max Lee, based on the classic Chinese comedy XI Xiang Ji; World Premiere in Rubenstein's English (with Mandarin supertitles), Dongpo Theatre, Hangzhou, China 2011; Western Premiere, TADA! Theater, off-off Broadway, 2017; west coast USA premiere, Don Powell Theater, San Diego, July 2020. Rubenstein's adaptation of Prometheus Bound by Aeschylus is scheduled for production off-off-Broadway, September 2020, by The Tank.
A Klingon Christmas Carol is the first play to be performed entirely in Klingon, a constructed language first appearing in the Star Trek media franchise. The play is based on the Charles Dickens 1843 novella, A Christmas Carol. A Klingon Christmas Carol is the Charles Dickens classic tale of ghosts and redemption, adapted to reflect the Klingon values of courage and honor, and then translated into Klingon, performed with English supertitles. Originally created as a fundraiser for Commedia Beauregard theatre company, it was written in 2007 by Christopher Kidder-Mostrom and Sasha Warren and was originally translated by Laura Thurston, Bill Hedrick and Christopher Kidder- Mostrom.
For example, a Wagnerian opera presented in London may be in German. Therefore, since the 1980s modern opera houses have assisted the audience by providing translated supertitles, projections of the words above or near to the stage. More recently, electronic libretto systems have begun to be used in some opera houses, including New York's Metropolitan Opera, Milan's La Scala, and the Crosby Theatre of The Santa Fe Opera, which provide two lines of text on individual screens attached to the backs of the seats so as to not interfere with the visual aspects of the performance. They can be switched between languages or turned off at each patron's discretion.
Henry Holt conducted all performances. Ring 2, 1985–1995: Directed by Francois Rochaix, with sets and costumes designed by Robert Israel, lighting by Joan Sullivan, and supertitles (the first ever created for the Ring) by Sonya Friedman. The production set the action in a world of nineteenth-century theatricality; it was initially controversial in 1985, it sold out its final performances in 1995. Conductors included Armin Jordan (Die Walküre in 1985), Manuel Rosenthal (1986), and Hermann Michael (1987, 1991, and 1995). Ring 3, 2000–2013: the production, which became known as the "Green" Ring, was in part inspired by the natural beauty of the Pacific Northwest.
Poor wages, long hours, and sweatshop conditions are horrors that tug at the seams of the characters. Events such as the Triangle Factory fire, Workers Unionization, the Wall Street Crash of 1929, the Great Depression, World War I, and The Holocaust – World War II are telling points of the story in showing these immigrants growth, participation, and contribution to American economy and culture. The story ends on a hopeful and spirited note where survivors of the Holocaust are welcomed into the United States by the immigrants who fought to create a life for themselves there. Told in popular songs of the day, Amerike – The Golden Land is performed in Yiddish with Russian and English supertitles.
It was not initially well- received, and Argento revised it into a one-act monodrama, Miss Havisham's Wedding Night, which the Minnesota Opera premiered on May 1, 1981, at the Tyrone Guthrie Theater in Minneapolis, conducted by Philip Brunelle.Miss Havisham's Wedding Night, Boosey & Hawkes He revised Miss Havisham's Fire in 1995 and it has been successfully revived and performed since. In 1984, the Minnesota Opera commissioned Casanova's Homecoming, with text by the composer; it went on to a well-received run at New York City Opera. At the insistence of Beverly Sills, then the company's musical director, the opera was the first in New York City to be performed in English with English supertitles.
A blank surtitle screen visible above the stage at the Royal Opera House, Covent Garden Surtitles, also known as supertitles, SurCaps, OpTrans, are translated or transcribed lyrics/dialogue projected above a stage or displayed on a screen, commonly used in opera, theatre or other musical performances. The word "surtitle" comes from the French language "sur", meaning "over" or "on", and the English language word "title", formed in a similar way to the related subtitle. The word Surtitle is a trademark of the Canadian Opera Company. Surtitles was introduced in the 1990s to translate the meaning of the lyrics into the audience's language, or to transcribe lyrics that may be difficult to understand in the sung form in the opera-house auditoria.
At the same time that PowerPoint was becoming dominant in business settings, it was also being adopted for uses beyond business: "Personal computing ... scaled up the production of presentations. ... The result has been the rise of presentation culture. In an information society, nearly everyone presents." In 1998, at about the same time that Gold was pronouncing PowerPoint's ubiquity in business, the influential Bell Labs engineer Robert W. Lucky could already write about broader uses: Over a decade or so, beginning in the mid 1990s, PowerPoint began to be used in many communication situations, well beyond its original business presentation uses, to include teaching in schools and in universities, lecturing in scientific meetings (and preparing their related poster sessions), worshipping in churches, making legal arguments in courtrooms, displaying supertitles in theaters, driving helmet-mounted displays in spacesuits for NASA astronauts, giving military briefings, issuing governmental reports, undertaking diplomatic negotiations, writing novels, giving architectural demonstrations, prototyping website designs, creating animated video games, creating art projects, and even as a substitute for writing engineering technical reports, and as an organizing tool for writing general business documents.
Zalmen Mlotek (Yiddish: זלמן נתן מלאטעק, born June 15, 1951 in the Bronx, NY) is an American conductor, pianist, musical arranger, accompanist, composer, and the Artistic Director of the National Yiddish Theatre Folksbiene (NYTF), the longest continuous running Yiddish theatre in the world. He is an internationally recognized authority on Yiddish folk and theater music and a leading figure in the Jewish theatre and concert worlds. As the Artistic Director of the NYTF for the past twenty years, Mlotek helped revive Yiddish classics, instituted bi-lingual simultaneous English and Russian supertitles at all performances and brought leading creative artists of television, theatre and film, such as Itzhak Perlman, Mandy Patinkin, Sheldon Harnick, Theo Bikel, Ron Rifkin, Mandy Patinkin and Joel Grey, to the Yiddish stage. His vision has propelled classics including NYTF productions of the world premiere of Isaac Bashevis Singer’s Yentl in Yiddish (1998), Di Yam Gazlonim (The Yiddish Pirates of Penzance, 2006) and the 1923 Rumshinky operetta, The Golden Bride (2016), which was nominated for a Drama Desk Award and listed as a New York Times Critics Pick.