Judy McLellan as Lady Russell and Roger Monk as Sir Walter Elliot in Metro Theatre’s production of Persuasion. (photo by Tracy-Lynn Chernaske)
Who hasn’t wished for at least one do-over, a second chance? Who hasn’t made the mistake of following bad advice, even if it was well-intended?
In Jane Austen’s Persuasion, Anne Elliot falls in love with naval officer Captain Frederick Wentworth and they become engaged, but, based on the counsel of a family friend, Anne breaks off the engagement. Jewish community member Judy McLellan plays Lady Russell – the purveyor of that counsel – in Metro Theatre’s upcoming production of Persuasion, which runs until April 20.
“Lady Russell was a very close friend of Anne’s mother, who died, and she had taken the role of surrogate mother to Anne since that time,” explained McLellan. “She is very protective of Anne and felt that Anne was too young to get married, especially to a man who, at that time, had no money and no real position in society. This is why she now sees Mr. Elliot [Anne’s cousin] as a much more desirable match for Anne.”
Persuasion was adapted for the theatre by British playwright Timothy Luscombe. The Metro Theatre production is directed by Joan Bryans. McLellan, who was part of the cast of Metro’s Calendar Girls, which the Jewish Independent quite enjoyed (jewishindependent.ca/calendar-girls-now-at-metro), auditioned specifically for the role of Lady Russell. “Got a call back and then Joan offered me the role, which I was very excited to accept,” said McLellan.
Pride and Prejudice was McLellan’s “first venture into Jane Austen.”
“Loved it,” she said. “Went on to read the rest!”
About Persuasion, she said, “It’s a wonderful period piece of mid-19th century. The characters are diverse and interesting, and very reflective of society at that time. But, above all, it’s a love story, which, after all the trials and tribulations, comes to a delightful happy ending. Who wouldn’t enjoy that?!”
To raise funds for building up-keep, Metro Theatre is holding a silent auction during the run of Persuasion for a painting by Tracy-Lynn Chernaske. “By tying together appropriate colours and soft textures, the painting reflects suggestions of [Jane] Austen’s historical multi-location story line, full of ships, seaside beaches, grand old manors and tidy cottages.” The opening bid is set at $300 and the winner will be announced on closing night. Bidding ballots, the artist’s bio and more information can be found at metrotheatre.com/show-persuasion-2019.
With his latest novel, We All Fall Down (Simon & Schuster, 2019), Vancouver writer and emergency-room physician Daniel Kalla covers both familiar and new territory. He once again postulates with scary enough realism what might happen if there were an outbreak of a deadly disease, but this time, it’s the plague – the same bacteria that caused the Black Death in the 14th century.
Kalla, who is head of emergency at St. Paul’s Hospital and a clinical associate professor at the University of British Columbia, will talk about his new book on April 17 at Incite: Riveting Crime Tales, presented by the Vancouver Writers Fest and Vancouver Public Library, in partnership with the Crime Writers of Canada. He will be joined by fellow Vancouverite Eve Lazarus, author of Murder by Milkshake: An Astonishing True Story of Adultery, Arsenic and a Charismatic Killer (Arsenal Pulp Press, 2018), about the murder of Esther Castellani by her husband Rene in 1965 in Vancouver, and Toronto-based Kim Moritsugu, whose latest book is The Showrunner (Dundurn, 2018), described as a “Hollywood-noir, darkly humourous suspense.”
We All Fall Down is set in Genoa, Italy. It alternates between current-day events – the site of an old monastery that has been demolished to make way for new condominiums seems to be ground zero for the reemergence of the plague – and the year 1348, when that monastery’s inhabitants are almost decimated by the Black Death, as is much of Europe. There is a link between the two outbreaks and North Atlantic Treaty Organization infectious diseases expert Alana Vaughn, called in from Belgium, is among those who must figure it out, along with a World Health Organization expert, Canadian epidemiologist Byron Menke, and Alana’s former lover, Dr. Nico Oliva, who sounded the alarm when a patient was brought into his hospital, coughing up blood and with a bubo (lump, swelling) in her armpit. The patient had been working on the construction site when she took ill and was dead soon thereafter.
The rapidity with which the plague takes a life drives the urgency to determine its sources and stop its spread. The most emotive chapters of We All Fall Down are short. Kalla briefly introduces readers to various people in the midst of tender or happy moments, who then suddenly feel chilled or choked by phlegm and blood. These scenes add meaning to the consistently provided death tolls, and personalize the suffering. Readers will empathize, and shiver.
As in his previous novels – Pandemic (Forge Books, 2005), about a fictional new flu, more deadly than SARS, and Resistance (Tor Books, 2006), about the outbreak of an antibiotic-resistant bacteria – the disease in We All Fall Down is deliberately being spread. Initially, Alana’s theory is that it is bioterrorism, but eventually the WHO-led team comes to another conclusion and the race is on to find the perpetrator.
In the mid-1300s, one-third to a half of the European population was killed within three years, a character in the novel notes – “The worst natural disaster in all of recorded history.” And the novel offers a glimpse into that horrific time via the diary of a barber-surgeon, Rafael Pasqua, who lost his wife to the plague. His story is graphic at times, and it is he who relates how Jews were attacked and persecuted, as the assumed cause of the devastation. Kalla juxtaposes this persecution and violence with that of Muslims in the modern-day instance of the outbreak, as it is first thought that Muslim terrorists might have developed the plague as a bioweapon. Despite hundreds of years of evolution, people’s fear and desperation still drive them to seek a scapegoat.
Less interesting in We All Fall Down are the romantic storylines: Alana and Nico dealing with their past relationship, Alana’s new relationship with Byron, and Rafael’s with Camilla, the daughter of a Jewish friend and fellow physician. At least the medieval love story adds some tension to the plot, as Jews become more and more at risk as the plague continues unabated. And, in truth, the relationships provide some respite from the death taking place all around the characters.
On the whole, We All Fall Down is a good read. Kalla, being an emergency physician who has researched and written about different pandemics, makes the possibility of the Great Plague resurfacing seem frighteningly possible. There are countless benefits of globalization, but it certainly makes containment of an epidemic that much harder. It is a sobering thought.
Incite events are free, but registration is required. To attend Riveting Crime Tales, which takes place in the Alice MacKay Room at the central branch of VPL downtown at 7:30 p.m. on April 17, fill out the form at writersfest.bc.ca/programs/incite/incite-form.
Andrew Cohen takes on the lead role of Don Lockwood in Royal City Musical Theatre’s Singin’ in the Rain, which runs April 4-20. (photo by David Cooper)
“I’m excited for audiences to see Singin’ in the Rain. The film is a classic, and I hope we’re able to bring that same charm and excitement to the Massey Stage,” Michael Wilkinson told the Independent. “It is on the older side of the musical theatre canon, but I think our production – especially Andrew Cohen as Don Lockwood and Tessa Trach as Kathy Selden – do such a beautiful job at bringing these characters to life in 2019, while still keeping the familiarity and charm of the characters and story.”
