No errors in Comedy

Josh Epstein, left, and Andrew Cownden in Bard on the Beach’s production of The Comedy of Errors. (photo by David Blue)

It’s summer in Vancouver and with it comes sun, surf and Shakespeare – that is, Bard on the Beach under the iconic red and white tents at Vanier Park. Celebrating its 26th season, the festival serves up an interesting mix this year: A Comedy of Errors, Love’s Labor’s Lost and King Lear, from the pen of the Bard himself, and a contemporary piece, Shakespeare’s Rebel, by local author Chris Humphreys.

Opening night of Comedy of Errors on June 13 saw the always dapper artistic director Christopher Gaze welcoming the crowd under the big tent of the BMO Stage and, for the first time in the history of the festival, acknowledging that the land upon which the tents are pitched for their annual sojourn is ancestral, traditional and unceded aboriginal territory. Deborah Baker of the Squamish Nation gave greetings and performed a traditional drum song.

Comedy of Errors is one of Shakespeare’s earliest works, the shortest in his repertoire, and it contains the zaniest of his plots. It is the tale of two sets of identical twins, one aristocratic, the other, their boy servants, with the pairs separated in the aftermath of a shipwreck. The family patriarch, Egeon, has spent years looking for his lost progeny and servants. His search takes him to the town of Ephesus, where he is captured and sentenced to death (no one is supposed to come to Ephesus without permission) but receives a last-minute reprieve to look for his sons and to find money to pay the fine.

It just so happens that one of the sons and his servant ended up in Ephesus while the other two ended up in Syracuse. Both sons are named Antipholus and both their servants, Dromio – all of this sets the stage for a frenzied journey through mistaken identities, hilarious hi-jinks and the ultimate sibling reunification when the Syracuse pair show up in Ephesus.

But what a journey. Think Edward Scissorhands meets Little Shop of Horrors meets Metropolis, and you have director Scott Bellis’ (who does double duty as Egeon) fantastical steampunk version of this production. What is steampunk? A mix of sci-fi electronics and gadgets set against a pseudo-Victorian era background as stylized by authors like Jules Verne, H.G. Wells and Mary Shelley.

The production is a bit over the top with its madcap bits and bobs – a hand-eating Venus fly trap, a communal lobotomy by a mad scientist, a creature trying to escape from a boiling soup pot, a Michael Jackson-like moonwalk, a bubble-shooting gun and a flatulation moment – and its frenetic pace. It is mostly fluffy fun although if you are looking for some meaning, there are three love stories intertwined with the humor. Shakespeare purists will probably cringe in their seats. But the opening night crowd was eating it up and this unique approach should bring in younger audiences and make the Bard’s words more accessible to a wider demographic. This reviewer loved it!

The acting is solid from the ensemble cast, many of whom do double and even triple duty in various roles: Ben Elliott as one Antipholus, Jay Hindle as the other, Jeff Gladstone as the mad Dr. Pinch, Andrew McNee as the grunting cook Nell, Daniel Doheny as the chambermaid, Lilli Beaudoin as the foxy courtesan, Jewish community member Josh Epstein as the smuggler, Andrew Cownden as the goldsmith, Sereana Malani as the Ephesean Antipholus’ overbearing wife, Lindsey Angell as her nerdy sister and Anna Galvin as the abbess, who makes her first appearance on stage in stilts. But it is the pint-sized Dromios, played by Dawn Petten and Luisa Jojic, who give the standout performances of the production. In their aviator hats and goggles, they really do look like identical twins. Petten, in particular, takes her role and runs with it with impeccable comedic timing and one of the best “ad lib” lines in the play, “Call before you dig.”

What really makes this production sublime are the visuals. The set is fantastic, a wall of steam-powered widgets, sprockets and gears dominated by a one-handed clock with a mind of its own, all kept in working order by shadowy, silent engineers constantly tweaking the machinery with wrenches and hammers. The play begins with one of the engineers pushing a big red button and, all of a sudden, the empty stage becomes a mélange of color and activity as the cast appears through a smoky haze, some through the many trapdoors in the floor, some out of the bowels of the machines, some appearing to drop out of the sky – all courtesy of community member Tara Cheyenne Friedenberg’s terrific choreography.

