KABUL, Afghanistan (AP) — Female employees in the Kabul city government have been told to stay home, with work only allowed for those who cannot be replaced by men, the interim mayor of Afghanistan’s capital said Sunday, detailing the latest restrictions on women by the new Taliban rulers.
Witnesses, meanwhile, said an explosion targeted a Taliban vehicle in the provincial city of Jalalabad, the second such deadly blast in as many days in an Islamic State stronghold.
The decision to prevent most female city workers from returning to their jobs is another sign that the Taliban, who overran Kabul last month, are enforcing their harsh interpretation of Islam despite initial promises by some that they would be tolerant and inclusive. In their previous rule in the 1990s, the Taliban had barred girls and women from schools, jobs and public life.
In recent days, the new Taliban government issued several decrees rolling back the rights of girls and women. It told female middle- and high school students that they could not return to school for the time being, while boys in those grades resumed studies this weekend. Female university students were informed that studies would take place in gender-segregated settings from now on, and that they must abide by a strict Islamic dress code. Under the U.S.-backed government deposed by the Taliban, university studies had been co-ed, for the most part.
On Friday, the Taliban shut down the Women’s Affairs Ministry, replacing it with a ministry for the “propagation of virtue and the prevention of vice” and tasked with enforcing Islamic law.
On Sunday, just over a dozen women staged a protest outside the ministry, holding up signs calling for the participation of women in public life. “A society in which women are not active is (sic) dead society,” one sign read.
The protest lasted for about 10 minutes. After a short verbal confrontation with a man, the women got into cars and left, as Taliban in two cars observed from nearby. Over the past months, Taliban fighters had broken up several women’s protests by force.
Elsewhere, about 30 women, many of them young, held a news conference in a basement of a home tucked away in a Kabul neighborhood. Marzia Ahmadi, a rights activist and government employee now forced to sit at home, said they would demand the Taliban re-open public spaces to women.
“It’s our right,” she said. “We want to talk to them. We want to tell them that we have the same rights as they have.”
Most of the participants said they would try to leave the country if they had an opportunity.
The explosion Sunday in Jalalabad targeting a Taliban vehicle was the second such deadly blast in as many days in an Islamic State stronghold.
The Taliban and IS extremists are enemies, and fought each other even before the Taliban seized control of Afghanistan last month.
Witnesses sid Sunday’s blast targeted a vehicle of the border police, which is now run by the Taliban. Initial reports said five people were killed, including two civilians, among them a child. The Taliban were not immediately available for comment about possible casualties among their ranks.
Also on Sunday, interim Kabul Mayor Hamdullah Namony gave his first news conference since being appointed by the Taliban.
He said that before the Taliban takeover last month, just under one-third of close to 3,000 city employees were women, and that they had worked in all departments.
Namony said the female employees have been ordered to stay home, pending a further decision. He said exceptions were made for women who could not be replaced by men, including some in the design and engineering departments and the attendants of public toilets for women. Namony did not say how many female employees were forced to stay home.
“There are some areas that men can’t do it, we have to ask our female staff to fulfill their duties, there is no alternative for it,” he said.
Across Afghanistan, women in many areas have been told to stay home from jobs, both in the public and private sectors. However, the Taliban have not yet announced a uniform policy. The comments by the Kabul mayor were unusually specific and affected a large female work force that had been involved in running a sprawling city of more than 5 million people.
Namony also said the new government has begun removing security barriers in Kabul, a city that has endured frequent bombing and shooting attacks over the years. Such barriers — erected near ministries, embassies and private homes of politicians and warlords — had been commonplace in Kabul for years.
The mayor said private citizens would be charged for the work of taking down the barriers. While he said most barriers had been removed, reporters touring the city noted that barriers outside most government installations and embassies had been left in place.
The Taliban have tried to present themselves as guarantors of security, in hopes that this will win them support from a public still widely suspicious of their intentions. Under the previous government, a rise in crime had been a major concern for ordinary Afghans.
Perhaps the toughest challenge faced by the new Taliban rulers is the accelerated economic downturn. Even before the Taliban takeover, Afghanistan was plagued by major problems, including large-scale poverty, drought and heavy reliance on foreign aid for the state budget.
In a sign of growing desperation, street markets have sprung up in Kabul where residents are selling their belongings. Some of the sellers are Afghans hoping to leave the country, while others are forced to offer their meager belongings in hopes of getting money for the next meal.
