It would be fun to be a fly on the wall at Vancouver Talmud Torah on Feb. 14 as Richard Ho reads from his book Two New Years, illustrated by Lynn Scurfield, and discusses it with the children. Being that the story is based on his own life experience, he will likely be quite animated (pun intended) and his enthusiasm, combined with Scurfield’s bright, colourful and joyful art, will no doubt hold their attention.
Ho has several kids books to his credit and, according to his website, more on the way. Two New Years highlights the differences and similarities between Rosh Hashanah and the Lunar New Year, both of which he celebrates.
The book notes the differences first: Rosh Hashanah takes place in the fall, is based on the Jewish calendar and began in the Middle East, and the Lunar New Year generally falls in spring, is based on the Chinese calendar and began in East Asia. “They represent different peoples with different histories, cultures and traditions,” he writes. “But in many ways they are also alike.” The many similarities include that each holiday is a chance to “try on new beginnings,” to “bring family home” and “remember the ancestors who live in our hearts,” to eat “foods that symbolize togetherness and the heartfelt sharing of good wishes,” among several other things.
In the author’s note, Ho shares that he converted to Judaism as an adult and that “the blending of two cultures was a conscious choice” for him. These days, he revels in experiencing both new years through the eyes of his children. “The best part?” he asks. “They’re not alone! All over the world, families with mixed backgrounds are blurring the barriers between cultures and customs. With the guidance of parents, grandparents and extended family on all sides, many children are weaving an increasingly diverse tapestry of celebration.”
The book features an eight-page illustrated glossary that’s as interesting to read as the story: it explains what a lunisolar calendar is, and some of both holidays’ rituals and symbols. It is followed by questions that readers can use to facilitate a discussion with others about their own traditions.
Lemon loaf using a recipe by Jo-Anna Rooney, creator of A Pretty Life in the Suburbs. (photo from aprettylifeinthesuburbs.com)
So, a husband walks into Costco … with no shopping list. And what happens? He comes out with $200 worth of steak, a 10-pound bag of lemons (which, by my calculations, will make about 300 whiskey sours), 12 jars of capers, eight boxes of latex gloves, a snow blower, two big boxes of chocolate truffles and 98 rolls of toilet paper.
I am left wondering: what the hell am I supposed to do with a snow blower? We live in an apartment in Vancouver. And we’re not the caretakers. I ask my husband, “What’s up with the snow vehicle?” He just shrugs. Like, maybe he plans on relocating us to Winnipeg? “It was on sale,” he says.
I continue my interrogation. “So, are you planning to resell it on Facebook Marketplace, since you have it on good authority that there’s going to be a monstrous snowstorm coming to Vancouver? Or did you buy it as a gift for our cousins in Michigan?”
Just when I think he’s going to take up the challenge of my inquest, he demurs. I guess it’s not the snow hill he wants to die on.
My very next thought is: what the heck am I supposed to do with 10 pounds of lemons? Don’t say “make lemonade,” because, well, that’s seasonal. I consult with my BFF, Google, and she tells me that the best thing I can do with lemons is make lemon loaf. By now, she’s figured out that I love old school recipes. Being the compliant (and lazy) baker that I am, I gather my ingredients and have at it. Despite that it’s a classic 1960s/1970s dessert, I’ve never made it before. But, since everyone tell me a chimpanzee could make it (like that’s supposed to make me feel better about myself), I can hardly sidestep the challenge.
Long story marginally shorter, my husband and I demolished the whole lemon loaf in less than 24 hours. OK, make that 12 hours. I’m pleading the fifth. Wow, look what I just did with the math there. Anyhow, I baked, I fought, I ate. The fighting came into play when the last piece of lemon loaf was left.
LEMON LOAF (a recipe by Jo-Anna Rooney)
1/2 cup butter (or margarine) 1 cup granulated sugar 2 large eggs 1 1/2 cup all-purpose flour 1 tsp baking powder 1/4 tsp salt 1/2 cup milk zest of 1 medium lemon (but not the juice) ** juice of 1 medium lemon 1/4 cup granulated sugar
Preheat oven to 350°F and then prepare an eight-inch-by-four-inch loaf pan by lining it with parchment paper. Set it aside.
With a mixer, cream together the butter and sugar. Add in the eggs, one at a time.
In a separate bowl combine the flour, baking powder and salt. Add half of the flour mixture to the butter mixture. Then add half of the milk. Add the remaining flour mixture. Mix in the remaining milk and lemon zest. Bake for 45-55 minutes, or until a toothpick inserted into the centre comes out clean.
While the cake is baking, combine the juice from one lemon with 1/4 cup granulated sugar.
When the cake is baked, take it out of the oven and pierce holes in it with a thick bamboo skewer or a sharp knife – make sure to pierce to the bottom of the loaf so the lemon juice mixture can get right down into the cake. Pour the lemon juice/sugar mixture over the warm cake. Let it sit. This cake is even better the next day, and there is no need to refrigerate it.
Tip: I used parchment paper, like the recipe called for, but, next time, I’d just grease the loaf pan and bake it that way. The parchment paper allows for easier removal from the pan so that you can present it prettily on a plate, but who are we kidding, it won’t last a day, so just eat it straight out of the loaf pan. You’re welcome.
After I made the lemon loaf, I realized it was almost time for dinner. Not feeling particularly inspired, I browsed through my mother’s old National Council of Jewish Women Cookbook from the 1960s, hoping for a quick fix. Honestly, I have no idea how housewives raising families in the ’50s and ’60s managed to come up with a different dinner day in and day out for decades. Donna Reed, with her poodle skirt and kitten heels. How did she do it? I can only surmise that she wasn’t serving Michelin Star meals every night. It was probably more like shepherd’s pie, liver and onions, fish sticks or TV dinners (if the kids were lucky). Then I saw it: tuna noodle casserole! Thankfully, it wasn’t my mom’s version, which tragically included chow mein noodles and canned mandarin oranges on top. I want to gag just thinking about it. My version was neat but not gaudy, and it practically made itself. Once again, you’re welcome.
TUNA NOODLE CASSEROLE
2 cans of tuna fish 1 can of mushroom soup approx. 1 cup frozen carrots and peas approx. 1 cup grated cheese (any kind) pasta of your choice (enough for a few people) Panko crumbs salt & pepper to taste
Preheat the oven to 400°F. Boil pasta as per the package and grate the cheese.