Royal City Musical Theatre presents Singin’ in the Rain at the Massey Theatre in New Westminster April 4-20. For those unfamiliar with the story, Don Lockwood and Lina Lamont are silent film stars, dashing and beautiful, but their stars will fade unless they can make the transition to talkies, the new technology of the time. The studio decides to change the couple’s latest silent film into a musical but, the problem is, Lamont has a horrible voice – even listening to her talk is painful. The solution? Have her voice dubbed by aspiring actress Kathy Selden.
Filled with humour, eminently singable and memorable music – “Good Mornin’,” “Make ’em Laugh,” and, of course, “Singin’ in the Rain,” to name a few – and incredible choreography, Singin’ in the Rain is one of the most popular musicals of all time, while also being an insightful commentary on the film industry, the impacts of technology and the nature of fame.
Cohen said he was asked to audition for the role of Lockwood last fall, while he was away doing Fiddler on the Roof in Saskatchewan.
“Gene Kelly made this role, this music, famous. He is in every neuron of this show. But I am no Gene Kelly (though I sure do wish I had his moves),” Cohen told the Independent about making such a famous character his own. “I think any actor preparing to take on an iconic role like Don Lockwood needs to find where the character lives within themselves rather than trying to mimic the character’s originator.”
And Cohen has more than the chops necessary to step into Kelly’s shoes. Since the Jewish Independent featured Cohen and his wife, Anna Kuman, in 2017, when they premièred Circle Game: Reimagining the Music of Joni Mitchell – which they co-created and co-directed – the couple has been working on different projects around the world.
“We were on the mass choreography team for the Fifth Asian Indoor and Martial Arts Games opening ceremony in Ashgabat, Turkmenistan, that had us work with a cast of 8,000, not to mention aerialists, horses, dogs, camels,” said Cohen. “It was a crazy experience! I then joined the stage management teams for the Gold Coast Commonwealth Games and the Sydney Invictus Games opening and closing ceremonies, getting to work at the Sydney Opera House and along the stunning shores of the Gold Coast.”
Cohen also premièred the new musical Les Filles Du Roi, for which he had to sing in English, French and Kanienké:ha (Mohawk). “Last winter,” he said, “I reconnected to my ancestral roots in the shmatta trade by playing Motel Kamzoil the Tailor in Fiddler on the Roof at Persephone Theatre in Saskatoon. Also, being the show’s music director, this production boasted a cast full of actor/musicians and was extended four times due to popular demand.”
While he’s very excited to return home and “dust off” his tap shoes for Singin’ in the Rain, Cohen won’t be in town long. He’s “heading to Toronto, Tel Aviv and Europe this spring for a tour of the new Canadian show Charlotte: A Tri-Coloured Play with Music that chronicles the life of renowned Jewish painter Charlotte Salomon.”
Singin’ in the Rain marks Cohen’s debut with Royal City Musical Theatre.
“Both my wife and my brother have worked with them before,” he said, “but this is my first time with RCMT, so it’s lovely to get to join the club, especially since RCMT is a theatrical institution for large-scale classic musicals. Seldom do audiences (and actors alike) get to revel in the grandeur of the art form in this town than at the Massey Theatre every April.”
Cohen’s fellow Jewish community member, Wilkinson, certainly enjoys this annual tradition.
“It’s the community that keeps me coming back,” he said. “Obviously performing is very fun, but I’ve also made some great friendships through RCMT. It has become something to look forward to in April, and it’s the people that make it such a wonderful environment.”
Wilkinson is in his final year of studies at the University of British Columbia’s Institute for Gender, Race, Sexuality and Social Justice, so he’s not sure how long he’ll be able to continue performing with RCMT, but he feels “very fortunate to have been a part of five productions over the last few years.” As part of the ensemble in Singin’ in the Rain, he has more than one role.
“The Quartet,” he explained, “is a part of the number ‘Beautiful Girl,’ which is a big showgirl number that is the first ‘talkie’ by Monumental Pictures (the film production studio in the show). Typically, the number only has the tenor soloist and the female ensemble, but our director and choreographer, Valerie Easton, has added four of the male ensemble to create a quartet and have some fun partnering moments in the number. It’s really just a quick snippet of the show, and many of us in the ensemble jump around playing multiple parts. I’m also playing Rod, who is the head of the publicity department at Monumental Pictures, which has been a fun bit role.”
Wilkinson’s favourite scene, he said, “would have to be the number ‘Broadway Rhythm,’ which happens about halfway through Act 2. It’s around eight minutes long, and there is some amazing dancing and singing throughout the number. I think the audience will really enjoy it, especially once we have rehearsed it to perfection!”
For Cohen, the biggest challenge so far with the role of Lockwood has been “the sheer amount of material to learn. Don sings and dances a lot. In Act 1, he barely leaves the stage,” said Cohen. “Prepping for this show has been like training to do a marathon – every day a little further, more lines down, going over and over songs and dance breaks. That said, I grew up tap dancing but haven’t had the chance to tap professionally in a long time. It’s a real privilege getting to tap with some of the amazing tappers in this company.”
Cohen said, “It’s very exciting, seeing it all come together with the sets and the lights and the orchestra. How often do you get to sing with a real 18-piece orchestra?!”
For tickets to RCMT’s Singin’ in the Rain, visit ticketsnw.ca or call 604-521-5050.
Comedian Robby Hoffman in action. (photo from Bell Media)
Onstage, her energy is barely contained. She delivers lines in a clipped, almost angry fashion, sporting a tight bun and dark clothes. From contemplating pizza’s puzzling popularity, to sharing how one customs officer saw the fire in her that she never knew she had, to musing about what it’s like to be the seventh of 10 children, the fashion choices of antisemites, her sexual prowess and the cost of duotangs, Robby Hoffman is very funny. It is no wonder that Robby Hoffman: I’m Nervous is among the new stand-up comedy specials Bell Media released last month on Crave.
Produced with Just for Laughs and Counterfeit Pictures, Robby Hoffman: I’m Nervous was filmed last September at Toronto’s Longboat Hall during the JFL42 comedy festival.
“It’s huge deal. It was always a dream of mine to have a special, to have a TV special specifically, and to do an hour,” L.A.-based Hoffman told the Independent in a phone interview from London, England, where she was doing gigs, and visiting her girlfriend, writer and director Ally Pankiw, who was there for work. In contrast to her stage persona, Hoffman was relaxed and chatty on the phone.
