Thursday, October 11, 2018

Review: Charlie and the Chocolate Factory is a Sweet Confection

Roald Dahl's classic tale of gluttony, invention, and Oompa Loompas has been turned into a Broadway musical, and I don't think that I am stretching it by saying that it is a sweet and airy confection that is delicious to consume and will leave no deleterious effects on your waistline.


The story itself has become a classic.  A 2004 study found that it was a common read-aloud book for fourth-graders in schools in San Diego County, California. A 2012 survey by the University of Worcester determined that it was one of the most common books that UK adults had read as children, after Alice's Adventures in Wonderland, The Lion, the Witch and the Wardrobe, and The Wind in The Willows.  (This was on Wikipedia, so I really hope it's true.

Of course, it started as a book (and it's actually two books! 
Charlie and the Chocolate Factory (1964) and Charlie and the Great Glass Elevator. (1972)  In 1971 it  was turned into a movie Willie Wonka & The Chocolate Factory, featuring the inimitable Gene Wilder, and then the movie was remade again in 2005, featuring Johnny Depp.  An operatic version (The Golden Ticket) was created in 2010 and in 2013 the Broadway musical premiered on the West End in London.  It's also been made into a video game, a children's play, and lots of other adaptations.

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SOME OF THE PREVIOUS SOURCE MATERIALS.  Click the picture to view the original books and movies on Amazon.




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We saw the touring production in Chicago (now on through October 21) and it is delightful.  It's changed quite a bit from the Gene Wilder movie and the books (the idea of spies trying to hold onto Wonka's secrets has been toned down significantly)  Instead the musical plays up the wonder inside of the Chocolate Factory, and how Charlie is the right kid to become the successor to the Wonka throne.




When I think of the original movie, I don't think of it much as a musical-- but it certainly is.  There are a number of great songs, including  "The CandyMan", "Golden Ticket", and "Pure Imagination" These are all brought back for the musical version, along with some original song to fill it out as a musical.  The other songs from the original movie that are memorable are all of the Oompa Loompa songs.  They didn't make the cut in the Broadway musical (although there is a nod to them)  There are Oompa Loompa songs, and they do make commentary on the spoiled children's foibles, but the songs are very different.  The remaining songs are peppy and deftly written by the composer responsible for Hairspray.

The Oompa Loompas are also handled very differently than the movies--they are a very inventive amalgamation of puppet techniques that work beautifully.  I don't want to give too much away, but they are surprising and delightful.  They were created by Obie and Drama Desk Award winner Basil Twist.

Enter the world of imagination with Charlie and the Chocolate Factory. Photo provided by production, by Joan Marcus.
Henry Boshart as Charlie.
Photo by Joan Marcus.
The main characters are all portrayed very well.  My 10 year old son saw the musical and said "The characters are overdone, but not TOO overdone.  Just perfect!"  I think he hit it just on the head.  the world of the play is fantastical, and not realistic, but it's realistic enough for us to recognize as our world. Cartoonish, but not cartoons.  A lot of that has to do with the acting, but also the costuming, and the directing, and the set design as well.  All of it works towards a great effect.

Noah Weisberg plays Wonka in the touring production, (The Broadway cast album has Christian Borle) and Weisberg is fine in the role. It's tough to fill the shoes of either Wilder or Borle, and Weisberg is peppy, snappy, and a good dancer. 

There are three actors playing Charlie (which makes sense, as it is quite a demanding role)  I joked to my wife that in some ways, Charlie could become the boy's equivalent to the role of Annie. The boy we saw Henry Boshart, was really great.  Really, there were no poor actors in this show.  The quality of these touring productions are quite high.

In short, this is a lovely show to bring your family to and revisit this classic story.

The contract that the winners must sign.  You get a good sense of the world they are in from this photo by Joan Marcus.

TICKET INFORMATION

The show will run through October 21 at Chicago's Oriental Theatre, 24 West Randolph Street.

Tuesdays at 7:30PM
Wednesdays at 2:00PM and 7:30PM
Thursdays at 7:30PM
Fridays at 7:30PM
Saturdays at 2:00PM and 8:00PM
Sundays at 2:00PM and 7:30PM (no evening performances on Oct. 14 & Oct. 21)


Individual tickets for Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY start at $27 with a select number of premium tickets available.  If you have a group of 10 or more, there are group rates as well.  For more information, visit www.BroadwayInChicago.com.