Once the pasta is ready, drain the water and add the mushroom soup, tuna, peas and carrots, and salt and pepper. Mix it all together. Pour it into a large casserole dish and top it with the grated cheese and Panko crumbs. Bake for about 20 minutes or until the cheese bubbles and gets slightly brown.
Sure, you could fancy this up using Gruyere cheese and organic, gluten-free pasta, with chopped up fiddlehead greens instead of carrots and peas, but, seriously, why would you want to? Stick to the KISS principle – keep it simple, silly. The proof is in the pudding: my husband and I both loved it. Judging by how he hoovered it down, he probably wouldn’t mind if I made it at least once a week. Hmm … maybe that’s why he just bought 36 cans of tuna at Costco.
I’m fully aware of how unsophisticated this recipe is but, hey, I never claimed to be a connoisseur of food. I did, however, claim the title of accidental balabusta. And it fits, right? Bon appetit!
Shelley Civkin, aka the Accidental Balabusta, is a happily retired librarian and communications officer. For 17 years, she wrote a weekly book review column for the Richmond Review. She’s currently a freelance writer and volunteer.
Left to right: Rabbis Susan Tendler, Hannah Dresner, Philip Bregman, Carey Brown, Andrew Rosenblatt, Jonathan Infeld, Philip Gibbs and Dan Moskovitz in Israel last month. (photo from facebook.com/jewishvancouver)
Eight Vancouver-area rabbis recently visited Israel where, among many other things, they handed out cards and letters prepared by Jewish day school students and members of Vancouver’s Jewish community to soldiers and other Israelis. The response, according to one of the rabbis, was overwhelming.
“I saw soldiers taking these cards and then dropping down to the sidewalk and crying,” said Rabbi Philip Bregman. “Holding them to their chest as if this was a sacred piece of text and just saying, ‘Thank you. To know that we are not forgotten….’”
The rabbis’ mission included the delivery of thank you cards to Israeli soldiers. (photo from facebook.com/jewishvancouver)
Bregman, rabbi emeritus at the Reform Temple Sholom, was almost overcome with emotion while recounting the experience, which he shared in a community-wide online presentation Dec. 17. The event included seven of the eight rabbis who participated in the whirlwind mission, which saw them on the ground for a mere 60 hours. Rabbi Andrew Rosenblatt of the Orthodox Congregation Schara Tzedeck was part of the mission but did not participate in the panel because he extended his time in Israel.
According to Ezra Shanken, chief executive officer of the Jewish Federation of Greater Vancouver, who emceed the event, the Vancouver mission was unique in Canada and possibly in North America for bringing together rabbis from across the religious spectrum. The close connection of most local rabbis, facilitated by the longstanding Rabbinical Association of Vancouver (RAV), set a foundation for the mission, which took place in the second week of December.
The eight rabbis transported 21 enormous duffel bags, filled with gear like socks, gloves, toques and underwear, mostly for military reservists.
The rabbis delivered warm clothing, including socks, to Israeli soldiers. (photo from facebook.com/jewishvancouver)
Shanken, who visited Israel days earlier with Federation representatives and five Canadian members of Parliament, said nothing prepared him for what he encountered there. Bregman echoed Shanken’s perspective.
“It’s one thing to have that as an intellectual understanding,” said Bregman, “It’s another thing when you are actually there to witness the absolute pain and trauma. People have asked me how was the trip. I say it was brutal.”
The reception they received from Israelis was profound, several of the rabbis noted.
“I’ve been to Israel dozens of times,” Bregman said. “People are [always] happy to see us. Nothing like this.”
Rabbi Dan Moskovitz, senior rabbi at Temple Sholom, said the mission was to bear witness and also was a response to what rabbis were hearing from congregants about the centrality of Israel in their lives. He told the Independent that he was able to connect with two philanthropists in Los Angeles who funded the mission. Rabbi Carey Brown, associate rabbi at Temple Sholom, and Rabbi Susan Tendler, rabbi at the Conservative Beth Tikvah Congregation, in Richmond, handled logistics, with input from the group.
The unity of Israelis was among the most striking impressions, said Brown.
“It’s so all-encompassing of the society right now … the sense that everyone’s in this together,” she said. The unity amid diversity was especially striking, she noted, when the rabbis visited the central location in Tel Aviv known as “Hostage Square.”
Brown said Israelis asked about antisemitism in Canada and seemed confounded by the fact that there is not more empathy worldwide for the trauma their country has experienced.
Tendler reflected on how Israelis were stunned and touched by the fact that a group of Canadians had come to show solidarity.
The rabbis were able to experience a microcosm of Israeli society without leaving their hotel. At the Dan Panorama Tel Aviv, where they stayed, they were among only a few paying guests. The hotel was filled with refugees from the south and north of the country who are being indefinitely put up in the city.
Several rabbis spoke of incidental connections in which they discovered not six degrees of separation between themselves and people they ran into, but one or two.
Rabbi Jonathan Infeld of the Conservative Congregation Beth Israel, who is chair of RAV, told of being approached by members of a family staying at their hotel who heard they were from Vancouver. They asked if the rabbi knew a particular family and he replied that he not only knew them but that a member of that family had just married into his own.
Likewise, Tendler ran into people who went to the same summer camp she did and the rabbis found many other close connections.
“The idea [is] that we are spread out but, at the heart of it all, we honestly really are one very small, connected people,” said Tendler. “We are one family, one community and that was the most important, amazing thing of all.”
Close connections or not, the rabbis were welcomed with open arms. Rabbi Philip Gibbs of West Vancouver’s Conservative Congregation Har El told of how he was walking past a home and glanced up to see a family lighting Hanukkah candles. They insisted he come in and mark the occasion with them.
Gibbs also noted that the political divisions that had riven the society before Oct. 7 have not disappeared, but that the entire population appears to have dedicated themselves to what is most important now.
The rabbis met with scholars, including Israeli foreign ministry experts and many ordinary Israelis, including Arab Israelis, as well as the writer Yossi Klein Halevi, who told them that many Israelis feel let down by their government, intelligence officials and military leadership.