A lot of comedians self-produce amazing albums or routines in smaller increments of time, said Hoffman, but, “for me, in stand-up, it always felt like the pinnacle to have an hour…. It was a really great way to cap off all the work I’ve been doing since I started, and, to have an hour that was sharp, it felt like everything. And to do it with Just for Laughs, name of all names, it was everything and it was incredibly fun.”
Hoffman’s numerous writing credits include The Chris Gethard Show on TruTV, which just wrapped up last year, episodes of PBS’s Odd Squad (which has won an Emmy for writing), and CBC’s Workin’ Moms and Baroness von Sketch Show. Most recently, she wrote for eight episodes of the series Mind Fudge. The Crave special allowed her to jump back into stand-up full-time.
“To be doing stand-up night after night until this hour was great. And I had never recorded the hour all at once,” she said. “I was doing it in small increments of 10-minute spots, 15-minute spots, seven-minute spots, so when I recorded the hour, it was the first time I had done that hour. I had to nail it, working through all the themes … making sure it all cohesively worked, even though I only really worked on it in portions. So, agonizing over the different portions coming together and working on the transitions from different themes so that they flowed.”
And they do flow, somehow, despite the vast diversity of topics. She said that (apparent) randomness is a signature of hers. She uses it both to take audiences off guard, but also as part of the joke. As well, she uses it to prepare people for what’s coming. For example, she drops hints along the way to warn the audience well in advance that she will be talking about the Holocaust, so that, when she gets there, they will have been with her for some time. Then, she said, when “we’re really in the thick of it together … I’ll reward you with hand-job material or whatever.”
While Hoffman said she doesn’t have any red lines when it comes to comedy, she said, “I talk through my own experiences only. I’m never going to step into a territory that I don’t feel is mine to speak about. But, beyond that…. If it’s something within my realm of what I could talk about and you tell me not to talk about it, that’s what I want to talk about more. For instance, the Holocaust is taboo, and some people are really offended by [jokes about] it. I feel, as a Jew, I’m reclaiming it and, if you’re telling me not to talk about it, I’m going to.”
She said, “I think that Jewish people can talk about Jewish experience. I think black folk can talk about black experience. I don’t think there’s anything off limits within the Jewish community for me. I do think everything is off limits to me with regards to communities I’m not a part of or I don’t have a firsthand experience. My comedy is very firsthand – I’m not doing observational humour that are these one-liners that can relate to anyone. My comedy is unique, such that I’m the only person who could say my comedy…. You hear of big comedians having writers – I don’t feel like that would work for me simply because my comedy is so personal. I’m the only person who can write my own comedy.”
And Hoffman’s background is unique, indeed. Born in Brooklyn, she grew up in Montreal, where her mother raised her and her nine siblings as a single parent, having divorced Hoffman’s father and having left the Chassidic community. Hoffman came out as lesbian in her late teens, left home at 18 and kept kosher until about the same time. She started her working career as an accountant.
“I wanted to have a Plan B,” she explained, “and I knew that the arts was always something free, that if I wanted to do it, I could do it on my own, and I could find a way that wasn’t with the structure of school to do it. But a financial backup plan was not something as easily attained for me, so I went into accounting. I thought, well, I can always get a good job.”
With a laptop from her employer and a regular paycheque every two weeks, Hoffman said, “I felt like a billionaire. I can’t even explain what it was like…. It was just the best to be able to sleep at night. Being worried about money is not something a lot of my peers thought about. I felt very alone in that sort of stuff.”
Once she “felt safe and comfortable,” that’s when her “creative juices went wild,” she said, and that’s when she discovered stand-up.
“I didn’t grow up with it, I wasn’t somebody who had the albums and all this stuff, but, once I knew about it, I immediately thought, ‘Oh, I feel like I could do that.’ I don’t mean to say, ‘Oh, it looks easy.’ A lot of people think they could do it – I felt like it was me. I felt, ‘Oh, my God.’ It felt like me already. And I got started immediately.”
Thinking that all stand-ups wrote, she started writing. Noting that it was only later that she realized how little comedians also write, she said, “I wrote a pilot and, even though it never got made, it did get me rep and it got me writing on other shows and it started my writing career. But it’s amazing how many times I’ve been the only active stand-up and writer in a writers’ room, which I didn’t know.”
Hoffman is driven by her love of the work.
“What’s so incredible about doing what I do and making a living doing what I do is … I never imagined it possible. I didn’t know these careers as careers. I didn’t know writing was even a thing, let alone what you got paid for a script, nothing like that. But waking up and not dreading where I go to work every day is still something I don’t take for granted.”
She started as a writer’s assistant. “I was first one in, would get there early, have my coffee, enjoy. I was last one out. I was never more motivated – and it’s still to this day. I would have to be literally on death’s door not to go into work because I love it so much.
“I’m also really lucky in that the shows that I do work on, I choose to work on them for a certain reason. There’s something about them that either gives me growth or it gives me a challenge or I really just love it. And it’s a pleasure to work creatively all day, every day, and to be valued for it.”
As for what lies ahead, Hoffman said, “I have so many goals. Think of the biggest goal you can imagine, and that’s what I have for myself. Yes, my own show. Yes, who knows, my own studio. I don’t even know where it could go. I just want to try for the biggest, best thing. I want my life to be as much as I want it to be. There’s no limit on wanting that for yourself. There shouldn’t be a limit on dreaming. I never want to lose that.
“I almost, for a second, lost my childhood curiosity and dreaming and spirit, for a second, because, when you are poor and you want to be normal, and you want to make ends meet, you do give up a lot, and I was never somebody who was able to dream. We weren’t told to dream, we weren’t taught to dream, we weren’t taught we could be anything we wanted to be, almost nothing. There was not a lot of encouragement, so I gave that all to myself…. I always want to tell myself to reach for the biggest, best, whatever that is, and that changes for everyone. Within my career and within my capabilities, I want to continue growing forever.”
The original cast of Glory. (photo by Barbara Zimonick)
I hope Glory inspires audience members to look up the Preston Rivulettes and learn how amazingly driven, committed, skilled and bad-ass these female hockey players were,” Advah Soudack told the Independent.
The Rivulettes were entered into the Canadian Hockey Hall of Fame in 1963. According to the website of the Rivulettes Junior Hockey Club, “The team played an estimated 350 games between 1930 and 1940, tying three and losing only two. In that 10-year span, the Rivulettes were 10 times the winners of the Bobbie Rosenfeld Trophy that was presented each year to the champions of Ontario. They were also six-time winners of the Eastern Canadian championship and the Elmer Doust Cup that went with it. They won the trophy each time they competed for it. The team’s crowning achievement was capturing the Lady Bessborough Trophy as Canadian champions no less than six times.”
“Their determination, their courage, their fight and their passion” were what inspired Tracey Power to write Glory, which starts its touring run March 29-30 at Kay Meek Arts Centre in West Vancouver.