You can also look at http://www.charlieonbroadway.com for more videos and where the tour is going next.



Noah Weisberg as Willie Wonka. Photo by Joan Marcus


Sunday, October 7, 2018

Review: Caroline or Change

We saw Caroline or Change last week at the Den Theatre and it is fantastic.

 It runs through October 28 at the Den Theatre in Wicker Park. 

The show, is a collaboration between two companies: Firebrand Theatre company, which is a musical theatre company committed to empowering and employing women theatre artists on and off the stage.Their partners in this project, Timeline Theatre has as its mission to present stories inspired by history that connect with today's social and political issues.  The show is itself sponsored by Michael and Mona Heath of the HeathFund who are sponsoring the entire Firebrand season.  (Now that's philanthropy!)
 Rashada Dawan (Caroline) (front) with Emma Sipora Tyler and Tyler Symone(Radio singers) in
Firebrand Theatre and TimeLine Theatre Company's production of CAROLINE, OR CHANGE directed by Lili-Anne Brown. Photo by Marisa KM.

For both their purposes, this play could not be better.  Set in Lake Charles, Lousiana at the end of 1963, the show tells the story of Caroline Thibodeaux, a black woman, mother of four, and the maid to a wealthy Jewish family.  They are in fact so wealthy that their house is one of the few in the area that actually has a basement.

(As is explained in the lobby timeline, much of Port Charles is below sea level, so having a basement is mostly not practical.) 


The play deals with racism, classism, the upcoming civil rights movement, and lots more.  It's also a play about parenting and growing up.  The show was written by Tony Kushner, author of Angels In America, and has an autobiographical bent  It's also a musical-- well, musical is the wrong word-- it's more like a gospel opera, with lots of songs throughout, but also many sung lines that aren't really songs, but fit into the world that the theatre artists have created.  The music was written by Jeanine Tesori, who also wrote the music for Fun Home.

Rashada Dawan (Caroline) and Alejandro Medina (Noah) in Firebrand Theatre and
TimeLine Theatre Company's production of CAROLINE, OR CHANGE,
directed by Lili-Anne Brown. Photo by Marisa KM.
The show centers on the relationship between Caroline and the family she serves. There are some absurdist elements in the show (the father is never seen without his clarinet, there are three characters who play various characters from the radio, there are a few dreams that come to life, and even the Washing Machine and Dryer are humorously voiced.  (and played with reckless abandon.) 

 Rashada Dawan (Caroline) and Blair Robertson(Rose) in Firebrand Theatre
and TimeLine Theatre Company's production of CAROLINE, OR CHANGE,
directed by Lili-Anne Brown. Photo by Marisa KM.
Every actor in the show is terrific, but special kudos have to go the lead. played by Rashada Dawan.  From the moment she enters the stage, she inhabits the role, foot tired, bone tired, doing laundry and menial tasks in the very hot basement in the middle of the deep South.  Her voice is stellar, her acting is phenomenal, and her ability to display the love and hate that she has for her employers are palpable.

I'd like to shout out everyone in the cast, but I have to especially mention Alejandro Medina, who is 12 or 13 years old and handles himself like the professional actor he will one day be.  He's a great singer and dancer, but his ability to project his character and stay in the scene with the other actors was really wonderful.  I also thought that Micheal Lovette, who plays the Bus/Dryer was funny, moving, and has a tremendous voice.  And Blair Robertson who plays the mother Rose does a great job as well.  She's not Noah's mom, she's a step-mom, and she plays that awkwardness perfectly.

I also want to shout out the live band, who plays gospel, klezmer, show tunes, and just about everything else perfectly.  They are out of sight, underneath the stage, but you know they are working it.  They sound fantastic.

There's a moment in the play where Caroline has to make a decision.  Her employer, Rose Gellman (played by Blair Robertson)  is trying to teach her son Noah (Alejandro Medina) a lesson about responsibility (and assuage a little white liberal guilt.)  She tells Noah that if he leaves change in his pockets, then Caroline gets to keep it. Caroline generally ignores this change, but one day she finds a much more substantial amount in his pocket.  Can she keep that? What will that money mean for her family?  And for her relationship with the Gellmans?  This moral dilemma is at the heart of the play, and
Micheal Lovette as the Dryer and Rashada Dawan as Caroline in Firebrand Theatre and TimeLine Theatre Company's production of CAROLINE, OR CHANGE, directed by Lili-Anne Brown. Photo by Marisa KM.

