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First-ever virtual Chutzpah!

The new artistic managing director of Chutzpah!, Jessica Mann Gutteridge, faced unique challenges in presenting the festival. (photo from Chutzpah!)

“This has been a challenging time for all communities. I hope that this year’s Chutzpah! Festival can bring a sense of joy, and the communal spirit that comes from sharing performing arts experiences with others, whether at the theatre or from the comfort of home,” said artistic managing director Jessica Mann Gutteridge in a recent interview with the Jewish Independent.

This will be the first-ever Chutzpah! The Lisa Nemetz International Jewish Performing Arts Festival that people will be able to watch at home. Given the COVID-19 pandemic, all of the performances will be available online, Nov. 21-28, with a few opportunities to attend small-audience shows that are being live-streamed from the Norman and Annette Rothstein Theatre. Not only will this be the first Chutzpah! presented digitally in the festival’s 20-year history, but it will be the first directed by Gutteridge.

“I knew that I had an exciting and challenging year ahead of me when I took the helm of Chutzpah! from Mary-Louise Albert, who was artistic director before me for 15 years,” said Gutteridge. “I really could not have anticipated how much the world would change just three weeks later, when the pandemic shuttered the Rothstein Theatre and the entire performing arts sector. The first month or so was spent focusing on our staff’s well-being and helping the many users of our theatre to reschedule and replan all the events that had to be canceled.

“The first thing I did for the Chutzpah! Festival was to take some time to think,” she said. “My board was wonderfully supportive from Day 1 and assured me that whatever scale I felt was right would be all right with them – even if I wanted to postpone for a year. I spent a great deal of time just thinking about the purposes of the festival, how it serves the community and the relationships we have with our audiences and community of artists. Even before COVID, when I was thinking about what my first festival might look like in a transition time, I felt inspired to bring together artists who had performed in the festival in the past with new artists who I hoped would join us in the future. So, I began by reaching out to artists from both groups so that we could just start to get to know each other, and find out how everyone was responding to this unprecedented situation.”

By early summer, said Gutteridge, it became clear that the health-related restrictions with respect to the pandemic would still be in place in November, “so I began to think about how we might incorporate digital presentations into the festival, and to talk to artists who were exploring this form of performance in their work.

“I was thrilled to learn that Iris Bahr, who was in the 2019 festival, is not only a brilliant actor and stand-up comic, but is also a podcaster who interviews other artists and public intellectuals with much wit and insight. I invited her to perform her solo stand-up, but also to function as our festival host and conduct live interviews with all the festival artists,” said Gutteridge. “Because Iris divides her time between Israel, New York and Los Angeles, we knew she would have to appear digitally and, though this adds another layer of technical complexity, I think it’s such a special opportunity that the present moment brings us – to join artists from across the world and have a chance to learn more about how the pandemic is changing and shaping their creative work.”

The festival’s online-only shows will include Bahr’s stand-up comedy performance (click here for story); New York-based playwright Rokhl Kafrissen’s Shtumer Shabes (Silent Sabbath) and former Vancouverite-current Londoner (England) Tamara Micner’s Old Friends, both of which are works-in-progress; a concert by Israeli pianist and composer Guy Mintus; and Israeli choreographer Ella Rothschild’s Pigulim.

There will be two shows live-streamed from the Rothstein, where limited audiences will be permitted. Ben Caplan will perform music from Old Stock, which is adapted from his music-theatre piece Old Stock: A Refugee Love Story (see jewishindependent.ca/searching-for-a-safe-harbour). And Chutzpah! artist-in-residence Idan Cohen (Ne. Sans opera and dance) presents the world première of Hourglass. Closing out the festival are Jess Salomon and Eman El-Husseini (click here for story), who will be live-streaming from Brooklyn, joined by yet-to-be-announced local comedians performing at the Rothstein.

The lineup is a fraction of what it would have been if not for COVID, but Gutteridge thought it important to proceed with the event.