Power was also interested in 1930s Canada, which “presented many personal challenges, a national depression, the growth of international hatred that would ultimately become the Second World War, and how those international relations greatly affected Canadian multicultural relations, antisemitism and sexism, to name just a few.
“Through hard times,” she said, “we often turn to sport or entertainment for escape, for community and for strength. For me, the women on this team and their coach represented not just a team of hockey players, but a country fighting to survive.”
Glory premièred last year, and the touring production brings with it some changes, including two new actors, Andrew Wheeler as the team’s coach, Herb Fach, and Soudack as the character Marm Schwartz.
“The choreography grows and strengthens with every run,” said Power of other changes. “I’m a huge believer in trying new ideas, and the more detailed we can be in our storytelling, the more exciting it will be for our audience. There may be some new text ideas that come out of rehearsal. I’m always open to a new play exploring new territory each time we go back into rehearsal.”
Kate Dion-Richard reprises her role as Helen Schwartz.
“Tracey reached out to me a couple of years ago to play the part of Helen in a workshop and reading for the show,” said Dion-Richard. “A few months after the workshop, I auditioned formally for the role. That included reading a couple of scenes, as well as taking part in a group dance call. The dance was a new style of ‘swing-skate’ that Tracey had created, which incorporated swing dance moves of the 1930s with hockey skills and plays.”
It is not an accident that Jewish community members have been cast as the real-life Jewish sisters.
“Marm struggles with being able to get the education she wants because of quotas universities had at the time; she fights back against antisemitism and must find ways to deal with her anger both on the ice and off. Helen is confident in her femininity and struggles to figure out how such an aggressive sport fits within the expected view of a woman of that time. It has always been important to me to have Jewish actors play these roles,” explained Power.
“During the development of the play,” she said, “the conversations we had were instrumental in bringing the characters’ truths to the stage. I am not Jewish, but it’s my duty as the playwright to understand the souls and bones of these women and what they went through. I’m extremely thankful to Kate Dion-Richard, Gili Roskies [who played Marm last year] and Advah Soudack for being so open and honest with me about their own Jewish history.
“Bobbie Rosenfeld was one of the most famous Canadian athletes of the 1920s/30s,” she added. “She was an Olympic gold medalist and, among many other sports, played hockey for the Toronto Pats. She inspired many women to follow their athletic dreams – including Hilda Ranscombe, who was the Hayley Wickenheiser of the Preston Rivulettes – and, much like Marm, she also fought against antisemitism in her sport and life.”
“The awareness of, frustration and personal experience with antisemitism are a big part of Marm’s storyline and journey in this show,” said Soudack. “I personally have not experienced the extent of antisemitism that Marm experiences in this story, however, my close family members have, and I can understand and imagine what it would be like. I feel that I bring my strong sense of Jewish identity to the role of Marm, with all its deep-rooted traditions and expectations. I also share and connect with the concern and, at times, discomfort Marm feels with being Jewish in a world where antisemitism lingers right around the corner.”
Dion-Richard, whose Jewish side of the family is from London, England, grew up hearing stories of living through the war from her grandparents. “Those stories stay with me and in many ways is why this role is so close to home,” she said. “Although Helen is Canadian, the antisemitism felt in Canada in the 1930s was strong and I am able to connect to that through my family’s experiences. Also, on a lighter note, I married a man who isn’t Jewish and so did my character, so that’s a nice similarity.”
And there are other connections for Dion-Richard, who was a hockey fan before taking on this show. “My large extended family of Richards are huge Montreal Canadiens fans due to our distant cousin Maurice Richard (‘The Rocket’),” she shared, “and I grew up on the West Coast, so the Canucks were frequently on the television at home. I have definitely become more of a fan since doing this show – especially of women’s hockey. The Canadian women’s team is incredible and I’d love to meet them and chat about their experiences as women in a traditionally male-dominated sport. I’d also love to know if they know about the Rivulettes!”
Soudack admitted to not having been much of a hockey fan before she started her research and work on Glory. “My husband is a big fan, so I always hear him talking about it, and get dragged onto his computer to watch videos of amazing plays and goals,” she said. However, since Glory, she has become more interested in the game. “I recently went to Thunderbird Stadium to watch the UBC Women’s Hockey playoffs,” she said. “Their commitment, drive and talent were inspiring. I was moved to tears as I sat there, thinking of Hilda, Nellie [Ranscombe], Marm and Helen, realizing and deeply understanding why they loved the game so much.”
About sports and the relevance of the Rivulettes’ experiences for today’s audiences, Soudack said, “It still feels the same, in regard to women not having the same opportunities and not really being seen as equals to men in athletic ability. I find it sad that young girls can fall in love with a sport and be exceptional at it, like Hilda Ranscombe; however, there is no future career they can look toward. Once the war was over, women’s opportunity to play sports vanished, whereas the men’s opportunities and careers took off.”
“Women not only had to fight for ice time – often having to play and practise in the very early hours or very late hours of the day; essentially when the men didn’t need the ice – but they also had to fight to be taken seriously,” said Dion-Richard. “Many of the reports of the women’s hockey games included remarks about the apparent lack of femininity within the game and some even questioned the sex of the players because of how aggressive the women were. Also, women were unable to be professional hockey players. The men were paid and the women weren’t. As a woman living in 2019, I still see the need to fight for equality with pay, representation and respect.”
“I’d love to add that this show has something for everyone,” said Dion-Richard. “The Canadian history is so important to know, as well as the fight for respect and equality that these women pushed for. They really paved the way for all of us and I hope we can show how grateful we are to them for that. This is a show that could be a link for people who don’t normally go to the theatre. It fuses sport and theatre with Canadian history, and the story is as relevant today as it was in the 1930s.”
Elon Gold performs in Vancouver on April 14 at the JNF Negev Gala. (photo from elongold.com)
Comedian Elon Gold loves doing charity events, especially Jewish ones. The Independent caught him for a phone interview as he was on the road – with his family – to Las Vegas from Los Angeles to do gigs for the Adelson Education Campus and then the Israeli-American Coalition. On April 14, he will be in Vancouver to co-headline, with Ambassador Ron Prosor, the Jewish National Fund, Pacific Region, Negev Gala. The event raises funds for Sderot Animal-Assisted Therapy Centre.
“I feel like I’m doing a mitzvah by making my people laugh. And I’m also helping this cause that’s really important, and Israel is really important to me,” said Gold. “And we’re living in a highly antisemitic time, it’s dark out there, so anything I can do to bring light into our world and make my fellow Jew happy, I’m there for it.”
