Asmeret ghebremichael biography of abraham

LENORA NEMETZ
Between the City Center and Broadway productions of the current, acclaimed revival of Gypsy, Patti LuPone — who just won her second Tony Award for her thrilling performance as Rose — told me, "I am so happy that Boyd [Gaines] and Laura [Benanti] and, in fact, the entire class [will be transferring to Broadway], minus Nancy Opel, which is sad, but she's replaced by the very brilliant Lenora Nemetz, so I'm really happy about that. Lenora's back on Broadway!" Nemetz and LuPone have been friends since the two appeared in the short-lived 1979 musical Working, and now they are sharing the stage again in the Arthur Laurents-directed revival of the classic showbiz musical at the St. James Theatre. Nemetz, in fact, plays two roles in this Gypsy: the quick-witted secretary Miss Cratchitt in the first act and the equally sarcastic stripper, Mazeppa, who knows a thing or two about trumpets, in the second. The triple threat is equally wonderful in both roles; she's so convincing as each character that most audiences don't realize it's the same actress until they read their Playbills. Earlier this week I had the great pleasure of chatting with the multi-talented performer, whose Broadway resume boasts the original productions of Cabaret and Chicago. Even by phone, I was struck by Nemetz's great spirit, her wonderful sense of humor and her sincere joy about being back on the Broadway stage. And, good news for Nemetz fans: She also hopes to perform her cabaret act — which features some of Bob Fosse's legendary choreography — for New York audiences. My interview with the actress follows.

Question: How did your roles in Gypsy come about?
Lenora Nemetz: My mother passed in December of 2006, and it was quite sudden, so I was really depressed and working in Pittsburgh. A friend of mine called me and said, "You know, they're looking for someone to play Drowsy in The Drowsy Chaperone on the tour. Why don't you come in and audition?" And I said,

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Dear World
Music and Lyrics by Jerry Herman • Book by Jerome Lawrence and Robert E. Lee • Based on The Madwoman of Chaillot by Jean Giraudoux as adapted by Maurice Valency • Encores! Artistic Director: Lear DeBessonet • Encores! Music Director: Mary-Mitchell Campbell • Encores! Lang • Featuring The Encores! Orchestra • Vocal Arrangements: Don Pippin • Music Director: Mary-Mitchell Campbell • Directed and Choreographed: by Josh Rhodes

Lionel Bart's Oliver!
Book, Music and Lyrics by Lionel Bart • By Special Arrangement with Cameron Mackintosh • Concert Adaptation by Deborah Stein • Encores! Artistic Director: Lear DeBessonet • Encores! Music Director: Mary-Mitchell Campbell • Encores! Orchestra • Choreography by Lorin Latarro • Music Director: Mary-Mitchell Campbell • Directed by Lear deBessonet

The Light In The Piazza
Book by Craig Lucas • Music and Lyrics by Adam Guettel • Produced by arrangement with Turner Entertainment Co. • Owner of the original motion picture The Light In The Piazza • Based on the Novel by Elizabeth Spencer • Encores! Artistic Director: Lear DeBessonet • Encores! Music Director: Mary-Mitchell Campbell • Encores! Producing Creative Director: Clint Ramos • Director of Music Administration & Score Restoration: Josh Clayton • Featuring: Shereen Ahmed, Andréa Burns, Rodd Cyrus, James D. Gish, Michael Hayden, Ivan Hernandez, Ruthie Ann Miles, and Anna Zavelson • With: Nick Alvino, Daniel Assetta, Jhailyn Farcon, Alex Humphreys, Mary Illes, Jolina Javier, Andrea Jones-Sojola, Matt Leisy, Katerina McCrimmon, Eliseo Roman, Vishal

Posted on by Semere Andom in All

The subject of Eritreans is a vast subject straddling ethnic groups and religions, and title of this article could be somewhat misleading. This piece will largely deal with the ethnic group and religion that I intimately know: Tigrinya and Christian names.

When I was growing up, my version of ancestoy .com was reciting the lineage of my paternal and maternal genealogy. And I suspect that was also the norm for most Eritreans. When later in life I reflected with nostalgia on those childhood days, I discovered that as I went further in time, the names were strikingly different from the more recent ones. The men’s names were Unqay, Maekebay, Warsay, Zerom, Seqqaur and AtSmat.The Women’s names included Asmeret, Akberet, Gimja, Zimam, Ghidey, TiEbe and Jerome.

It is very hard to decode the meaning of every name in the examples, but from time immemorial Eritreans infused their predicaments, hopes, dreams, and aspirations in the names of their children as you can glean from: Unqay (gem), Maekebay (conserver), Warsay (my inheritor), Zerom (their seed) and Jerome (their seed, female), Tiebe (may she live) and Ghidey (my share).

Even after the dawn of Christianity, the names summoned aspirations and hopes and dreams and what gripped the society at a particular epoch, often conflated with Christian inspired spirituality like: Qudusan, Leteselasse, Letebrahn, Tesfaselasse, Ghebremichael and Andemariam and Kifleyesus. These names replaced the Unqays and Zimams, these were in turn deposed by more exotic Hebrew names; harvested from the Bible as Eritrean Christians deepened their knowledge about the Bible, its actors and players, its leaders, murderers and rapists, eunuchs, castrates and slaves. The Hebrew names mushroomed, the Major Prophets and princes like Abraham, Beniam, Isaac, Jacob, Daniel, Henok, Mussie and Dawit first became hits with the urbanite, the “sophist