The show also has a large Jewish element.  At Channukah, Rose's dad comes up from New York.  He's a civil rights activist, and is predicting and fomenting for revolution and change. Caroline's daughter (helping to serve that night) is taken to task for engaging with him and talking about Dr. King.
The Gellman family at Chanukkah with the grandparents. Blair RobertsonJonathan SchwartRosalind HurwitzKevin M. GrubbMichael Kingston and Alejandro Medina in Firebrand Theatre and TimeLine Theatre Company's production of CAROLINE, OR CHANGE, directed by Lili-Anne Brown. Photo by Marisa KM.


In short, this play is well worth seeing and you should definitely see it before it goes away.  It will entertain you, make you think, and will give you new awe for the power of voice and words to move emotions.

WHEN:  The show runs Thursdays-Saturdays at 7:30 pm and Sundays at 3 pm  through October 28
WHERE: The Den Theatre, 1331 N. Milwaukee in the Wicker Park neighborhood. 
COST: Tickets are $45 each, with student and industry rush tickets available day of at the box office (if available)   Tickets can be purchased (and more information can be had) on http://www.firebrandtheatrre.org

Friday, October 5, 2018

Small Business Growth Panel in Edgewater- October 25

While this blog is not particularly a business blog, it is a write about my passions blog, and one of my passions happens to be small business ownership. I have been an artist/small business owner my entire life, and it's something I know a fair amount about, and in fact, am a little bit of an expert about.  I'm a graduate (and the valedictorian of my class) of the now-defunct Bryant College Entrepreneurship Training Program, and  I'm currently on the board of the Edgewater Development Corporation, whose mission is to create a better retail atmosphere in my neighborhood (Edgewater) and help small and large businesses grow and create a better neighborhood.


The three panelists from the upcoming event.
That's why I'm posting about this opportunity to check out the Edgewater Chamber of Commerce's upcoming Small Business Growth Panel.  

It's an opportunity for attendees to hear from Edgewater’s leading business owners about their startup story. Three panelists will talk about what’s gone well on their journey to grow their business, what went wrong and their plans for the future. 

These under 40 business owners first marketed their new businesses – a bakery, a gym, and a candle maker – so that their brand stood out from the crowd. 

Learn how these savvy, young business owners sell and market their brands in saturated markets.  

And network with local business owners that might help you start your own business, or make your business better and more profitable.



DATE: Thursday, October 25
TIME: 5:30pm – 8:30pm
LOCATION: Uncommon Ground, 1401 W. Devon Avenue, Chicago 60660
COST: Edgewater Chamber Members: $20+ service fee Non Members: $25+ service fee

Tickets include appetizers and a drink.


Find out more: https://www.edgewater.org/events/small-business-growth-panel/

Wednesday, October 3, 2018

Murders nearby- is it time to panic yet?

It's the stuff of crime show television:  In the last few days, there have been two homicides in a nearby area, and it was recently revealed that they were done with the same gun.

Read the article here:  http://www.chicagotribune.com/news/local/breaking/ct-met-lakefront-bike-path-shooting-20181002-story.html



Map courtesy of Chicago Tribune.
On Chicago PD, the hinky perp would be caught and dispatched with within 44 minutes (not including commercials)  On NYPD Blue, it would be revealed that the killer was leaving dictionary notes pinned to his victims. On CSI, the gun would be traced to a wealthy industrialist with a wayward stepson.

A possible photo of the suspect.
  But this is real life.  I have been on both of these streets, riding my bike.  My son played baseball this summer at Loyola Park.  My friend and her family lived one block away on Lunt.  My wife and son go over to that part of the bike path all the time to play Pokemon Go, which is probably what the 24 year old was doing when he got shot.  I don't know if they had met that guy, but they may have interacted.

Is It Time To Panic Yet?

There doesn't seem to be a motive for the murders.  Nothing seems to have been stolen, and there is a potential that these murders are hate-related- one guy was observant Jewish, the other victim was gay.  The Tribune has a non-descript photograph of the suspect, (Hoodie and glasses)


I am not in full blown panic mode, but I am nervous.