Gold’s resumé is impressive. He starred in the television series Stacked and In-Laws, had a recurring role on Bones and on The Dana Carvey Show. He guest starred just recently on HBO’s Crashing and, longer ago, on shows including Frasier and The Mentalist. He has appeared in films, his one-hour Netflix special, Elon Gold: Chosen and Taken, is available on Amazon and his show Elon Gold: Pro-Semite premièred at the Montreal Comedy Festival. He has made multiple appearances on The Tonight Show and his July 2018 segment on The Late Late Show With James Corden – how, like everyone else, Jews love sex, money and food, but just in a different order – has been watched and shared by countless people on the internet, as has his routine on why Jews shouldn’t have Christmas trees and so many others.
Despite all of his accomplishments and his years in the business, Gold still gets excited about his work, and he shared what he described as a “wow” moment, one of the best days of his life, almost immediately when talking with the JI.
“Yesterday,” he said, “I was filming a scene of Curb Your Enthusiasm with Larry David…. It was really, truly a dream come true.”
But Gold didn’t take his being hired by David as a sign that he had “made it.”
“The truth is, I have been a guy with lucky breaks and hard breaks for the last 20 years,” said Gold. “This is another achievement, and one that’s beyond anything I would dream of…. I’m gratified in the sense that I finally feel like I’m in a place, not where I’ve made it, but where I actually have fans, and my clips are viral and people are sharing my bits on Facebook, WhatsApp or whatever. I did the James Corden show and, again, that doesn’t mean I’ve arrived … but what’s cool to me is that I did that set and then everyone’s sharing it, especially Jews. My biggest fans are my people.”
It’s been a 25-year journey, said Gold of his career, “with all sorts of great highs, like yesterday, and huge lows, like having a sitcom that you pitched and created and started get canceled. There are so many lows, and then there is the daily rejection that is show business. And that’s why I’m so glad I’m a comedian and an actor. I get rejected all day in Hollywood at auditions, but then, at night, I’ll go to the Laugh Factory comedy club and I’ll have 300 people roaring, and that will validate [me] – I knew they were wrong! I knew I could do this. See, I’m funny. These people think so, at least.”
Gold said his resilience, his ability to keep trying, likely comes from stand-up. “Because stand-up is all about bombing and killing, and the killing is so worth it that even the terrible, dejected feeling of bombing [is manageable].”
As far as his career, he said, “I have no other choice. I don’t love doing anything else and I’m not good at anything else.”
Known for his impressions, he said, “I used to impersonate my teachers in eighth grade.” His goal wasn’t to ridicule people, he said, but to make even the teachers laugh.
He enjoyed making people laugh, and writing comedy. One of the first things he wrote, he said, was a Purim shpiel. “And I’ll never forget the feeling of having the entire high school laughing, and thinking, there has never been anything more gratifying than what I just did, I want to do this more. Everybody says it’s like a drug…. It’s so addictive. Once you get a taste of it, that’s it, you’re hooked. And very little can discourage a comedian [so much that they get] out of comedy; certainly not a bad set, because we all know that we all have them.”
A combination of things drives him.
“It’s probably disingenuous to say that I do this because I love to make others laugh,” he admitted. There is a selfish aspect to it, he said. While making people happy is a “key component” of why he does comedy, he said, “I also love everything about it… I love the process of having an observation and then writing it and tinkering with it and working on it. I love doing it and I love the fact that I have so much freedom in my days because I don’t have that nine-to-five job most people have…. I’m always working. At the same time, I’m always on vacation.”
Gold loves getting the laughs, and said that’s probably 70% of the reason he does comedy; the other 30% is making people happy.
“There is so much misery in the world,” he said, “to make people happy is a great thing, but it’s only a part of it.”
On the acting side, Gold said his favourite kind of acting is for sitcoms “with a live studio audience because you’re still getting the laugh but now you’re not looking at the audience and talking to them, you’re looking at your fellow actor … and, peripherally, you hear and see these people cracking up.”
Ultimately, he said, “I just love performing.”
The only “grueling part,” he said, is the memorizing “and the pressure of 200 people staring at you, saying, ‘You better know your lines, pal, because we’re all here and we all want to go home…. Acting is challenging, but it’s also just fun…. It’s fun to get into a character and just play.”
Gold, who is from the Bronx originally, recalled his first open-mic night at the Comic Strip Live in Manhattan; he was 16 years old. “Fortunately, I had beginner’s luck because I was doing impressions – my early act was all impressions – and impressions are like magic tricks, they just wow the audience.”
Despite being a touring comedian by university (he got a bachelor’s in economics at Boston U), it took years, he said, to develop his own voice, to figure out what he wanted to talk about and how to talk about it.
“I’m obsessed with Jewish stuff because I live such a Jewish life,” he said. “I’m an observant Jew, I keep Shabbos and all that stuff, keep kosher. So much of my life is in the Jewish world, I can’t help myself but to come up with observations about our traditions, our holidays, our rituals. A lot of what I talk about is what I live…. The other part of my life is being married, being a dad, so I talk about that.”
Gold and his wife, Sasha, have four kids, two sons and two daughters, ranging in age from 9 to 18. The couple is coming up to their 25th anniversary in June.
As he stopped to fill up his car with gas on the way to Vegas, he told the JI about why he likes performing at Jewish events, while simultaneously directing his kids to be quick about heading into the gas station, as they were running late.
“There are not a lot of comedians out there that will go that deep into the Jewish experience and, for me, there are not a lot of audiences I can share my Jewish experiences with,” he said. “I can’t do lulav and etrog jokes on James Corden…. At the same time, we’re raising money, we’re raising awareness for incredible organizations…. It’s all win-win for me – I’m raising money, I’m making money, I’m getting laughs, I’m getting to do material I don’t do anywhere else…. And I love Jewish audiences; I love connecting on more than just a human level…. We’re connecting about a shared experience that is almost indescribable to anyone else.”
For tickets to the JNF Pacific Region evening event on April 14, which will be held at Schara Tzedeck, call 604-257-5155.
The Hungry Jew, one of the signature sandwiches at Buzzy’s Luncheonette. (photo by Adam Bogoch)
My friend, Adam Bogoch, pitched it as the “Smoked Meat Story.” Soon after that email, he would write his own review, for narcity.com, titled, “This smoked meat sandwich on Salt Spring Island in B.C. will actually change your life.” His friend and colleague, Howard Busgang, had opened a deli on the island, and not only did I need to meet Busgang, but I needed to get on a ferry and taste The Hungry Jew, one of the signature sandwiches at Buzzy’s Luncheonette.
Between the Independent’s annual summer publishing hiatus and the High Holidays, it was November before Adam and I headed to Salt Spring. The travel ran like clockwork and we were pulling up to 122-149 Fulford Ganges Rd. right in time for lunch. We shared a Hungry Jew – a Montreal smoked meat sandwich with homemade horseradish sauce, coleslaw and, I kid you not, two latkes – and the Rabinowitz, Buzzy’s take on a Reuben. They were both incredibly good, and the only reason I’ve waited this long to share the news is because I wanted to wait until better weather, when people would be more likely to take a day or weekend getaway.