“Our people need help, they need jobs, they need immediate help, they are not selling their household belongings for choice here,” said Kabul resident Zahid Ismail Khan, who was watching the activity in one of the impromptu markets.
“For a short-term people might try to find a way to live, but they would have no other choice to turn to begging in a longer term,” he said.
Associated Press writer Rahim Faiez in Istanbul contributed.
Kathy Gannon, The Associated Press
Towering musical theater master Stephen Sondheim dies at 91
NEW YORK (AP) — Stephen Sondheim, the songwriter who reshaped the American musical theater in the second half of the 20th century with his intelligent, intricately rhymed lyrics, his use of evocative melodies and his willingness to tackle unusual subjects, has died. He was 91.
Sondheim’s death was announced by Rick Miramontez, president of DKC/O&M. Sondheim’s Texas-based attorney, Rick Pappas, told The New York Times the composer died Friday at his home in Roxbury, Connecticut.
Sondheim influenced several generations of theater songwriters, particularly with such landmark musicals as “Company,” “Follies” and “Sweeney Todd,” which are considered among his best work. His most famous ballad, “Send in the Clowns,” has been recorded hundreds of times, including by Frank Sinatra and Judy Collins.
The artist refused to repeat himself, finding inspiration for his shows in such diverse subjects as an Ingmar Bergman movie (“A Little Night Music”), the opening of Japan to the West (“Pacific Overtures”), French painter Georges Seurat (“Sunday in the Park With George”), Grimm’s fairy tales (“Into the Woods”) and even the killers of American presidents (“Assassins”), among others.
Tributes quickly flooded social media as performers and writers alike saluted a giant of the theater. “We shall be singing your songs forever,” wrote Lea Salonga. Aaron Tveit wrote: “We are so lucky to have what you’ve given the world.”
“The theater has lost one of its greatest geniuses and the world has lost one of its greatest and most original writers. Sadly, there is now a giant in the sky,” producer Cameron Mackintosh wrote in tribute.
Six of Sondheim’s musicals won Tony Awards for best score, and he also received a Pulitzer Prize (“Sunday in the Park”), an Academy Award (for the song “Sooner or Later” from the film “Dick Tracy”), five Olivier Awards and the Presidential Medal of Honor. In 2008, he received a Tony Award for lifetime achievement.
Sondheim’s music and lyrics gave his shows a dark, dramatic edge, whereas before him, the dominant tone of musicals was frothy and comic. He was sometimes criticized as a composer of unhummable songs, a badge that didn’t bother Sondheim. Frank Sinatra, who had a hit with Sondheim’s “Send in the Clowns,” once complained: “He could make me a lot happier if he’d write more songs for saloon singers like me.”
To theater fans, Sondheim’s sophistication and brilliance made him an icon. A Broadway theater was named after him. A New York magazine cover asked “Is Sondheim God?” The Guardian newspaper once offered this question: “Is Stephen Sondheim the Shakespeare of musical theatre?”
A supreme wordsmith — and an avid player of word games — Sondheim’s joy of language shone through. “The opposite of left is right/The opposite of right is wrong/So anyone who’s left is wrong, right?” he wrote in “Anyone Can Whistle.” In “Company,” he penned the lines: “Good things get better/Bad gets worse/Wait — I think I meant that in reverse.”
He offered the three principles necessary for a songwriter in his first volume of collected lyrics — Content Dictates Form, Less Is More, and God Is in the Details. All these truisms, he wrote, were “in the service of Clarity, without which nothing else matters.” Together they led to stunning lines like: “It’s a very short road from the pinch and the punch to the paunch and the pouch and the pension.”
Taught by no less a genius than Oscar Hammerstein, Sondheim pushed the musical into a darker, richer and more intellectual place. “If you think of a theater lyric as a short story, as I do, then every line has the weight of a paragraph,” he wrote in his 2010 book, “Finishing the Hat,” the first volume of his collection of lyrics and comments.
Early in his career, Sondheim wrote the lyrics for two shows considered to be classics of the American stage, “West Side Story” (1957) and “Gypsy” (1959). “West Side Story,” with music by Leonard Bernstein, transplanted Shakespeare’s “Romeo and Juliet” to the streets and gangs of modern-day New York. “Gypsy,” with music by Jule Styne, told the backstage story of the ultimate stage mother and the daughter who grew up to be Gypsy Rose Lee.