This dreamlike mechanical dance sets the tone for the whole evening. Mara Gottler has outdone herself with the costumes – lots of leather, lace-up boots, corsets, garters, black lace and accessories like aviator goggles, gas masks and leather bat wings. Gerald King’s lighting and Malcolm Dow’s sound design are the icing on this macabre cake.

Just as the action starts with a push of a button so does it end, with the shutting down of the machinery after the final revelations. This is one production that you can just sit back and enjoy, pure and simple fun.

Comedy runs to Sept. 26. For the full Bard schedule and tickets for any of this season’s offerings, visit bardonthebeach.org or call the box office at 604-739-0559.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

The same old stories

Aubrey Joy Maddock as John the Baptist, left, Andrew Cohen as Judas and Jennifer Copping as Jesus in Arts Club Theatre’s Godspell. (photo by David Cooper)

Before I attended Godspell, I was not familiar with the story or with the parables of the Gospel of Matthew, from which much of the content is taken. I did, however, know what a parable was, I knew that the play has been extraordinarily successful and I recognized the name of at least one song – “Day by Day” – so I assumed I had nothing to worry about.

I was wrong. By the end, I still didn’t get why this play has been so popular.

Godspell is essentially a series of vignettes that draw analogies between Matthew’s words and day-to-day life. It includes lessons such as, “Judge not, lest ye be judged,” “He that is without sin among you, …” the Prodigal Son, etc. Jesus relates these didactic stories to a group consisting of nine people that include a police officer, a waitress, an architect and a vamp. Judas and John the Baptist round out the cast of 12.

In each presentation of Godspell, the setting of the play, the costumes and some of the characters change. Updated scripts allow for the inclusion of cultural or geographic references that are familiar to the audience.

In the Arts Club production, the cast meet in a train station and the play unfolds as a game show where contestants participate based on the color of the shoes they’ve been given. Gospel analogies are acted out using modern story lines, including characters from Star Wars or rap songs.

To me, the play came across as a bunch of children’s shows that had been stitched together. I felt like I was back in elementary school, only instead of Smokey the Bear talking about forest fires, it’s Jesus and he wants you to avoid being stoned to death.

I found some of the skits infantile. In one case, the cast sing and talk like goats; in another scene, an audience member is pulled up to participate on stage resulting in some bad improv. And don’t get me started on the slapstick.

Godspell was an instant hit. It went from being a college student performance at Carnegie Mellon University to an experimental theatre production in Greenwich Village to being re-scored and opening off Broadway in 1971. John-Michael Tebelak originally wrote the play for his master’s thesis, having become enamored with the Gospels. Stephen Schwartz, a Carnegie Mellon alumnus was brought in to score. The award-winning Schwartz has become famous for his work in Wicked, as well as Enchanted and The Prince of Egypt. Tebelak was actually named most promising director of 1971 by the New York Drama Desk, but passed away at age 35 of a heart attack.

The show ran for five years off Broadway with an astounding 2,100 performances. The 2015 run in Vancouver is its sixth revival.

It had a particularly famous yearlong run in Toronto in 1972 with a cast that included Victor Garber, Gilda Radner (in her stage debut), Martin Short, Paul Shaffer, Eugene Levy, Andrea Martin and Dave Thomas. When I read about this production, I thought what an amazing show it must have been – staged at the Royal Alexandra Theatre, with that magnitude of talent. Maybe a show about the Bible needs a venue of biblical proportions, along with fire-and-brimstone effects that stun the audience with shock and awe. Perhaps the performance at the Arts Club was just too small.

Either way, despite my lack of interest in this particular telling of the parables, I have to tip my hat to the high calibre of quadruple-threat talent (singing, acting, dancing and, in many cases, playing an instrument) on stage. Andrew Cohen in particular stands out in his supporting role of Judas.

Godspell runs at the Arts Club Granville Island stage until Aug. 1 (artsclub.com).

Baila Lazarus is a freelance writer and media trainer in Vancouver. Her consulting work can be seen at phase2coaching.com.

Receptionist to owner

When Judy Spackman, 61, started working as a receptionist at Cando Rail Services Ltd. in Brandon 25 years ago, she felt it was a good starting place and the people were nice. Little did she know that, one day, she’d be an owner.