Even in winter, Buzzy’s was busy. Having arrived at prime feeding time, it was hard to get Busgang to sit down and, as we talked, he was constantly distracted – in a good way – by customers.
“Tell me, I’ll get you another sandwich before you go,” he said as he finally was able to join me at a table outside for the interview.
Born and raised in Montreal, stand-up comedy took Busgang first to Toronto and then to Los Angeles, where he met his wife, Melanie Weaver, and where he lived for 28 years, before returning to Canada.
“She’s Jewish-adjacent,” joked Busgang. “She was working for a rabbi when I met her.”
The two met on a blind date, he said, brought together by a Jewish comic who knew both of them.
When he started in comedy in the early 1980s, Busgang said, “There were not a lot of comics around. It wasn’t like today where every second person does stand-up, so it wasn’t that OK a profession,” as far as his parents were concerned. “It was kind of an oddity, like maybe he’ll grow out of this kind of thing.”
Busgang attended Jewish high school, then went to McGill University before heading to Toronto.
“You know where I started?” he said. “United Synagogue Youth, USY, that’s where I started. I was emceeing all their events and that led me to go professional.”
He recalled the first time he performed at amateur night in Toronto. “They packed the place with all these people from USY who knew me. It was packed, and it was great.”
So great, he said, that he was put into regular comedy shows right away, “which wasn’t so easy, by the way, because it wasn’t my friends anymore in the audience.”
When he was a stand-up comedian, Busgang did a lot of Jewish material. “I was a very Jewish comic,” he said.
In Los Angeles, he moved from stand-up to comedy writing. “I just was a little tired of the road,” he said, and performing caused him some anxiety.
“Listen, I had a respectable career, I did well, but I would constantly punish myself by asking, why am I doing this? But I think I do that with everything. I do that with this place [Buzzy’s], I do that as a writer.”
As Busgang was in the middle of saying he might just be a miserable guy, he was called back into the deli to help make a sandwich.
Weaver took his place. Her recollection was that a woman from the synagogue set up that first date.
“I was the only non-Jew in the whole place,” she said. However, Weaver was raised Jewishly, with her family observing some of the holidays, hosting seders, for example, and she taught at a Jewish camp. Born and raised in New York, she moved to Los Angeles some 30 years ago. She and Busgang have been married for about half that time.
“Howard had this property on Salt Spring our entire marriage,” she said. “And so, our entire marriage, I kept hearing ‘Salt Spring,’ ‘Salt Spring,’ and all I kept seeing was this property tax bill every month. I was, like, how good could it be? Then the elections and everything started to happen in the U.S. and it just got bad. We took a trip up here in September [2016], I fell in love and then we came in July [2017].”
A blended family, the couple has three daughters: Alexandra, 30, in Toronto; Emma, 20, in Seattle; and Hannah, 10, who was dividing her attention between helping in the deli and playing with a local dog while her mother was being interviewed.
Neither Busgang nor Weaver had any restaurant experience before opening Buzzy’s. “It’s funny,” she said. “The night before we were open, we had to learn the cash and I was almost in tears.”
The ignorance was a kind of blessing, she said. “I don’t think we knew what could go wrong, so ignorance was bliss, in this case.”
Their first day, there were lineups out the door.
“We got thrown into it, which was great,” she said. “I think if we had opened in the winter, when it was slow, it would have been a different experience.”
Busgang’s love of cooking seemed to have come out of nowhere, said Weaver. “And then he started to smoke his own meat. So, we had that in our back pocket.”
But the couple still wasn’t planning on opening a restaurant, until the location became available. “It was basherte,” she said.
In addition to Busgang’s meat-smoking skills, Weaver’s desire for a good tuna sandwich was a motivation. “So, again, why not open a deli? Not the brightest of ideas, but it worked out.”
And it’s hard work. There is only one staff member. Busgang smokes meat “around the clock,” said Weaver. “It’s like having a newborn. It’s a lot of work but the rewards – it’s a community, we’ve become part of a community and it means so much. My daughter gets to work the cash register. It’s crazy. We still can’t believe we have keys to this place.”
She said, “If we did anything right, it’s that we didn’t focus on the tourists, we focused on our people, and so we have a lot of loyalty here. I think people also come here [because] there’s a lot of cursing, a lot of bad behaviour, you can come here and just laugh, and that’s what we want. Come here, have a laugh, I’ll make you eat, you have to finish your plate or you go to your room. That was our business plan – make the community happy, hopefully make a few bucks.”
Since they opened, the menu has seen some additions; in particular, matzah ball soup and tomato soup. “We don’t want to get too big. We just want to stay like someone’s kitchen,” she said.
And the island has been very welcoming. “Someone knew that we want to make our own pickles, so they’re going to grow us cucumbers,” said Weaver as one example. “The love here,” she said, “it’s insane.”
Hannah, who had checked in a couple of times with her mother, joined the interview. In addition to sometimes working the cash, she delivers food to the Saturday market and to the bar a few doors down from the deli.
“That’s another thing,” said Weaver, “it’s a family joint.”
School runs four days a week and, while Hannah enjoys helping out, she was still getting used to living on the island. When she’s not working or at school, she’s probably at soccer or horseback riding; she had just received a paddleboard for her birthday. Though she has a couple of sandwiches named after her, her favourite is the grilled cheese.
“A lot of what we’re doing here has to do with taking the power back in our lives,” said Busgang, when he returned to the table. “It has to do with being in showbiz all those years and feeling like you had no control over anything and feeling like you’re handing over all the power to other people to validate you…. I was tired of it.”
Buzzy’s opened on June 22 last year. “Whereas, in show business, nobody wants to help you, in this business, I have so many people who want to help me.”
One of those people was William Kaminski, owner of Phat Deli in Vancouver, who Busgang described as a mentor.
“We’re not perfect but we’re figuring it out,” said Busgang.
The smoked meat he has got down to a science.
“We’re open till four o’clock and then I have to get my brisket ready for the next day, so I have to bathe the brisket,” he said. “We cure it for eight days – dry cure – and then I have to take the salt out, so we bathe it. I’m bathing a brisket right now and sometimes I sing to it. It’s very sweet. After I bathe it, then I put some rub on it and then I’ll take it home and we’ll smoke it for seven-and-a-half hours. And then it goes in the steamer for two, three hours.”
Finding rye bread was one of the early challenges.
“I knew I was in a special place,” he said, “because people would come by with bread and say, ‘Try this bread.’ They’d constantly come in and say, ‘What are you going to do about the bread?’ It became like a cause célèbre, the bread. It took me three months, and I got someone here on the island to make me an organic rye bread.”