The rabbis traveled to the site of the music festival where 364 people were murdered, more than 40 hostages kidnapped and many more injured on Oct. 7. They saw scores of bullet-riddled and exploded vehicles. All of them will be drained of fuel and other fluids before being buried because they contain fragments of human remains that ZAKA, Israel’s volunteer rescue, extraction and identification agency, could not completely remove from the vehicles.
Rabbi Hannah Dresner of the Jewish Renewal-affiliated Or Shalom Synagogue was not the only rabbi to compare the mission with a shiva visit.
“I was just so amazed at the care that was being given, that each of these vehicles was now being siphoned of any remaining flammable materials so that each one of them could be buried according to our halachah,” Dresner said, “so that none of the human remains would be just discarded as junk. I found that overwhelmingly powerful.”
Relatedly, the group visited an exhibit at Expo Tel Aviv, which recreates the music festival site and features unclaimed property from the site, including the historically resonant sight of hundreds of pairs of shoes.
The visiting rabbis went to an exhibit at Expo Tel Aviv, which featured unclaimed property from the music festival site where hundreds were murdered. (photo from facebook.com/jewishvancouver)
The rabbis visited Kibbutz Be’eri, where more than 100 people were murdered, and saw the devastation and destruction, some of it not from Oct. 7 but from days after, when explosives planted on that day detonated. It was also at this kibbutz that the Israel Defence Forces found a copy of the Hamas playbook for the atrocities.
“It sounded as if it could have been written by Eichmann or Hitler,” said Bregman. “[The intent] was not only to destroy the body but to destroy the mind, the soul, the psychology, the emotional and spiritual aspect of every Jew.”
The plan included strategies for setting fire to homes in order to force residents out of safe rooms, then specified the order in which family members were to be murdered – parents in front of their children.
As part of their mission to Israel, Vancouver rabbis visited kibbutzim that were attacked by Hamas on Oct. 7. (photo from facebook.com/jewishvancouver)
While the trip may have had the spirit of a shiva visit, the mood of the Israelis, Dresner said, was “can-do resourcefulness.”
“It’s felt to me over the past couple of years that Israelis have been kind of depressed,” she said, referring to divisive political conflicts. “But they are full force embracing their ingenuity and turning the energy of the resistance movement into this amazing volunteer corps to supply really whatever is needed to whatever sector.”
Groups that had coalesced to protest proposed judicial reforms pivoted to emergency response, she said, ensuring that soldiers and displaced civilians have basic needs met and then creating customized pallets of everything from tricycles to board games, bedding and washing machines, for families who will be away from their homes for extended periods.
The rabbis also went to Kibbutz Yavneh and paid their respects at the grave of Ben Mizrachi, the 22-year-old Vancouver man and former army medic who died at the music festival while trying to save the lives of others. They had a private meeting with Yaron and Jackie Kaploun, parents of Canadian-Israeli Adi Vital-Kaploun, who was murdered in front of her sons, an infant and a 4-year-old.
On the final evening of their visit, the rabbis hosted a Hanukkah party for displaced residents of Kiryat Shmona, the northern Israeli town that is in the Vancouver Jewish community’s partnership region.
At the party, Temple Sholom’s Rabbi Brown spoke with a woman whose two sons are in Gaza fighting for the IDF.
“I told her that we do the prayer for tzahal, for the IDF, in our services in our shul,” Brown said, “and she was so surprised and touched, and she said, ‘Keep praying, keep praying.’”
“Constellation” by Rosamunde Bordo. (photo by Sol Hashemi)
Every true artist at the start of their career undergoes a period of intense search: for their voices, for their themes, for their artistic expressions. Rosamunde Bordo is at that exciting stage now. She is searching. Her show at the Zack Gallery, Morning Star, reflects her creative explorations.
A professional artist today, Bordo has always loved art.
“As a child, I went to a school with a strong art program. I painted. I played saxophone. My parents always encouraged my interest in art,” she said in an interview with the Independent.
Rosamunde Bordo’s solo exhibit, Morning Star, is at the Zack Gallery until Feb. 7. (photo from Rosamunde Bordo)
After a bachelor’s in liberal arts and print media at Concordia University in Montreal (2014) and master of fine arts degree in visual art at the University of British Columbia (2020), Bordo teaches printmaking at UBC. But her artistic interests range much wider than printmaking. Her newly emerging passions include the creation of installations and woodworking.
“I started woodworking last spring,” she said. “In this show, I use different woods: maple, cherry, walnut. I’m fascinated by the process of turning wood into sculptures. In a way, woodworking is similar to printmaking. Both use technology but, unlike two-dimensional printmaking, woodworking offers three dimensions. In woodworking, I try to find the story of the material, try to immerse in material-based research to investigate the self as a created subject.”
Bordo began woodworking when she started her ongoing installation project, The Denise File.
“It is almost a work of detective fiction, written through physical space,” she explained. Using found postcards written to someone named Denise, Bordo “wanted to reconstruct who the elusive Denise is, to figure out what the letters meant, to show her essence through objects, sculptures and drawings.”
She built some wooden furniture for The Denise File – a screen and a chair – and wanted to do more, to explore all she could do with wood. Her current show, comprised mostly of several sculptures, has its roots in a Jewish magic class she took at her synagogue in 2021.
“I wanted to understand Jewish history, its mysticism and its superstitions,” she said.
Each figure on the gallery wall could have originated from the ancient writings of many nations.
“It could be ancient Hebrew or Aramaic or even Greek,” Bordo mused. “All the cultures in that region were interconnected. I see the entire show as a healing amulet, but I didn’t want to assign my own meanings to the individual figures. I wanted them to be mysteries for my viewers to investigate. I wanted the viewers to be detectives and I didn’t want to influence them with my personal vision, didn’t want to limit their imagination.”
That’s why she titled every “Constellation” figure with a number. “They could be stick figures – they are very simple – but I see them as constellations, stars connected to each other,” she said. “That’s why the show is called Morning Star. The world is a difficult place right now, and the morning star is a symbol of renewal.”
Bordo’s constellations are deceptive, looking a bit like wooden hieroglyphs, or perhaps molecular structures, each with its own character.
“The one with a leg sticking out of the wall – it wanted to be playful, maybe escape from the wall,” she said. “I was looking for harmony when I worked on them, but I didn’t want to force them into locked shapes. I wanted to give them their own personalities. Besides, I try to respect the wood I work with. It is alive. There are many ways one could interpret a wooden sculpture.”