I know, you are saying, "But you live in Chicago, murder capital of the world."  (Which by the way, is not true.  For 2017, Chicago ranked 9th in murder rates, according to the FBI.  I don't live anywhere near St. Louis, the true holder of the title.)  And in Chicago, most of the violence is gang v. gang-related, and it's happening 20 miles (and worlds away) from where I live.

According to the article above, two southside neighborhoods have the lion's share of the murders in Chicago and a shocking 100 murders per 100,000, which makes it 9 times more likely to be murdered in those neighborhoods than in mine.  They are deeming this statistic "murder inequality."    I hope that the term for not being subjected to this kind of risk does not become "Murder privilege."  Because I truly believe that everybody has the right to not be murdered.

Which is the point.  These murders are on my stomping grounds.  And it makes you realize how fragile our social contract really is.   I felt this same way after our scare in Barcelona-- we have a social contract that trucks won't run over pedestrians, that people won't kill other people on the bike path, that you should give up your seat to pregnant women on the train, etc. etc.

On the plus side, apparently neighborhood people are banding together and organizing dog walking parties, so no one is doing it alone.  Someone is offering to drive people to the market.   The police are saturating the area.  I have a friend who is a cop who says that all vacation time has been suspended.  The social contract is expanding.  and that gives me a small modicum of hope that this guy will get caught, and our immediate worries will be over.  Of course, there will sadly be a next time.

RISK REDUCTION TIPS

Loyola University, which is just south of the murder spots so far (and just north of me) released these tips to help reduce your risk. See the full set of tips.  I've taken away the references to Campus Security, but otherwise they are great tips.

  • Walk or jog with a friend whenever possible. Stay in well-lighted areas, away from alleys.
  • Tell someone where you are going and when you will return.
  • Do not listen to headphones or talk on the phone while out alone, this minimizes your ability to hear an approaching threat, it also advertises to a would-be thief that you may have a desirable item to attempt to steal.
  • Be wary of unsolicited strangers. If someone approaches you on the street, keep moving and try to avoid additional contact.
  • Carry a whistle or a body alarm. This can serve as a reminder to exercise caution and can alert someone in the area that you need help.
  • If a person threatens you, follow any demands and run away as soon as it is safe to do so. Once in a safe place, immediately notify the Chicago Police Department via 9-1-1 or 312.744.8263.
  • Investigative follow-up will be dependent on the amount of detail a person can recall. It is important to remember as many identifying characteristics about the offender(s) as possible. This can include the license plate of any involved vehicle, physical characteristics of the person, their clothing, any weapons used, the direction of flight, etc.
  • If you see something you believe to be suspicious, immediately contact the Chicago Police Department.


Saturday, September 22, 2018

Review: Spring Awakening Musical (Blank Theatre Company)

There is good news and there is bad news about the inaugural production of the Blank Theater Company.

The good news is that their first show, Spring Awakening, (playing through September 30 at the Frontier Theatre in Edgewater) is beautifully performed, choreographed, and directed in an intimate blackbox theatre that showcases the excellence of some promising young actors.

The bad news (at least for you) is that every remaining seat of their next set of shows is completely sold out (and they don't have the ability to extend.)  There is a waiting list, and you should get on it. Pronto.

My wife and I attended the show as a date night.

The play has extra meaning for us, because we saw it on Broadway in New York, with Lea Michele and Jonathan Groff in it, before they were television stars and household names.  While I knew the theatre was small (approximately 50 seats), and I was expecting it to be good, I really had no inkling that the performers would shine so brightly.


Get the Broadway Soundtrack to
Spring Awakening  on Amazon

AN ADAPTATION OF A CONTROVERSIAL PLAY FROM THE 1890'S


The play itself is a musical adaptation of Franz Wedekind's first play, written in 1891, and first performed in 1906 in Berlin.  The show, set in a 19nth century German school, is about sexual repression and tension and both the rise of sexual desire (hence awakening) and the lack of knowledge that kids have about sex and their own bodies.    In today's snapchat, bikini-wearing, pornhub universe, these teenagers seem unspeakably naive and unknowledgable.