It was not until 1962 that Sondheim wrote both music and lyrics for a Broadway show, and it turned out to be a smash — the bawdy “A Funny Thing Happened on the Way to the Forum,” starring Zero Mostel as a wily slave in ancient Rome yearning to be free.
Yet his next show, “Anyone Can Whistle” (1964), flopped, running only nine performances but achieving cult status after its cast recording was released. Sondheim’s 1965 lyric collaboration with composer Richard Rodgers — “Do I Hear a Waltz?” — also turned out to be problematic. The musical, based on the play “The Time of the Cuckoo,” ran for six months but was an unhappy experience for both men, who did not get along.
It was “Company,” which opened on Broadway in April 1970, that cemented Sondheim’s reputation. The episodic adventures of a bachelor (played by Dean Jones) with an inability to commit to a relationship was hailed as capturing the obsessive nature of striving, self-centered New Yorkers. The show, produced and directed by Hal Prince, won Sondheim his first Tony for best score. “The Ladies Who Lunch” became a standard for Elaine Stritch.
The following year, Sondheim wrote the score for “Follies,” a look at the shattered hopes and disappointed dreams of women who had appeared in lavish Ziegfeld-style revues. The music and lyrics paid homage to great composers of the past such as Jerome Kern, Cole Porter and the Gershwins.
In 1973, “A Little Night Music,” starring Glynis Johns and Len Cariou, opened. Based on Bergman’s “Smiles of a Summer Night,” this rueful romance of middle-age lovers contains the song “Send in the Clowns,” which gained popularity outside the show. A revival in 2009 starred Angela Lansbury and Catherine Zeta-Jones was nominated for a best revival Tony.
“Pacific Overtures,” with a book by John Weidman, followed in 1976. The musical, also produced and directed by Prince, was not a financial success, but it demonstrated Sondheim’s commitment to offbeat material, filtering its tale of the westernization of Japan through a hybrid American-Kabuki style.
In 1979, Sondheim and Prince collaborated on what many believe to be Sondheim’s masterpiece, the bloody yet often darkly funny “Sweeney Todd.” An ambitious work, it starred Cariou in the title role as a murderous barber whose customers end up in meat pies baked by Todd’s willing accomplice, played by Angela Lansbury.
The Sondheim-Prince partnership collapsed two years later, after “Merrily We Roll Along,” a musical that traced a friendship backward from its characters’ compromised middle age to their idealistic youth. The show, based on a play by George S. Kaufman and Moss Hart, only ran two weeks on Broadway. But again, as with “Anyone Can Whistle,” its original cast recording helped “Merrily We Roll Along” to become a favorite among musical-theater buffs.
“Sunday in the Park,” written with James Lapine, may be Sondheim’s most personal show. A tale of uncompromising artistic creation, it told the story of artist Georges Seurat, played by Mandy Patinkin. The painter submerges everything in his life, including his relationship with his model (Bernadette Peters), for his art.) It was most recently revived on Broadway in 2017 with Jake Gyllenhaal.)
Three years after “Sunday” debuted, Sondheim collaborated again with Lapine, this time on the fairy-tale musical “Into the Woods.” The show starred Peters as a glamorous witch and dealt primarily with the turbulent relationships between parents and children, using such famous fairy-tale characters as Cinderella, Little Red Riding Hood and Rapunzel. It was most recently revived in the summer of 2012 in Central Park by The Public Theater.
“Assassins” opened off-Broadway in 1991 and it looked at the men and women who wanted to kill presidents, from John Wilkes Booth to John Hinckley. The show received mostly negative reviews in its original incarnation, but many of those critics reversed themselves 13 years later when the show was done on Broadway and won a Tony for best musical revival.
“Passion” was another severe look at obsession, this time a desperate woman, played by Donna Murphy, in love with a handsome soldier. Despite winning the best-musical Tony in 1994, the show barely managed a six-month run.
A new version of “The Frogs,” with additional songs by Sondheim and a revised book by Nathan Lane (who also starred in the production), played Lincoln Center during the summer of 2004. The show, based on the Aristophanes comedy, originally had been done 20 years earlier in the Yale University swimming pool.
One of his more troubled shows was “Road Show,” which reunited Sondheim and Weidman and spent years being worked on. This tale of the Mizner brothers, whose get-rich schemes in the early part of the 20th century finally made it to the Public Theater in 2008 after going through several different titles, directors and casts.