In addition to the constellations on the gallery walls, there is also a video called Potion, which comprises four minutes of rotating green abstract patterns. Postcards with a single image from the video form another part of the installation. The text on the back of the postcards reveals the artist’s motto for this show: “Ideas are to objects as constellations are to stars.”
There is also a small table with a slab of pink salt on it.
“Placing salt in your pockets and in the corners of rooms was a well-known Jewish superstition to ward off malevolent spirits,” Bordo said. The table with the salt stands in the corner of the gallery, hopefully repulsing malice. We all need that in our troubled times, she explained.
The show opened Jan. 5 and will be on display until Feb. 7. To learn more, go to the artist’s website, withoutimages.com.
Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.
For Jews around the world, 2023 was among the most traumatizing years in recent memory. The advent of a new secular year, the turning of the calendar page to 2024, presents a figurative new beginning, some optimism and hope for a potentially better time. These emotions do not come easily right now, which is why the results of a recently released opinion poll seem right for the times, reflecting a little darkness and a little light.
An Angus Reid poll asked Canadians their opinions on the prevalence of antisemitism and anti-Muslim hatred and prejudice in Canada.
Addressing both types of prejudice – toward Jews and Muslims – 11% of respondents say there is “not really a problem at all in Canada.” However, about one in 10 respondents viewed antisemitism as a “minor problem” (11%), while 14% said the same about anti-Muslim hatred. More than half of respondents described antisemitism (52%) and anti-Muslim hatred (53%) as “a problem, but one among many others.” And just over one-quarter of respondents, 26%, said antisemitism is “a major problem requiring serious attention,” while 22% said the same about anti-Muslim hatred.
The overall impression left by the poll is that, among Canadians, there is genuine concern and recognition of these bigotries as an issue. Where more worrying numbers arise is when results are teased out based on Jewish and Muslim survey respondents. In both instances, perhaps unsurprisingly, members of the affected groups express the belief that the problems are of much greater severity than the general population seems to think. On the issue of anti-Muslim hatred and prejudice, 48% of Muslim respondents say it is a major problem, while 38% of overall respondents say it’s a problem, but one among many. The first number – with almost half of Muslims saying it is a major problem – is double that of overall respondents.
Meanwhile, 75% of Jewishrespondents said antisemitism is a major problem – almost triple the number of overall respondents who thought so. While a vast majority of respondents see antisemitism as a problem, to varying degrees, Jewish respondents are far more likely to view the severity of antisemitism as greater. Conversely, Muslim respondents were almost three times as likely as overall respondents (32% versus 11%) to say antisemitism is “not really a problem at all in Canada.” Fully 49% of Muslim survey respondents said antisemitism is a minor problem or not really a problem, indicating a schism in appreciation of the problem between these communities. Jewish respondents were slightly more acknowledging than overall respondents toward anti-Muslim bias, with 26% calling it a serious problem (compared with 22% overall), 55% as a problem but one among many (versus 53%) and only 4% saying it is not really a problem at all (versus 11%).
Polling is an imperfect science and recent electoral surprises have indicated its shortcomings in dramatic ways. Nevertheless, a poll of this sort probably captures fairly effectively the zeitgeist of Canadian opinion.
One indication seems to be that members of groups affected by prejudice and discrimination view them as much more serious problems than people who are not directly affected. It is human nature to be more concerned about things that affect us directly. However, when there are significant divergences of opinion around the seriousness of a social problem between people who are directly affected and those who are not, it is, at a minimum, a sign of a communication issue and potentially signals a threat to multicultural cohesion.
One might wonder whether those who experience antisemitism and anti-Muslim bigotry are not doing an effective job of explaining their experiences to the larger community, or whether the larger community is not listening – or, perhaps, a combination of both circumstances is at play.
It is often said that the first step in confronting a problem is the simple acknowledgment of its existence. What is absolutely encouraging is the apparently overwhelming recognition that these are problems that need addressing. There has been, in human nature and across history, a tendency among many people who are not affected by racism to be oblivious to it or to actively deny that it exists. We are fortunate that, if this poll is to be believed, we do not need to convince our neighbours that bias and discrimination are issues.
As we look ahead to the rest of 2024, as Jews and Canadians, let’s dedicate ourselves to tangible solutions to these problems and to really listening to other communities when they tell us they are facing prejudice and discrimination. These are two of the challenges we need to rise to meet.
Christopher Morris as Jacob in The Runner, which is at Fei and Milton Wong Experimental Theatre Jan. 24-26. (photo by Dylan Hewlett)
Since this article was published, PuSh has canceled the production. For the statement, click here.
Among the offerings of this year’s PuSh International Performing Arts Festival is Christopher Morris’s The Runner, which runs Jan. 24-26 at Fei and Milton Wong Experimental Theatre.
The one-man play is dedicated to Jakoff Mueller, a ZAKA member in Israel who died in 2018. The main character is Jacob, an Orthodox Jew with the Israeli volunteer emergency response organization. In one of the emergencies depicted, Jacob helps an injured Arab woman before he tends to a soldier, and his choice has significant repercussions. The actor in the role – in Vancouver, it will be Morris – performs the whole 60 minutes of the play while walking/running on a treadmill.
The Jewish Independent interviewed Morris by email before the playwright stepped back from doing media after a scheduled Victoria run of the play was canceled due to pressure from protesters, who objected to the story being told “from an exclusively Israeli perspective.”
JI: Can you share more about your relationship with Jakoff Mueller, how you came to meet him, to be invited into his home, and how he contributed to writing of The Runner?
CM: I first met Jakoff in 2009 at a small get-together in the house I was staying at in Jerusalem. This was during my first research trip to Israel to write this play. The owner of the house was a friend of Jakoff and she thought it would be interesting for me to speak with him, seeing as I was doing research about ZAKA. Jakoff was an incredibly thoughtful man with a great sense of humour, and we hit it off. He invited me to come and visit him where he lived in northern Israel and I did, over many occasions during the research trips I made to Israel. Though no event or fact from Jakoff’s life is represented in the play, his compassion for valuing all human life and his spirit of questioning is in the play. The world was a better place with him in it.
JI: When did you start writing The Runner and when and where did it première?