“Well, for starters, I’m stubborn and I like a challenge!” she said of the decision. “I also knew that we were well-positioned with staff and support to execute a creative and fulfilling festival, even though it would not look much like past festivals. In talking to colleagues inside and outside the JCC, and hearing from our community via a survey in July, I understood that there was a lot of enthusiasm to keep experiencing the kind of performing arts presentations that Chutzpah! has offered for 20 years now. And, looking ahead to dark November nights, I think we can offer a communal experience that will bring some much-needed joy.”

In addition to focusing on quality entertainment, health and safety has been at the forefront of the planning.

“We have worked carefully with health and performing arts sector experts to make sure that we are providing the safest possible experiences for audiences, staff and artists, including at our physically distanced, intimate live events at the Rothstein Theatre,” said Gutteridge. “I’m also very impressed by how our artists have risen to the challenge. Rokhl Kafrissen, the playwright of Shtumer Shabes, has been working with her cast via Zoom since April, when they presented a workshop of the play in lieu of the debut performance they were scheduled to have at LABA in New York. Our audiences will have a chance to meet the artists and see excerpts from the play, with context about the work’s meaning and creation, all performed from the artists’ individual locations. It’s a special opportunity for our audiences to peek inside the creative process.

“Idan Cohen’s Hourglass, a new dance piece with live piano accompaniment, is being created this fall at the Rothstein Theatre as part of our creative residency program. With 318 seats and a large stage, the theatre is large enough for physical distancing, and Idan is working with a skeleton crew – often just himself and the two dancers at work. The dancers, Brandon Lee Alley and Racheal Prince, are partners offstage as well as on, so they are already in a household bubble. The other dance piece, Ella Rothschild’s Pigulim, comes to us from the Suzanne Dellal Centre in Tel Aviv, where the performance was previously recorded in a studio theatre, so that health and safety protocols could be observed and the dancers could form their own bubble.”

Tickets for the festival start at $18 and are available online at chutzpahfestival.com or by phone at 604-257-5145.

B.C. election reflection

It will take about two weeks to verify and count the mail-in ballots from Saturday’s B.C. provincial election. The province saw a 7,200% increase in voting by mail this year, a result of the pandemic and educational efforts to make people aware of what was perhaps the safest option for casting a ballot.

There is no doubt about the overall outcome. The New Democratic Party, under returning Premier John Horgan, won a majority government handily. The NDP increased its vote share in every part of the province and the opposition Liberals, under Andrew Wilkinson, who resigned in the aftermath, had its worst showing in almost three decades. The mail-in ballots will determine the outcome in a small number of close races, but it will not alter the big picture.

Some are complaining that two weeks is a long time for the elections branch to complete the process. However, we do not know the level of complexity involved in validating and counting the vast number of mailed votes. But it seems reasonable to take time to ensure such important work is done properly, rather than quickly.

What we should not lose sight of, regardless of what party we supported, is the small miracle of the election itself. Many or most of our ancestors came from places where free and fair elections followed by a peaceful and orderly transition of power were unfulfilled dreams. Startlingly, in what had been viewed globally as the bedrock model of democracy itself – the United States – we are bracing for one of the most uncertain moments in political history next Tuesday. Polls show that the incumbent president is headed for defeat. But polls were deeply wrong about this candidate four years ago. More importantly, there are concerns about his willingness to leave office if defeated – and even about potential intimidation of voters at the polls and violence in the aftermath of the election.

As Canadians, we should feel fortunate and grateful. As earthlings, we should wish and work for a world where all people are as free as we are to choose those who govern us and to do so with confidence, knowing that we will be physically safe and our elected officials will respect our choices.

Khartoum changes tune

The latest Arab country to normalize relations with Israel is Sudan. It is the third Arab country in recent months to initiate bilateral relations with the Jewish state – and only the fifth in history.

In addition to the practical realities of the new relationship, there is also something symbolic about the announcement of mutual relations. It was in Sudan’s capital, Khartoum, that the Arab League met after the 1967 war and issued the “three nos” – no peace with Israel, no recognition of Israel, no negotiations with it.