Born and raised in Neepawa, Man., Spackman moved to Brandon in 1987 to attend community college in the administrative accounting program. After graduating, she worked as an order operator at Richardson Greenshields for two years before coming on board with Cando.

photo - Judy Spackman
Judy Spackman (photo from Judy Spackman)

At Cando, she started out as a receptionist before moving into the accounts payable and receivables section. She later moved to the company’s offices in downtown Brandon. Today, she works for the abandonment department as their administrative assistant for trucking and rail logistics.

“Cando Rail is a railway associated company,” said Spackman. “Anything that they do has got to do with a railroad in one way or another, from tearing up abandoned tracks and building new tracks to selling components of the track.”

Seven years after she joined the company, Cando’s owner introduced Judy SpackmanJudy Spackmanan employee share ownership plan (ESOP). Unsure at first if she wanted to opt in, Spackman changed her mind when she saw the returns some of her colleagues were taking home.

“It happened in 1996,” said Spackman about the ESOP. “It was something that Gord Peters, the owner, knew about. He understood the process of employee ownership and thought it would be a good fit for Cando employees.”

Some employees went into it right away. “By year two, you could see what those people got, the share payout – putting their money into the company, they shared its profit,” she said. “That got me thinking that it was a good idea, so I started working the second year, trying to make sure I had enough matching funds to be able to participate in the program.”

In 1996, shares in Cando were worth $2.74. They are now worth more than $40.

The ESOP is set up as a retirement savings plan, wherein employees can make monthly contributions. “They helped us set something up within the company to be able to contribute to an RSP through payroll deduction,” explained Spackman.

Everybody qualifies to buy a block of shares, according to a formula based on a percentage of their T4 or total earnings. Also, employees are given a $100 bonus for every year they have been with the company. “Say they made $50,000, that’s times four percent, so they would get $2,000 of a match there,” she said. “And, for me, I’ve been with the company for 25 years, so I get $100 for every year I’ve worked. So, I get a $2,500 match…. I’d qualify for a $4,500 match.… If I bought $4,500 worth of Cando shares, they’ll match those funds and give me $4,500.

“So, now I have $9,000 worth of Cando shares…. The formula and the calculation is the fairest way to do it.

“You don’t have to do that match if you choose not to. You could only put in $2,000, then they will only match you the $2,000. If you don’t match your true potential, you don’t get that potential match. So, it gives you the initiative to make sure you put away enough to cover your match.”

Spackman’s first-year share block investment is now worth more than $25,000. She has created a spreadsheet to keep track of her shares and their growth and, as she is nearing retirement, she has made a second spreadsheet called, “Retirement.”

“Knowing the difference between RSP and non-RSP, and knowing the best way to have a mix of both and how to be diversified is key,” said Spackman. “You don’t want all eggs in one basket.

“It does make you learn a lot about finances and projections, and looking past today and into the future – doing calculations to make sure you have enough in your retirement fund.”

There is no pension offered at Cando. Instead, by creating this program, Peters gave his employees a way of creating their own pension plan.

“It’s an individual choice of how much you want to go in,” explained Spackman. “You can max everything into this and make it grow. Some are uncomfortable going in very much, [but] when they learn the system and see and do calculations, they realize the potential of growth is amazing.”

Peters’ philosophy is that employees work hard to make a company successful and that they should share in the success; shares in ownership give employees a more vested interest in the company.

“He takes great pride in people who learn the program and understand the financial and growth side of the program,” said Spackman of Peters. “I think it’s a viable program for any company and is feasible and acceptable for companies to run a program like this and be successful.”

The ESOP has helped Cando’s performance because employees who are also shareholders benefit directly when the company does well. There are “quarterly reports on how the company is doing, so we know throughout the year what’s going on and it tells us [about] new business, what’s coming up, giving us an idea of what the company is doing and how it is growing,” explained Spackman.

Every May, the projection/payout conversation starts, and the employees go back to work for another year. It’s like playing the lottery except in this case they are guaranteed to win as long as the company grows and they have some shares.

“There is a possibility that some years we may not get a payout or a big growth in the company, like this year,” said Spackman. “Worst-case scenario, it may stay the same one year. But, that’s OK, because we retain … our shares.

“You have to be in the real world. There is potential for this to go down. In 18 years, I haven’t seen it go down, but you have to keep that in mind. You have to have other investments.

“Being a Cando shareholder gives me pride, being an employee-owner. It’s an avenue for a comfortable retirement and a financial education that benefits my personal financial practices.”