CM: My curiosity with ZAKA began when I was a teenager in Markham, Ont., in the 1990s. I heard a media interview about the work ZAKA did and it really struck me. I kept thinking that ZAKA’s work would be an interesting premise for a play but didn’t know how to do it. So, in 2009, I made my first trip to Israel to begin researching the play. I spent nine years (on and off) writing it and it premièred at Theatre Passe Muraille in Toronto in 2018.
JI: You’ll be playing the role of Jacob, but I see in much of the material Gord Rand as the actor. Are you stepping in for him, does the role rotate, is he no longer part of the production?
CM: Yes, I’ll be playing the role of Jacob in Vancouver. The show had critical success when it premièred in Toronto, winning three Dora Mavor Moore Awards (best script, best production and best direction for the late Daniel Brooks). We were receiving a lot of interest to tour the show, so we rehearsed in multiples of every role in the production (actor, stage managers, director, designers) in the event that one person from the original team may not be available. Daniel Brooks rehearsed me into the role so I could play it when Gord wasn’t available. Over the years, I’ve played it on and off a few times and am really looking forward to performing the role in Vancouver.
JI: You’ve written a one-pager offering guidance for venues presenting The Runner. Is there anything you’d add to that, given the Israel-Hamas war? Not only because tensions are higher, but, for example, there are direct parallels in the description of victims in the mass grave in Ukraine [where ZAKA members, including Jacob, travel in the play] and what happened to Israelis on Oct. 7, which could be triggering.
CM: It’s always been important when presenting The Runner in collaboration with theatres to give some social context when the show is being presented. I am always available to the staff at the theatre to offer any specific insight about the play in the context it’s being presented in. PuSh and I have been in constant contact about how to support the play and the audiences who will see it in January.
JI: When were the PuSh shows booked and, if there have there been other productions mounted since Oct. 7, what has reaction been overall?
CM: We’ve been discussing doing this show with PuSh for over a year and it was officially booked last May. We completed a run of the show from Nov. 2nd to the 19th, 2023, at the Thousand Islands Playhouse in Gananoque, Ont., and the reaction to the show was extremely positive. A few hours ago, it was publicly announced that the Belfry Theatre will not be presenting The Runner in March.
I support the conversations taking place in response to The Runner right now, I always think it’s important to discuss things. It’s hard to know how audiences will experience any play right now, let alone one set in Israel, like The Runner. But the power of this production, and why so many people have connected with it since it premièred in 2018, is that it’s a nuanced and thoughtful conversation about the preciousness of human life.
JI: Are you a member of the Jewish community? Either way, why did you choose to write a play about terrorism from the perspective of an Orthodox Jewish man?
CM: I’m not a member of the Jewish community. I was brought up Catholic but regard myself as an ex-Catholic (since the age of 13). I wrote a play about medical triage in the perspective of an Orthodox Jewish man because I wanted to write a play about ZAKA.
JI: I’m struck by what I interpret, perhaps mistakenly, as calls for humanity/morality only from Jews/Israelis, not from terrorists or people who see terrorism as a valid form of resistance. In the thinly veiled Gilad Shalit reference, for example, Jacob bemoans the un-Jewishness of Israel keeping the remains of dead terrorists in case of an exchange but he doesn’t seem to question the morality or humanity of the terrorists. Similarly, the only ones who seem to be called to account for killing in this play are Jews – presumably an Israeli shot the Arab woman in the back, an Israeli shooting an Arab protester leads to an Israeli boy being killed, a Jewish Israeli accidentally shoots another Jew when trying to shoot a terrorist, and another gunshot by a Jew, after a vehicular terrorist attack, has fatal consequences for a Jew.
CM: Because it’s a one-person show, Jacob’s view is a singular perspective, and I wrote about the unique situations he would be facing as a ZAKA member. Jacob is dismayed by all the violence that surrounds him and, throughout the play, he advocates for seeing all human life as equal. As a disempowered, isolated person, with limited interactions to people outside of his community, I believe Jacob feels his best bet to effect change is by addressing those around him.
JI:While ZAKA prioritizes victims over terrorists, other Israeli medical professionals are supposed to triage patients. In the play, an ambulance takes the Arab girl away and obviously keeps her alive. Why does no Jew in the play support Jacob or show him kindness?
CM: It is true that Israeli medical professionals give care to patients, like the ambulance described in the show that takes the Palestinian teenager away and a hospital which no doubt helped her with her wounds. When writing the complex character of Jacob, it was important to include examples in the play of how hard it was for him to connect to other people before he offers medical care to the teenager. This was important to create a complex human being and an interesting dramatic context. Jacob’s mother supports him and shows him kindness. As does the Palestinian teenager when he arrives unexpectedly at her door, and the Palestinian man who saves him by helping Jacob get to his car.
JI: There is a line in the play that has been highlighted by reviewers as powerful, and that’s [Jacob’s brother] Ari’s dictate about why he’s a settler on the land – “because it’s mine!” Again, this doesn’t come up in your play, but is relevant: the chant for Palestine to be free from the river to the sea. What hope do you see, or does Jacob see, if you’d rather – can one get off “the treadmill” alive?
CM: Though my play is set in Israel, I feel I lack the experience or expertise to offer a fully informed answer to the complexities of the overall conflict. But the biggest hope for me in the play and the only statement about life I feel I wrote (as opposed to the numerous questions I ask in the play) is Jacob’s description of how the Palestinian teenager treated him with kindness:
Her hand on my shoulder. Are you alright. That’s all that matters. Kindness. An act of kindness.
This is my offering for the complex world we live in.
To read my op-ed on the Belfry Theatre’s cancelation of The Runner, click here. To read other statements on the cancelation, including from Morris, click here.
For tickets to the PuSh Festival, which includes BLOT, co-created by Vanessa Goodman, and Pli, co-presented by Chutzpah! Festival, go to pushfestival.ca.
Christopher Morris as Jacob inThe Runner. (photo by Dylan Hewlett)
Since this article was published, PuSh has canceled the production. For the statement, click here.
The Belfry Theatre in Victoria has removed Christopher Morris’s play The Runner from its 2024 lineup. I can see why it did so – the threats of violence are real, and scary. But it was the wrong decision.
