It takes an Irish-Canadian Catholic to stage an opera written in a Nazi concentration camp by Jews pillorying Hitler.

An HBO series about four twentysomething women in New York, one of whom is a struggling writer played by a Jewish actress, all of whom are blessed with excellent comic timing and a slew of relationship dilemmas and emotional baggage. It might sound like the first series of Sex and The City, but in reality it could not be further from the coiffed and coutured adventures of Carrie Bradshaw and co.

The multi-award winning American drama Homeland, based on Gideon Raff’s equally superb Israeli series Prisoners of War, has returned for a second series.

In the week in which Jewish stereotypes were spattered all over our screens in the kosher car crash that was Jewish Mum of the Year, Channel 4 presented the flip-side with Friday Night Dinner.
This sitcom, which attracted decent viewing figures in its previous, er, Friday-night slot, is the Jewish show that dare not speak its name.

Village life can evoke a sense of charm, nostalgia or simplicity. Indeed, a first glance at Israeli artist Adi Nes’s latest photographic series, The Village — his first UK show — reveals images that appear shiny, lush, beautiful. But examine the pictures for more than a moment and the multi-layered complexities become apparent.

It made quite a picture. There they were — more than 200 artists, their families and friends crowded into the London Jewish Cultural Centre for the opening of the second Art House community exhibition last week.

'Dying is easy,” Shakespearean comic actor Edmund Kean is supposed to have said on his death bed. “Comedy is hard”.

Heard the one about the six clowns that get put on a train to a concentration camp? No? So, the first clown says to second clown…

In fact, in the award-winning Holoclownsto, nobody says a word. You will soon be able to find this out for yourselves. Troupp Pas D’Argent, an acclaimed theatre company from Brazil, is bringing its clown show about the Holocaust to London.

Marilyn Monroe bonded with photographer Lawrence Schiller on the set of Let’s Make Love, during his three-day shoot for Look magazine in 1960. Their close connection was sealed two years later on the set of her last, unfinished film, Something’s Gotta Give, when she discovered he was Jewish.