Rebeca Kuropatwa is a Winnipeg freelance writer.

Parents’ silence hurts

Hundreds of thousands came out to watch Toronto’s Pride Parade on June 28 despite the inclement weather. (photo by Najin Lin via facebook.com/pridetoronto)

Years ago, at a particularly low point, Chaim Silver (not his real name) was so desperate to be straight that he ingested a white powder that a naturopath had sent to him by mail, claiming it had “cured” a lesbian of her same-sex desires.

“I actually took it,” Silver laughed over the phone. “It was before anthrax, before 9/11.”

Silver is Modern Orthodox and came out to his parents when he was in his late 20s. While they’ve never explicitly rejected him, he said their approach has always been, “We can fix this.”

Over the years, they’ve oscillated between encouraging Silver to marry a woman and presuming he’ll accept a life of celibacy. “They’ve said to me, ‘You’ll just make your life about your siblings’ kids,’” said Silver, who is now in his 40s.

They’ve also suggested he try reparative therapy, a controversial practice that aims to make a homosexual person heterosexual. But, more than anything, Silver’s sexual identity is something about which his parents, plus many people at the Orthodox synagogue he attends in Toronto – most of whom, Silver believes, know about his sexuality – say nothing.

He once went away on a trip with a non-Jewish boyfriend, he noted, and nobody in his family acknowledged it.

“At synagogue, if I’m single, celibate and alone … I don’t think anyone actually cares … they’ll give me aliyot. But if I’m going to have a partner and want a life that’s celebrated, I don’t think that can happen in orthodoxy.”

On the whole, Silver said he’s grown pessimistic about the notion – touted by activists such as Rabbi Steven Greenberg, dubbed the only openly gay Orthodox rabbi in North America – that Orthodox Judaism can make space for homosexual people. “The two seem incongruous to me. [Being gay is] this innate thing that’s felt to be prohibited,” Silver said. “Not everything can be fixed in life. As you get older, you realize that some things just suck.”

Silver’s cynicism and his parents’ denial are arguably more acute because of Orthodox Judaism’s strict adherence to Torah, but anecdotal evidence shows that many Jewish parents from more liberal denominations are also uncomfortable having an LGBTQ kid and default to silence on the matter.

Justine Apple, executive director of Kulanu Toronto, a Jewish LGBTQ social and cultural group, said Jewish parents, ranging from secular to Modern Orthodox, have reached out to her, seeking counsel about their children’s sexual orientation. “People who are Orthodox tend to have a harder time dealing with this but, at the end of the day, it’s an individual process,” she said. “There are still so many parents in the community who know their kids are gay but are very secretive about it.”

Apple said when she herself first came out, her family, who have since made huge strides, didn’t want to hear about her personal life, making her feel “invisible.”

Many parents won’t ask their LGBTQ children about their romantic lives due to internalized homophobia and ignorance about what it means to be gay, she said. “A lot of parents equate being gay with what happens in the bedroom. But queer Jews, like any Jews, connect to their loved ones on multiple levels – emotional, spiritual, intellectual.”

Parents should recognize that being gay isn’t a choice and doesn’t negate that “we still have Jewish values, we’re still connected to family, community,” Apple said. “It’s important for parents to give kids support, make them feel part of family gatherings and ask them what’s happening in their personal lives.”

Apple said she reached out to several LGBTQ Jewish colleagues and friends to see if their parents would speak to the CJN about their experiences of their children coming out, but all of the parents declined. “It seems to be a sensitive topic for parents, more so than for their children,” she noted.

Maya Benaim (not her real name) came out a decade ago to her parents, who belong to a Conservative synagogue. She joked that she wishes they had taken some kind of course. “They didn’t understand it, and I wasn’t the person who could explain. It was too personal for me,” she said.

Over the years, her parents have rarely inquired about her partners and haven’t known how to act when one of her relationships ended. “I learned not to mention stuff.… I’d be going through tremendous pain from a breakup and would have to hide it from them,” she said.

Benaim, 30, said she’d be happy for her parents to seek external support – “anything that would contribute to understanding and de-stigmatizing and improve our relationship” – but she’s adamant that the onus not be on her to “hold their hands” through the process. “I’m already in pain enough from them not understanding,” she said. “I’d really appreciate if the community stepped in for that sort of thing. I think that’s what being an ally is about – doing that work so the people who are the victims of misunderstanding or hate don’t have to.”