A great scene is the opening one, where Wendla, a young girl appears before her mother in a short skirt that she has outgrown.  Her mom complains that she should put on more proper clothes.  Wendla says, "But this dress makes me feel like a fairy princess among the flowers.  The mother says, "You are in full bloom, dear."  She later demands to know where babies come from, and her mom tells her a man and a woman have to love one another.  This serves her in poor stead later when [SPOILER ALERT!] she has sex with the main character Melchior, gets pregnant, and then dies from a botched abortion (or in German code, anemia.)
Wendla (Haley Bolithon) comforts Melchior (Jeremiah Alsop) photo by Nick McKenzie

There are many great performances in this show, with special shoutouts to Jeremiah Alsop as Melchior and Sam Shankman as Moritz.  Moritz is a D student on the verge of failing his classes who is so addled by his thoughts of girls and breasts that he can't concentrate on the classics, and Melchior is a young brilliant intellectual who knows more about sex than all his classmates combined, but has no practical knowledge to back it up.  These young men have great chemistry as friends, and both of them bring great intensity to their work that makes a lot of their stage time mesmerizing.

Herr Knochenbruch (Mike Weaver) and Fraulein Knuppeldick (Lisa Savegnago) question Melchior (Jeremiah Alsop)
about the author of an inappropriate essay.  Photo by Nick McKenzie
 Also great were the adults (who played all of the parents and teachers) Mike Weaver and Lisa Savegnago.  They bring a great priggishness to the show and unwittingly set up a lot of the tragedy that occurs during the show.  They play a lot of characters and do a good job differentiating them.  I also want to shout out Haley Bolithon as Wendla and Claire Latourrette as Ilsa, both of whom do great justice to their characters.  I have called out these people, but the whole cast was top-notch.  There was an understudy on the night we saw the show (I know, understudies in a 50 seat theatre!) and I truly couldn't tell who it was.
Ilse (Claire Latourette) surprises Moritz (Sam Shankman)  photo by Nick McKenzie.

The set design was simple, as were the music orchestrations, played by a company of 4. They are constantly present, but not part of the scene.  (At one point I got a little thrown off, because the drummer seemed to be asleep, although I am pretty sure that they just had their eyes closed and were concentrating.)  But I started to wonder....

I also need to point out the choreography, which is avant-garde but filled with appropriate tics and sudden movements.  The choreography from the original show as by Bill T. Jones, and I remember thinking it was amazing how the avant-garde has become commercial.
The cast of Spring Awakening sings "Touch Me."  You can see some of the choreography here.  photo by Nick McKenzie

WHAT'S NEXT FOR BLANK THEATER COMPANY


See on Amazon.

There is a lot of tragedy in the show, including a suicide, a botched death, an expulsion, bullying, etc.  Somehow, they manage to end the show on a promise of hope rather than in the tragedy of youth.  It's a good message, and especially timely for today's era of #metoo, #itgetsbetter, and #grabherbythepussy.

I spoke briefly to the director after the show, who said that they would explore the possibility of a remount or an extension if they could, but they are also focusing on their next show, Blackbird by David Harrower, which will come out Spring 2019. If you want to find out more, or to support his new theatre company, visit them online at https://www.blanktheatrecompany.org/


Friday, September 21, 2018

Resources for Grieving Students

A recent tragedy afflicted our school just before school started this year.  A father murdered his two kids and then killed himself.  The kids were a year ahead of my son, and I don't think he knew them, but terrible things happen.

The school is providing counselors, but I started looking for some resources to put together for our PTA web-page, and while there are a lot of resources available, I didn't see any that compiled a lot of resources, so I'm doing that here as a public service.  (In the end I decided to publish this private, because I don't think the school wants the PTA to provide resources like this, as they should be referrring to CPS. But I'm a rogue, and I think more information is better than less, and perhaps this work will be beneficial to the larger community than just our school.)

God willing, you will never have to utilize the books and resources on this page, but just in case, here they are.

Articles and Resources

Michele Borba reprints a great article from Dr. Harold Koplewicz from the Child Mind Institute:  http://micheleborba.com/helping-your-child-cope-with-the-death-of-friends-and-classmates/

Education World, an online publication, has information from a school administrator's perspective. When Tragedy Strikes: What Schools Should Do

 This NY Times article, although written in 1992, has some pretty good advice, and shows that this is not a problem that started overnight.

This Washington Post article from 2015 also has some valuable tips.

Five Tips for Supporting Grieving Students from Edutopia.


Do's and Don'ts from the Dougy Center

One of the best resources I found was  The Dougy Center:  The National Center for Grieving Children and Families which has a lot of information.