Barb Slater makes the bread; Shigusa Saito, the knishes. Saito is now also “making a dark chocolate babka to die for,” wrote Busgang in a follow-up email. “If you’re not already dead, she’s also making us New York cheesecake, our soon-to-be-famous potato knishes, and rugelach.”
Meanwhile, Busgang – whose credits include having been a head Just for Laughs-gala writer, creating the award-winning sitcom The Tournament and writing for TV series Boy Meets World and Good Advice, among many others – is still writing, still pitching shows. Earlier that afternoon, he was slicing meat while plugged into his phone, listening to a meeting in which a producer was trying to put a deal together.
Weaver popped out to say that Busgang often has to go next door to finish his calls because the meat in the charger of his cellphone prevents his phone from charging. “There’s meat everywhere,” she said.
A couple of relatively new customers stopped to say hello to Busgang and Weaver. They said they were slowly adding Buzzy’s to their list of usual places to eat.
And, said Busgang and Weaver, local Jews have discovered, by going to Buzzy’s and meeting fellow Jews, that there actually is a Jewish community on the island.
“We’re blessed to have this,” said Busgang.
As he explained the deli’s name – his father called him Buzzy – Hannah returned, offering him a taste of a new salad dressing she had created. “Daddy, just try it.”
“Interesting,” he said, “I like it.”
“It’s gross,” she corrected him.
Three generations seemed present in that moment.
As the interview came to an end, Busgang asked, “Do you want some rugelach? I gotta keep feeding you.”
Left to right are GOLDRAUSCH actors Tebo Nzeku, Gray Clark, Karthik Kadam, Matthew Rhodes and Hannah Everett. (photo by Javier Sotres)
GOLDRAUSCH is described as “a comedy with music that journeys through film director Oskar’s efforts to make a film about the man who started the Gold Rush Fever of 1848: the ‘Emperor of California.’ Mixed with classic country and Mexican banda songs, GOLDRAUSCH is the story of rampant jealousy, greed and ambition run amok, as dueling actors fight for their close-ups in Oskar’s magnum opus.”
The University of British Columbia’s theatre and film department presents GOLDRAUSCH at Frederic Wood Theatre March 14-30.
“GOLDRAUSCH follows the story of director Oskar, creating a film on Johann Augustus Sutter, based on the book Gold by Blaise Cendrars,” explained Hannah Everett, who plays the role of Marlene in the UBC production. “Sutter was a German-born colonizer who came to America, set up a farm for himself and became rich – until the gold rush of the 1850s, which destroyed the land he had taken.
“The playwright, Guillermo Calderón, is commenting on how Blaise Cendrar’s Gold is an exaggerated and fictionalized version of Sutter’s life that glosses over his problematic character, and the history surrounding the land and people during this time,” she said. “The play begins months into the shoot when Oskar realizes his film has become boring, and lacking ‘soul.’ He decides to bring in two new actors and shoot a porn scene, much to the other actors’ surprise.”
Marlene is one of the new actors.
“Marlene has been hired by Oskar to perform a porn scene and body double the leading lady, Greta, on set,” said Everett. “Marlene represents Oskar’s ‘fresh start’ to the film, in order to make it more interesting. Throughout the play, we learn she contracted hepatitis from the porn industry and is incredibly poor. She needs this job to make money and survive, which sends Greta into a panic as she learns Marlene is her replacement.”
Appropriately for a play about a film, GOLDRAUSCH is a multimedia work.
“GOLDRAUSCH features real cameras and sound equipment that will project film scenes onto the stage,” said Everett. “We are calling it a ‘meta-theatrical comedy with music’ and, in a way that is somewhat Brechtian, the play often breaks into song and dance, with karaoke tracks projected onto screens. In a final scene, where Oskar and the four actors interview about their film, it becomes clear that these songs are included in the film soundtrack. The multimedia layers to this piece create an effect that continues to take the audiences out of these different worlds of the past and the present, and remind them that they are watching a performance – and that not everything is always as it seems.”
Calderón, a Chilean playwright, wrote GOLDRAUSCH in 2017, “in a continuing time of political upheaval and uncertainty, particularly in United States,” said Everett. “Johannes Augustus Sutter came to America in the 1800s, stole land and enslaved indigenous peoples. His story, Calderón highlights, is unfortunately still incredibly relevant.
“Calderón asks us to think about land ownership, freedom and immigration. He shows us how history repeats itself,” she said. “The play satirizes Cendrar’s book, Gold, demonstrating how we become numb and alienate ourselves from people and politics that attempt to take away basic human rights. This is seen in Oskar’s film, and the ego and greed between the four actors, all struggling for the spotlight…. Calderón has decided to illuminate these issues in a way that is absurd and entertaining, as a way to get audiences to think more actively than perhaps watching or reading a news story.”
Born in White Rock, Everett grew up in Tsawwassen. She got into acting through various avenues, including Gateway Theatre and high school productions. During a three-year internship with the Riotous Youth program at Bard on the Beach, she helped create A Shakesperience and Shakespeare Unhinged. She also participated in the InTune Young Company Intensive with Touchstone Theatre and with the Stratford Theatre Performance Intensive.
In the course of her university studies, Everett has performed in many theatre and some film productions at UBC, as well as in other theatre productions. In her fourth and final year of UBC’s bachelor of fine arts acting program, Everett graduates in May.
“I’m hoping to get a film agent and, ideally, work in both film and theatre,” she said of what comes next. “I am keen to explore more devised performance, Shakespeare and the contemporary Canadian theatre scene. What I love about this line of work is that it scares me and challenges me to always keep learning, whatever the future may hold.”
Everett’s love of theatre came from her maternal grandmother, Irene N. Watts, who most recently has published Seeking Refuge (2016), a graphic novel, with Kathryn E. Shoemaker, which is a sequel to the graphic novel version of Goodbye Marianne. (See jewishindependent.ca/meet-award-winning-artists.)
“Her most well-known trilogy includes the novel (adapted from the play) Goodbye Marianne, which draws from her experience as a child Holocaust survivor, arriving in England via the Kindertransport from Germany,” said Everett of her grandmother. “In England, she became a teacher and worked in drama education before coming over to Canada in 1968, where she continued working in children’s theatre, acting and directing.
“Her love for theatre trickled down to me, and I was incredibly fortunate to be taken to numerous productions over the years, and given seemingly endless supplies of plays and books. Our shared passion has created such a cherished and close relationship and, as Judaism has had such a deep effect on her life and storytelling, I am always eager to share and learn her stories. Coming from both Jewish and non-Jewish heritage on my father’s side, I have learned to appreciate and be open to different views of the world, especially when it comes to making art.”
Tickets for GOLDRAUSCH – which contains adult themes and language – can be purchased from ubctheatretickets.com or 604-822-2678.