Toronto social worker Elsia La Caria works with adolescents and young adults. She said for someone who’s come out, negative reactions from parents typically aggravate existing issues. “The person is often already struggling with feelings of not being accepted, so when the people closest to them don’t provide the right support, this can exacerbate their feelings of loneliness, sadness and feeling excluded,” she said.

Regarding parents’ silence about a child’s sexuality, she said, “this can reinforce the idea that they’re different in a bad way, that they don’t belong anywhere.”

Rabbi Michael Dolgin is senior rabbi of Toronto’s Reform Temple Sinai Congregation, where he and associate Rabbi Daniel Mikelberg officiate at same-sex weddings.

Canada’s legalization of same-sex marriage has helped affirm that “same-sex life is consistent with a focus on family, continuity and other Jewish values that I think, in the past … people assumed [LGBTQ people] were breaking with,” Dolgin said.

While parents of LGBTQ kids occasionally seek his guidance, Dolgin said young people nowadays generally seem more comfortable “being out,” and the North American Federation of Temple Youth, the youth group affiliated with the Reform movement, is widely considered a safe space for LGBTQ youth to participate without “the stress of having to choose between being Jewish and being homosexual.” The best response to a child who has come out is to love them, to listen and to work toward “an open, understanding relationship in which they can express their feelings,” he added.

Apple stressed that parents have a responsibility to educate themselves about what it means to be gay and Jewish. Kulanu’s doors are open to those seeking a safe space to discuss this, she said, but support is offered on more of an informal basis and she may refer families to Jewish Family and Child Service, and non-Jewish organizations such as PFLAG Canada and the 519, a Toronto agency that “respond[s] to the evolving needs of the LGBTQ community, from counseling services and queer parenting resources to coming out groups, trans programming and seniors support.”

“Right now, our goal is primarily to run events for the LGBTQ community and its allies,” said Apple.

Resources geared to Jewish families in this situation are only available in Canada “in pockets,” and are less abundant than in the United States, she acknowledged.

There’s a need in the community for more “open forums [for parents] to share their fears and concerns,” Apple said, adding that she sees future opportunities for Kulanu to develop a network to help parents who are struggling.

Indeed, Silver’s sense of hopelessness is tied, at least in part, to location. Toronto’s Jewish community is quite religiously conservative, unlike New York’s, where a Friday-night minyan of Orthodox LGBTQ Jews launched last year, he said.

Dating has been tough as it is – a secular Jewish partner couldn’t understand why Silver wanted to belong to a world that didn’t accept him, while a non-Jewish boyfriend wouldn’t give up Christmas – without the added problem that many in his position have left the Orthodox community or remain in hiding. “Many of us have simply disappeared,” he said, “so it’s not an issue the Orthodox community feels they have to face.”

Rabbi Noah Cheses, assistant rabbi at Shaarei Shomayim Congregation, one of Toronto’s largest Modern Orthodox shuls, said that supporting young people and their parents as the former share their sexual orientation with family and friends is an issue he cares deeply about. “But I try to take a line that distinguishes between supporting and endorsing. It’s a fine line. I can support an individual with the struggles he or she has, but I’m reluctant to endorse a lifestyle or culture that runs in opposition to a verse in the Torah, though I understand that being gay is not a choice,” he said.

Having recently moved to Toronto from Connecticut, he said he knows of several groups and online networks that support LGBTQ Orthodox people and their families there, but he isn’t aware of similar organizations in the Toronto area.

“On many different social and gender-related issues, my sense is Toronto has been not as advanced as many modern Orthodox communities in the States,” he said.

– For more national Jewish news, visit cjnews.com.

מיועד לעשירים בלבד

תה ‘פו-אר’ נדיר מסין מוצע למכירה בשש מאות אלף דולר. (צילום מסך: theprovince.com)

תה שנראה עם עוגה ועוגה שהיא בעצם תה: תה ‘פו-אר’ נדיר מסין מוצע למכירה בשש מאות אלף דולר