“The Belfry Theatre presents contemporary work, with ideas that often generate dialogue. That is why, a year ago, we decided to bring the much-acclaimed play, The Runner, to Victoria. However, we believe that presenting The Runner at this particular time does not ensure the well-being of all segments of our community,” reads the Jan. 2 statement.
Last month, a petition was started to remove the one-man play about an Israeli rescue worker whose life is forever changed after he helps an Arab woman, who may have stabbed an Israeli soldier to death, before attending to the soldier. A counter-petition was started by members of the Jewish community to keep The Runner at the theatre. At press time, the protest petition had more than 1,400 signatures, while the counter-petition had more than 2,400.
The Belfry Theatre invited people to come and discuss any issues surrounding the play. That Dec. 22 meeting dissolved into chaos, overtaken by protesters with bullhorns and anti-Israel signs. The Belfry building was subsequently vandalized with multiple stickers that said “trash” and anti-Israel sentiments, topped off with a red-spray-painted “Free Palestine.”
The threat of more violence – implied by the aggressiveness of the protesters at the December meeting and the defacement of the theatre’s building – was probably a main reason for the Belfry canceling the show. It seems that the protesters have successfully bullied the theatre into changing its programming. Instead of contributing to a safe space in which ideas could be presented, considered, discussed, perhaps agreed upon, perhaps not, the protesters have created an atmosphere of fear. They have put other creatives on notice – unless you reflect only what we believe, we will shut you down.
By succumbing to the pressure, the Belfry has perhaps protected its staff and its building – the importance of which cannot be understated – but a dangerous precedent has been set. On the larger world stage, we have seen how screaming down other viewpoints, vandalism and worse violence, misrepresentation and misinformation, can win the day. The success of such tactics in Victoria is another reminder, if we needed one, of how easily freedoms can be removed. How easily voices can be silenced.
Accuracy and context matter, and the petition includes neither.
The petition describes The Runner as “a story of Israeli settlers in a dehumanizing exercise of whether Palestinian and Arab life is of value.” Its writers “demand[ed]” the Belfry “remove The Runner from [its] 2024 lineup,” claiming that it “features the violent and racist rhetoric of Zionism from an exclusively Israeli perspective.” They cite two unattributed, non-contextualized sentences from the script that ostensibly support their position.
The play is not about Israeli settlers, it does not celebrate Israeli settlers or militant Zionism. Jacob – a volunteer from Jerusalem with ZAKA (Israel’s nongovernmental rescue and recovery organization) – is the main character, the hero, the one the audience is rooting for, along perhaps with the Arab woman he helps save.
The quote chosen by the petitioners is spoken by Ari, Jacob’s brother, who is portrayed as a rabid settler nationalist. He is a jerk, and an awful brother. People like Ari do exist, but one of the points of the play seems to be that he is not the model human, that his views are not what people should think.
The petitioners have one aspect of the play almost correct: it does focus on Israeli perspectives (plural), as the main character is Israeli, and so are his mother and brother, and his colleagues. And I will admit that I had trouble with this aspect of the play, too. I felt that The Runner only asked questions about Israelis’ morality, that it disparaged Jews’ claims to the land, that it depicted every Israeli character other than Jacob harshly. While terrorism is shown, the terrorist characters aren’t held to any account, in my view, and there are no moral demands made of them.
I am proud that the petition to keep The Runner in the Belfry’s lineup was initiated by members of the Jewish community. I believe in Israel’s right to exist and to defend itself, at the same time as I believe in the right of people to criticize, question and protest. In a democratic country, I don’t see the need to attack people or destroy property to voice an opinion, especially not about the arts. It is no wonder there are multiple conflicts taking place around the world – even in Canada, where we enjoy multiple freedoms and are relatively rich in resources, we find it challenging to be open, civil and respectful of diversity.
If The Runner had encouraged violence or discrimination, I might have signed a petition against it, too, and even joined a rally, but I hope that I would have chosen to critique it instead, to share my point of view instead of trying to silence Morris’s. I certainly would not have chosen to threaten or commit violence against people or property.
Several aspects of The Runner bother me, but I think it is an excellent piece of work because it has taken up more of my brain space than almost any other play, movie or performance that I’ve seen or book or article I’ve read. It has made me angry, thoughtful, sad, and I continue to contemplate my various reactions. It has literally kept me up at night. In this respect, Morris has done his job extremely well. People should see this play. I sincerely hope the bullies will not succeed in silencing the PuSh Festival’s presentation of it as well.
For my interview with Christopher Morris, click here. To read statements about the Belfry Theatre’s decision to remove The Runner from its lineup, click here. For more on the Victoria situation, see thecjn.ca/news/runner-play-victoria.
The Jewish Independent received the following statements regarding the play The Runner after the Belfry Theatre in Victoria canceled the scheduled March performances of the play, which is set to run as part of the PuSh Festival in Vancouver Jan. 24-26.
Since this article was published, PuSh has canceled the production. For the statement, click here.
Christopher Morris, artistic director of Human Cargo and playwright of The Runner:
As a playwright who values the role of theatre as a platform to explore ideas about the complexities of life, I was disappointed to learn that the Belfry removed The Runner from its programming. I also empathize with the challenging situation they were facing. I am saddened that people in Victoria – especially those with very divergent views and those traumatized by the atrocities in Israel and Gaza – will be denied the opportunity to come together in a theatre to explore their common humanity, share their grief and perhaps discover a flicker of solace and hope.
Since it premièred in 2018, my play The Runner has been seen by audiences in six cities, received numerous awards and unanimous critical acclaim. I am humbled that theatre companies have produced this play, which is a nuanced and thoughtful conversation about the preciousness of human life. Their endorsement tells me that they also see its effectiveness in creating a dialogue with their audience.
I am deeply traumatized and saddened by humankind’s capacity to wage war. As a Canadian, I want our politicians to do all they can to make the violence in Gaza and Israel stop. I hope theatre companies and playwrights do all they can to give audiences the opportunity for dialogue and to build bridges between our silos. I believe The Runner is an excellent opportunity for those things to happen. And Vancouver audiences will get the chance to experience this production in a few weeks, at the upcoming PuSh Festival.
***
Gabrielle Martin, director of programming, and Keltie Forsyth, director of operations, PuSh Festival:
The PuSh Festival recognizes the pain of those watching or connected to the conflict in Gaza and Israel and the feelings of hurt and helplessness, knowing our experiences here in Vancouver are nothing like those who are suffering direct violence or who have lost homes, friends and family members.