He had been working on a new musical with “Venus in Fur” playwright David Ives, who called his collaborator a genius. “Not only are his musicals brilliant, but I can’t think of another theater person who has so chronicled a whole age so eloquently,” Ives said in 2013. “He is the spirit of the age in a certain way.”
Sondheim was born March 22, 1930, into a wealthy family, the only son of dress manufacturer Herbert Sondheim and Helen Fox Sondheim. At 10, his parents divorced and Sondheim’s mother bought a house in Doylestown, Pa., where one of their Bucks County neighbors was lyricist Oscar Hammerstein II, whose son, James, was Sondheim’s roommate at boarding school. It was Oscar Hammerstein who became the young man’s professional mentor and a good friend.
He had a solitary childhood, once in which involved verbal abuse from his chilly mother. He received a letter in his 40s from her telling him that she regretted giving birth to him. He continued to support her financially and to see her occasionally but didn’t attend her funeral.
Sondheim attended Williams College in Massachusetts, where he majored in music. After graduation, he received a two-year fellowship to study with avant-garde composer Milton Babbitt.
One of Sondheim’s first jobs was writing scripts for the television show “Topper,” which ran for two years (1953-1955). At the same time, Sondheim wrote his first musical, “Saturday Night,” the story of a group of young people in Brooklyn in 1920s. It was to have opened on Broadway in 1955, but its producer died just as the musical was about to go into production, and the show was scrapped. “Saturday Night” finally arrived in New York in 1997 in a small, off-Broadway production.
Sondheim wrote infrequently for the movies. He collaborated with actor Anthony Perkins on the script for the 1973 murder mystery “The Last of Sheila,” and besides his work on “Dick Tracy” (1990), wrote scores for such movies as Alain Resnais’ “Stavisky” (1974) and Warren Beatty’s “Reds” (1981).
Over the years, there have been many Broadway revivals of Sondheim shows, especially “Gypsy,” which had reincarnations starring Angela Lansbury (1974), Tyne Daly (1989) and Peters (2003). But there also were productions of “A Funny Thing,” one with Phil Silvers in 1972 and another starring Nathan Lane in 1996; “Into the Woods” with Vanessa Williams in 2002; and even of Sondheim’s less successful shows such as “Assassins” and “Pacific Overtures,” both in 2004. “Sweeney Todd” has been produced in opera houses around the world. A reimagined “West Side Story” opened on Broadway in 2020 and a scrambled “Company” opened on Broadway in 2021 with the genders of the actors switched.
Sondheim’s songs have been used extensively in revues, the best-known being “Side by Side by Sondheim” (1976) on Broadway and “Putting It Together,” off-Broadway with Julie Andrews in 1992 and on Broadway with Carol Burnett in 1999. The New York Philharmonic put on a star-studded “Company” in 2011 with Neil Patrick Harris and Stephen Colbert. Tunes from his musicals have lately popped up everywhere from “Marriage Story” to “The Morning Show.”
An HBO documentary directed by Lapine, “Six by Sondheim,” aired in 2013 and revealed that he liked to compose lying down and sometimes enjoyed a cocktail to loosen up as he wrote. He even revealed that he really only fell in love after reaching 60, first with the dramatist Peter Jones and then in his last years with Jeff Romley.
In September 2010, the Henry Miller Theatre was renamed the Stephen Sondheim Theatre. “I’m deeply embarrassed. I’m thrilled, but deeply embarrassed,” he said as the sun fell over dozens of clapping admirers in Times Square. Then he revealed his perfectionist streak: “I’ve always hated my last name. It just doesn’t sing.”
Mark Kennedy is at http://twitter.com/KennedyTwits
Mark Kennedy, The Associated Press
Canadian Press NewsAlert: Variant prompts ban on travellers from southern Africa
OTTAWA — Canada has banned visitors from southern Africa after the discovery of a new variant of concern in the region.
The new variant, deemed Omicron, first emerged in South Africa and coincided with a steep rise in the number of COVID-19 cases in that region in recent weeks, according to the World Health Organization.
Meanwhile Global Affairs will issue an advisory to discourage non-essential travel to South Africa and neighbouring countries.
Currently there are no direct flights from South Africa to Canada.
Opposition parties and provincial premiers have called for strict border measures to prevent cases of the potentially dangerous new variant from being imported into Canada.
This report by The Canadian Press was first published Nov. 26, 2021.
Laura Osman, The Canadian Press
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