מיועד לעשירים בלבד: לאחרונה מוצע למכירה באזור ונקובר תה ‘פו-אר’ נדיר במחיר שיא של שש מאות אלף דולר. מדובר בתה שחור מותסס שיוצר במחוז יונאן בסין לפני מאה וחמש שנים ב-1910. התה היוחדי ארוז בחבילה עגולה ודחוסה היטב היטב, שדומה ממש לעוגה ומשקלה שלוש מאות וחמישים גרם. בעולם יש כיום לפי הערכה רק ארבעים ותשע ‘עוגות תה’ מאותה שנה (1910) וכולן אגב נמצאות באי הונג קונג. זאת למעט עוגת תה אחת שהובאה במיוחד לוונקובר, בעיקר כיוון שסינים עשירים רבים מתגוררים כאן. בדומה לחפצי אמנות לאספנים, ‘עוגות התה’ הנדירות נשמרות בכספות מיוחדות עם טמפרטורה ולחות מבוקרים. לדברי מומחים התה נחשב למדהים בטעמו. אך ברגע שמחליטים לפרק את העוגה לצורך שימוש בתה, ערכה הכספי בקרב האספנים יורד משמעותית.

‘עוגות התא’ נרכשות בדרך כלל בסין לציון אירועים חשובים ביותר כמו חתונות ולידה של תינוקות. לפי המסורת הסינית קיסרים ונזירים היו נוהגים לשתות את ‘הפו-אר’ והתנהלו אף מלחמות להשיגו, בגלל תכונות המרפא היחודיות שלו.

תה ‘הפו-אר’ עובר תהליך חליטה מורכב וארוך, והייבוש בחדרים עם לחות גבוהה ואף רוח כולל גם תהליכי יישון (בדומה ליין), שנמשך לפעמים אפילו חמישים שנים. ככל שהתה מתיישן יותר עך איכותו וערכו הכספי עולים, בדומה ליין אדם איכותי וויסקי איכותי.

 אהבה בלתי אפשרית ממרחקים: קנדי מוונקובר טס עד לסין לחפש בחורה שהכיר דרך האינטרנט

סיפור אהבה מהסרטים שלא נראה שיוכל להחזיק מעמד במציאות. קנדי בן שישים מוונקובר שהכיר צעירה סינית דרך אחד מאתרי היכרויות באינטרנט, מאמין שהוא יצליח למצוא אותה בעיר שבה היא גרה. אשרי המאמין אם יש כאלה בכלל. אך יש למלון בעייה אחת לא פשוטה ואפילו גדולה: הסינית שלו אמורה לגור בעיר הנמל שנג’ן, שגרים בה לא פחות מעשרה מיליון איש.

ג’ק מלון המקומי הכיר כאמור באתר ההיכרויות צעירה נאה למראה בשם רילי. במשך קרוב לשנה הם התכתבו והתכתבו ושלחו אחד לשני כמעט כארבע מאות אימיילים. כאשר מלון התחיל לדבר עם רילי על כך שהגיע הזמן לקיים פגישה ממשית ביניהם ולא רק להמשיך בקשר הוירטואלי, לדבריו היא קיבלה פתאם “רגליים קרות” וניתקה את קשר עמו. מלון המאוהב המאוכזב עד מאוד וכמעט נואש, החליט שהגיע הזמן לעשות מעשה של ממש. הוא פשוט עלה על מטוס וטס מוונקובר לשנג’ן הרחוקה, בניסיון בלתי אפשרי ממש למצוא את אהובתו מהאינטרנט.

מלון הפך את עצמו למדיה נעה. הוא מסתובב בשבועות האחרונים ברחובות השוקקים והעמוסים לעייפה של שנג’ן כאשר שלט גדול מוצמד לגופו, ועליו מודבקים תמונתה היפה של רילי ומספר פרטים מעטים שיש לו עליה. ומעל התמונה מופיע בגדול הסלוגן “אהובך הקנדי מחפש אותך”. הקנדי המוזר למדי עוצר עוברים ושבים ברחוב שמביטים בפליאה על השלט שעליו. הם שואלים שאלות ומנסים לשמור מרחק, וגם הוא שואל מצדו שאלות ומחפש מידע עליה. בשלב זה מלון לא השיג שום דבר על אהובתו היקרה, למעט עובדה אחת מאוד מצערת שנתגלתה לו, ולאולי מרמזת על עתיד הקשר ביניהם. כשהגיע מלון לכתובת בה הייתה אמורה להיות ממוקמת חברת הבגדים בבעלותה של רילי, הוא מצא שהעסק הזה שכביכול היה שלה נסגר כבר לפני שנים רבות.