We understand the objections to our programming of The Runner as a part of that shared hurt. When we see death, particularly civilian death, on this scale, we feel the injustice and the inhumanity at work, and we want to do something about it. Here in Canada, far from the conflict, it’s easy to feel helpless, to feel like contacting politicians, rallying or protesting isn’t enough. At PuSh, what we do is present live art, and sometimes we share the feeling that what we do isn’t sufficient.
Art reflects the world and the times in which we live. At its best, it’s an essential cultural force that builds empathy and understanding. Our aim is that PuSh brings us together and inspires us to have complex conversations; to challenge ourselves and each other not only to think differently, but to feel differently. The festival experience is greater than the sum of its parts and defined in how each piece sits in conversation with the other. These pieces share a sense of cultural urgency and, together, welcome generative friction through plurality as a cultural strategy.
The Runner is situated within a program that explores our shared humanity in ways that transform the political into the personal, intimate and domestic. This play, by Canadian playwright Christopher Morris, is a story about triage that’s set in Israel. It is not funded by the Israeli government, and Christopher has no direct ties to any country in the region. The play unpacks one character’s dilemma between humanist impulse and socially imposed morals, as he advocates for seeing all human life as equal. In its commitment to examining the polarizing tensions and conflicting ideologies at work within its Israeli protagonist, it exposes painful racism behind the dehumanizing sentiments encountered by the character. Christopher shares: “I lack the experience, or expertise, to speak on or write a play about the extremely complicated conflict that’s happening right now in that part of the world. And what I’ve been offering since 2018 is a play, from my Canadian perspective, that explores the complexities, and limitations, of empathy and kindness.” Ultimately, he frames The Runner as “an offer for discussion.”
We believe this work offers one voice in a diversity of perspectives that diverge in specifics of identity and experience, but that all advocate for empathy and compassion. Dear Laila, playing parallel to The Runner, offers an autobiographical perspective on the forced displacement of Palestinians through one family’s experience of war and exile. Basel Zaraa, the artist behind the project, is a Palestinian refugee who grew up in Yarmouk refugee camp in Damascus, Syria. Dear Laila features a miniature model of his destroyed family home in Yarmouk camp, and three stories that represent the three generations who lived in the house. Intimate and interactive, the experience invites each audience member to connect with this story of “[a] family, like many families of our communities, who are stuck in a loop of losses.” Basel further frames it as “a way for me to face and express and understand the trauma that we live with.”
These two works form part of the wider 2024 festival ecology, and each plays an integral role to a balance that has been curated with care. In the face of violence and atrocity, presenting live art can feel small. We hope that, collectively, the performances and multimedia experiences of this year’s festival offer opportunities for self-reflection, better understanding others’ experiences, and dialogue – actions that, in our view, can sometimes offer building blocks for meaningful political change.
***
The Jewish Federation of Victoria and Vancouver Island is disappointed by the decision of the Belfry Theatre to cancel its production of the acclaimed play The Runner.
It is regrettable that the Belfry Theatre felt the need to cancel an artistic production, for the first time in its 46 years of existence, because it featured an Israeli Jewish man.
It is regrettable and disheartening that, when the Belfry Theatre attempted to have an open dialogue, it was vandalized and threatened by a “pro-Palestinian” mob, which ultimately led to a very quick decision without any meaningful consultation. The Belfry’s stated reasons for this decision were: “we believe that presenting The Runner at this particular time does not ensure the well-being of all segments of our community … this is not the time for a play which may further tensions among our community.” This decision does not reflect the wishes of the community as expressed in competing petitions: 1,400 against showing the play vs. 2,400 wanting the play to proceed.
We fear this decision will lead to other cultural events being canceled, as other venues may also give in to mob mentality and bullying. This is not what we expect from our cultural institutions, nor our community. It is not too late for the Belfry Theatre to reconsider their actions, as we hope they will.
The decision does not bode well for artistic and cultural expression in Victoria and Vancouver Island. It matters to stand up for what is right.
To read the Jewish Independent’s interview with playwright Christopher Morris, click here. To read the Independent’s op-ed on the Belfry Theatre’s choice to cancel its March run of The Runner, click here.
Dr. Ted Rosenberg (photo from BC College of Family Physicians)
Ted Rosenberg has stepped down from his post as a clinical assistant professor at the University of British Columbia’s faculty of medicine, citing an unsafe environment, following his repeated attempts to have the school do more to address antisemitism.
In a Jan. 1 letter to UBC, the award-winning geriatrician, who has taught at the medical school for more than 20 years – prior to that, he had a position at the University of Manitoba – wrote that because the faculty has failed to address concerns, he had “no choice but to resign.”
A tense atmosphere developed following the Oct. 7 Hamas attacks when a petition titled “A Call for Action on Gaza” first appeared at the faculty of medicine and was signed by more than 225 of its students. The petition went beyond calling for a ceasefire in Gaza. Rather, it condemned Israel as “a settler colonial state,” accused it of “collective punishment through indiscriminate bombing of civilians” and claimed that “Palestinian people have been continually abused, traumatized and killed by the settler state of Israel and its Western allies for over 75 years.”
In a Nov. 29 letter to UBC president Benoit-0Antoine Bacon, medicine faculty dean Dermot Kelleher and other top officials at the university, Rosenberg wrote, “This petition and other similar statements on campus, as well as the inaction by UBC, makes me wonder if antisemitism has become systemic in this institution.”
While praising UBC’s efforts to redress discrimination and promote diversity and inclusion, he asked, “Why do these efforts for diversity and inclusion come to an abrupt halt when it involves ‘including and protecting’ Jewish/Zionist students and faculty?” According to Rosenberg, the petition not only made him feel unsafe but also traumatized a medical student “who was left distressed, anxious and sleepless after reading it, and enduring the hostile reactions of colleagues and faculty.”
A Dec. 21 letter, co-signed with 283 other physicians – both Jewish and non-Jewish – stressed the growing polarization at the medical school due to events in the Middle East.
“This is resulting in hate speech, student intimidation and the feelings of many students and teachers that they are working in a toxic environment. Several of us have expressed concerns to you in writing and are waiting for specific responses,” the letter read.