These Do's and Don'ts are especially valuable, from their web page When Death Impacts Your School  They also have a number of tip sheets, and ways to start support groups.  If you need them, you should definitely check out their website.
  • DO listen. Grieving students need a safe, trusted adult who will listen to them
  • DO follow routines. Routines provide a sense of safety which is very comforting to the grieving student.
  • DO set limits. Just because students are grieving, doesn’t mean that the rules do not apply. When grieving, students may experience lapses in concentration or exhibit risk taking behavior. Setting clear limits provides a more secure and safer environment for everyone under these circumstances.
  • DO NOT suggest that the student has grieved long enough.
  • DO NOT indicate that the student should get over it and move on.
  • DO NOT act as if nothing has happened.
  • DO NOT say things like:
    - “It could be worse. You still have one brother.”
    - “I know how you feel.”
    - “You’ll be stronger because of this.”
  • DO NOT expect the student to complete all assignments on a timely basis.
I've also compiled a list of books that might be helpful.

Books for Kids about Tragedies and Grieving.


(Grades pre-3) A Terrible Thing Happened by Margaret Holmes A gentle story for children who have witnessed any kind of violent or traumatic event, including homicide.
(Grades 1-8) After a Murder:  a Workbook for Grieving Kids by The Dougy Center This hands-on workbook helps children learn that they are not alone and how other children have coped.  Activities and word games normalize intense feelings and explain confusing actions of police, the media and the courts.
(Grades 3-7) The Boy Who Sat by the Window:  Helping Children Cope with Violence by Chris Loftis The story of a community’s shock after a random drive-by shooting of a small boy, told through the eyes of a classmate.
(Grades 1-5) Children Also Grieve:  Talking about Death and Healing by Linda Goldman  Children and adults will read this together.  Discusses loss and grief in general.  Includes excerpt on homicide.
(Grades 6-12) Just One Tear by K.L. Mahon The author, a 14-year old girl, created this short novel.  Written in diary format, it covers a two-month period of time in the life of a 13-year old boy whose father is shot and killed in front of him.
(Grades 3-8)  Reactions by Alison Salloum A workbook to help young people understand common reactions to the experience of trauma and grief.
(Grades 6-9) When Someone You Know has been Killed by Jay Schleifer An exceptional resource that speaks directly to youth who are suffering traumatic loss.


   Books for Adults about Grief and Children Grieving


A Grief Like No Other:  Surviving the Violent Death Of Someone You Love by Kathleen O’Hara The author shares her personal account of the murder of her college-age son and offers practical steps and stages for healing and overcoming grief following a violent death.
Breaking the Silence:  A Guide to Help Children with Complicated Grief by Linda Goldman This book provides specific ideas and techniques to work with children in various areas of complicated grief.
Coping With Traumatic Death:  Homicide by Bob Baugher & Lew Cox This book was devised to help you understand some of what to expect following the murder of a family member or friend.  It’s divided into sections – the first days, the first weeks, the first months, the first year and beyond.
The Forgiving Place:  Choosing Peace after Violent Trauma by Richard R. Grayton & Amrianne Williams The author’s wife was murdered in their home during a robbery.  This book concentrates on handling the emotional legacy of intentional violence.
No Time for Goodbyes:  Coping with Sorrow, Anger and Injustice after a Tragic Death by Janice Harris Lord This book offers understanding and insight into violent death.  Includes comments from survivors and offers practical information with legal and financial issues.
Retelling Violent Death by Edward K. Rynearson Offers a strategy for therapeutic retelling following the homicide, suicide or accidental death of a loved one.
What to Do When the Police Leave:  A Guide to the First Days of Traumatic Loss by Bill Jenkins A book filled with factual guidance vital to families suffering a traumatic loss.
When a Child Has Been Murdered:  Ways You Can Help the Grieving Parents by Bonnie Hunt Conrad A resource for those suffering the homicide of a child supporting an adult whose child has been murdered.
When Father Kills Mother:  Guiding Children through Trauma and Grief by Jean Harris-Hendricks, Dora Black & Tony Kaplan This second edition book shares information about the effects of psychological trauma and bereavement on children who have experienced the death of one parent at the hands of the other.

As I said above, I hope you never need these resources. But if you do, here they are. The final thing I'd say is that from my reading on this topic, grief hits different kids in different ways. If you think your kid is impacted by grief, consider talking to them or bringing them into see a professional.