Brian Linds reminisces about his bar mitzvah in Reverberations, which is at Presentation House Theatre until March 17. (photo from Courtesy PHT)
“There are so many wonderful, heartfelt moments in the stories that are told,” Brian Linds told the Independent about Reverberations. “Some are sad. Some are funny. But these same moments have been shared by us all.”
Reverberations opened March 7 at Presentation House Theatre. Created by Linds, a sound designer and an actor, it is co-produced by the theatre and Reverberations Collective with Mortal Coil Performance. Based on Linds’ life, some of the moments he shares with the audience are “his parents’ love story, a childhood act of betrayal, his bar mitzvah, his mother’s Alzheimer’s diagnosis and a moment of lucidity his mother experienced while in the late stages of the disease.”
“The idea for Reverberations came to me after I had created a couple of 10-minute sound performance pieces for pre-events during the SPARK Festival at the Belfry Theatre in Victoria where I live,” said Linds. “I created stories using only sound. These sound performances would play in unusual spaces in and around the theatre.
“I was so pleased with the results that I created three more mini shows and I came up with the concept of Reverberations as a full 90-minute show, using five spaces and four actors who interact with the soundscapes. The production premièred in 2017 as a main stage production of the SPARK Festival.”
The audience, divided into smaller groups of 20, also moves through the five performance spaces. About the première, which took place at Belfry Theatre, Lind remarks in the Vancouver show’s press material that “audiences enjoyed the novelty of moving from space to space and loved the idea that each group’s journey was a unique unfolding of the story told. They were also inspired to share with the performers and audience members their own experiences of loss, betrayal and love. It was deeply touching for our team to experience.”
It was the “immersive, personal and celebratory” experience that attracted Presentation House artistic director Kim Selody to Reverberations. “His creation honours the life of his mother, and what it feels like to lose someone to Alzheimer’s disease,” notes Selody. “Having lost my own mother in the same way, I was deeply touched by how Brian approached his experiences. His choice to end with a celebration is a touch of genius.”
During the writing process, Linds himself had revelations about aspects of his life.
“While I was creating a segment for Reverberations about my bar mitzvah,” he shared, “I found myself thinking about what it means for me to be Jewish. I discovered that who I am was formed and shaped because I was born Jewish. I like being Jewish. I’m a part of something pretty special. Come see the play and you will see.”
Some people will also want to come to the show for a touch of nostalgia, as Reverberations features a range of sound technology, from digital recordings to LPs and cassettes, reel-to-reel and 8-track tapes.
Linds came into sound design kind of by accident.
“I had been working as a professional actor for 25 years but, one day during a show, I was backstage with an actor who knew of my love of music and he asked me to design the sound for his play. It came very naturally to me and I haven’t stopped for 15 years,” he said.
“My favourite part of working on sound is that it gives me a chance to be on the other side of the footlights and work with directors in a completely different way. I love working with directors who collaborate and show me new ways to use my talent.”
The production at Presentation House Theatre is directed by Mindy Parfitt and is performed by Linds, Nicola Lipman, Victor Mariano and Jan Wood. Set and costume designer is Catherine Hahn, lighting designer John Webber and stage manager Heidi Quick.
Reverberations runs until March 17 and tickets start at $15. For more information, visit phtheatre.org/event/reverberations or call 604-990-3474.
Some of the 70 volunteers who helped out at Rose’s Angels Feb. 17. Event founder Courtney Cohen is holding the bags and Kehila Society executive director Lynne Fader is standing in the front, with the long sweater. (photo by Lianne Cohen Photography)
For most people, getting out of the house and being somewhere by 9 a.m. might be no big deal. For me, especially on a weekend morning, it’s a challenge. But, at least once a year, it’s a challenge I enjoy.
As the owner and editor of the Jewish Independent, I’ve known of Rose’s Angels since it launched six years ago, but only first participated last year in the packing of the more than 1,000 care packages for Metro Vancouverites in need. Courtney Cohen, who created the annual event in honour of her grandmothers, Rose Lewin and Babs Cohen, with longtime friend Lynne Fader, was among the 18 Jewish community members under the age of 36 who were honoured by the Jewish Independent with a JI Chai Award in December 2017 for doing good. Having made the personal connection, I headed out to Richmond Jewish Day School a couple of months after the JI Chai Celebration to help out. It was such a fun experience that I went again this year.
The atmosphere at RJDS is like “Old Home Week.” This time around, I drove there with a friend – she brought the muffins and I made the coffee. As before, I ran into several people that I don’t see often. A well-organized venture, Rose’s Angels, which is run under the auspices of the Kehila Society of Richmond, provides coffee and pastry for those who can wait till they get to the school for their fix. Lists taped onto the wall tell volunteers at which station they’ll be working.
I must have done an OK job last year because I was once again assigned to putting together glove and sock bundles, wrapped in ribbon, colour-coded to indicate whether the bundle was for men, women or children. So absorbed was I in the work and conversation that I can’t say what others were doing, but there was much bustling about and, by noon, a big truck and several cars were stuffed with boxes to be delivered.
This year, said Cohen, 70 volunteers put together 1,200 packages, filled with necessities from toiletries to books to food to warm clothing, thanks to donations of items and money. The packages were distributed by a couple dozen organizations, including Turning Point Recovery Society, Heart of Richmond AIDS Society, Light of Shabbat program, Jewish Food Bank, Richmond Food Bank, United Way, Tikva Housing, Richmond Centre for Disability, Touchstone Family Services, St. Alban’s Drop-In Centre, Richmond Mental Health Society and Richmond Food Aid.
Scheduled to happen around Valentine’s Day, this year’s Rose’s Angels took place Feb. 17.
“Watching firsthand our community come together to give back on a long weekend, with family and friends is quite amazing,” Cohen told me when I asked her what was the most fun aspect of the day for her. “Seeing people of all ages working together to help package the care packages in such an organized manner is really something to behold.”
Fader, who is co-executive director of the Kehila Society, also enjoys the communal feel, as well as the diversity of the group that gathers to help. “It is always a fun, well-spirited, well-oiled machine that puts months of hard work gathering all the items together to produce a beautiful bundle of items,” she said.
In looking to the future, Fader would like to see the annual event become “bigger, better,” serving “more recipients in our community,” referring to Richmond as a whole, not only its Jewish community. “Although Rose’s Angels is an annual project,” she added, “the Kehila Society is daily working with our community agencies and partners to assist on a daily basis.”
“I see the success of Rose’s Angels growing from year to year with the involvement of the community partners and individuals,” said Cohen. “Personally, I already see the success and fulfilment that Rose’s Angels has given our community at large. Receiving thank you phone calls, emails and messages from the recipient agencies reminds me of the impact that Rose’s Angels is making to so many individuals.”