The letter also called into question the validity of the anti-Israel petition, emphasizing that it contained several inaccuracies, caused deep divisions within the medical student community, and was one-sided and unrelated to medical care.
In requesting a response from university leadership to take action to protect the integrity of the medical school and the safety of medical students and staff, the letter urged that those who signed the petition “be made aware of the significance of their choice of contentious language.”
Additionally, the letter called on the offices of equity, diversity and inclusion (at both the university and the medical school) to receive sensitivity training regarding Jewish issues and antisemitism, encouraged the university to adopt the International Holocaust Remembrance Alliance definition of antisemitism, and asked the university to form a clear policy on the boundaries of free speech, “having zero tolerance for any speech that crosses the boundary to antisemitic or hate speech or language used to incite violence, either openly or covertly.”
Both letters received responses from Dean Kelleher of the medical school. Rosenberg, however deemed them inadequate. In the resignation letter, he said they “did not address any of our specific concerns re: the medical student’s petition, antisemitism within the faculty, or concerns that politicization and polarization of the Middle East conflict are creating a toxic work environment.
“I checked the recommended links to your and the president’s statements on respect and compassion…. Two words are conspicuously absent from all these documents: 1. Jew(ish) and 2. Antisemitism.”
Rosenberg added that he searched the websites for the offices of equity, diversity and inclusion at the university and the medical school for “antisemitism” and did not find the word included among the several anti’s that were mentioned.
In his most recent letter, Rosenberg said he lamented the deaths of innocent civilians on both sides, but denounced the “oversimplistic ahistorical demonizing narratives and rhetoric” taking place.
Rosenberg also expressed the hope “that the faculty of medicine and UBC will recognize this serious threat of antisemitism/Jew-hatred and the dangers of politicization and polarization of the faculty and student body.”
In his concluding remarks, he advised the school to consult with the physicians who collectively wrote the school leadership in December. “They can work with you to constructively, collaboratively and proactively rectify this situation and ultimately help restore respect, compassion, empathy and trust among colleagues and students,” he said.
Rosenberg told the CJN that he is aware of other faculty members who have considered resigning because of the present atmosphere at the medical school. Since his letter, he also has heard from people at the faculty who are prepared to do more to recognize antisemitism – and to do something about it when it appears at the school.
In response to a request for comment about Rosenberg’s resignation, a spokesperson for UBC wrote, “The faculty of medicine and the University of British Columbia have been very clear that antisemitism, or discrimination of any kind, is completely unacceptable. We are committed to creating a safe and respectful environment for all of our community members and will continue to take steps to do so.
“In response to concerns raised by faculty and learners, the faculty of medicine is also working expediently to develop educational opportunities for inclusive learning and respectful dialogue within the faculty in areas that directly reflect our stated values, including how we address issues such as discrimination, harassment and hate speech,” they added.
Rosenberg, a Victoria-based physician who makes house calls, is an advocate for keeping the elderly in their homes for as long as possible. His company, Home Team Medical Services, aims to improve quality of life and increase independence for older people and their families. The company provides home-based health care for people 75 to 105 with physiotherapists, rehabilitation aides and care coordinators, in addition to a team of nurses and physicians.
In 2016, Rosenberg received the BC College of Family Physicians Award of Exceptional Contribution in Family Medicine.
Sam Margolishas written for the Globe and Mail, the National Post, UPI and MSNBC. This article was originally published at thecjn.ca.
A still from the documentary Passage to Sweden, which will screen as part of the annual Raoul Wallenberg Day for Civil Courage event on Jan. 21.
This year’s annual Raoul Wallenberg Day for Civil Courage gathering, on Sunday, Jan. 21, held at Congregation Beth Israel, will explore and honour civil courage in Scandinavia during the Second World War.
Just over 80 years ago, in late 1943, Danes, Norwegians and Swedes had to confront moral choices, when Denmark and Norway dealt with military occupation by Nazi Germany. Many people defied Nazi policies that threatened the human rights and lives of their fellow citizens and residents.
In Denmark, thousands of Christian Danes risked their own lives, cooperating in the dramatic, swift and secret rescue operation. The Jews, who faced deportation and certain death at the hands of the Nazis, were ferried to safety in neutral Sweden. Their homes and properties were safeguarded until their return after the war. Sweden welcomed and aided the Danish Jews, risking its own status as a neutral nation.
In Norway, the site of significant armed attacks by Nazi Germany, hundreds of Norwegian police officers refused the orders of Nazi occupiers, a collective action that led to their imprisonment at Stutthof concentration camp in Nazi-controlled Poland. There, the Norwegian police maintained their solidarity as they acted to reduce the suffering of their fellow prisoners, including many Jews, such as the late Jennie Lifschitz, who settled in Vancouver in the early 1950s.
Finland and the Baltic nations (Estonia, Latvia and Lithuania) were also engulfed in the war, victims of the Soviet Union’s military occupation and, in the case of the Baltics, annexation and mass civilian deportations.
While Nordic peoples, like most Europeans, were not completely free of hostility toward Jews and other minorities, they offer a good example of civil courage, based on the belief that Jewish citizens and residents were their equals.
This year, at the local Wallenberg Day event, Vancouver Holocaust educator Norman Gladstone will speak about the remarkable rescue of Denmark’s Jewish population. Local researcher and author Tore Jørgensen will speak about the hundreds of Norwegian policemen, including his father, who refused to collaborate with the Nazi occupiers. Historian Gene Homel will introduce the Wallenberg-Sugihara Civil Courage Society and the City of Vancouver proclamation of Wallenberg Day.
As well, the documentary Passage to Sweden will be screened. The film covers the wartime courage of Scandinavians, including Sweden’s Raoul Wallenberg, who acted courageously to protect civilians in Hungary, and was taken into custody by the Soviet army. His fate is unknown to this day.
The 19th annual Wallenberg Day on Jan. 21 at Congregation Beth Israel will be held at 1:30 p.m. Admission is free and donations will be gratefully accepted.
For more about the Wallenberg-Sugihara Civil Courage Society, which organizes the annual event, visit wsccs.ca.
– Courtesy Wallenberg-Sugihara Civil Courage Society
Ho has several kids books to his credit and, according to his website, more on the way. Two New Years highlights the differences and similarities between Rosh Hashanah and the Lunar New Year, both of which he celebrates.