After trouncing its invading neighbours in six days of war, Israel extended an olive branch, offering land for peace. In exchange for the Arab world’s recognition of Israel and its right to exist, Israel would return the land it obtained in the war to Egypt and Jordan. The response was the triple negative. The occupation of the West Bank and Gaza Strip began that year and could have ended that year, but Arab states were more opposed to any recognition of a Jewish state than they were concerned with the fate of the land Israel occupied or the people who lived there.

The seemingly sudden about-face by, first, the United Arab Emirates, then Bahrain and now Sudan has as much to do with regional geopolitics as it does with any Arab admiration for Israel. There is also the fact of the U.S. election in the timing of these announcements, and other international financial and defence features of these deals that are less clear in intent. In history, all things happen for a range of reasons – the end of apartheid, the collapse of the Soviet bloc, for example – but these various inputs do not distract from or diminish the larger outcome.

More than a half-century after the Arab world said no, no, no, so far in this year we have heard yes, yes, yes. And the rumours now are that Saudi Arabia will follow soon. This would be the most potentially significant development yet in this regard, even as there should be major questions about allying with another despotic regime.

What’s true is that the opening of relations with Israel represents an end to the effective Palestinian veto over Arab relations with Israel. And the radical departure of Arab states from the diplomatic status quo will likely alter the position of Palestinian leaders, as they realize their diminished standing in the Arab world’s regional calculation. That could result in the most substantial change of all.

Doctors urge mask use

Dr. Anna Wolak is one of the doctors who started Masks4BC. (photo from King Edward Medical Centre)

Mandatory use of masks, in addition to physical distancing and hand hygiene, will help save lives and the economy in the wake of the coronavirus, according to Masks4Canada, a nation-wide, grassroots group of healthcare professionals. The group was formed in May, while a provincial branch, Masks4BC, started operations in July.

Masks4Canada works to inform all levels of Canadian government and the public of the critical importance of wearing masks in reducing the transmission of COVID-19. The group promotes the use of masks in all indoor settings – such as schools, businesses, factories and stores – on public transport and outdoors, when physical distancing is not possible.

Jewish community member Dr. Anna Wolak, the medical director at Vancouver’s King Edward Medical Centre, is one of the doctors who started Masks4BC, following the implementation of mask mandates in Ontario and Alberta. As of this writing, such a mandate had not been instituted in British Columbia and Masks4Canada has written a public letter to the B.C. government, including Dr. Bonnie Henry, urging the adoption of one.

“A universal mask use mandate has always been up to the provincial health officer and the B.C. health minister. As numbers continue to rise, all we can do is vocalize the need for it and continue making sure the information about masks is available,” said Wolak, who also serves as a family physician and as a clinical assistant professor of family medicine at the University of British Columbia.

“As more businesses bring in mandatory mask use, it will make it easier to normalize their use. Scientific journals are also very good at making sure findings about the protectiveness of masks are available, but these publications are not typically read by the lay public and, therefore, need to be conveyed through various media channels,” Wolak added.

In its letter to the provincial government, Masks4Canada recommended that mandatory masking policies be applied with the acronym “ACT”: all indoor spaces outside the home (such as hospitals, schools, shops and businesses), crowds (any place where it is difficult to distance from others) and transit.

Though the B.C. government did not respond to the letter, the group has made an impact. Transportation authorities, including BC Transit and TransLink, have mandated masks on all public transit – buses, SkyTrain and SeaBus – and BC Ferries has followed suit. Individual businesses have likewise taken strides to implementing the wearing of masks to protect the public from infection.

According to Wolak, a mask mandate should have been introduced when numbers of daily infections were low, and before schools reopened. She emphasized, however, that it is not too late to bring about a mandate as long it happens before the respiratory viral season – which includes influenza, parainfluenza, RSV (respiratory syncytial virus) and the common cold – really gets underway.

“I think B.C. missed an opportunity to contain the virus,” Wolak told the Independent. “Ideally, I would like to see masks required in all indoor areas outside of the home, including classrooms, as well as masks in crowded outdoor areas. Of pressing importance is the need for a mask mandate in hospitals because, as surprising as this might sound, it is not currently the case.”

Masks4Canada does state that people with certain medical conditions or disabilities, along with young children, be exempt. Nonetheless, for most people they recommend the use of masks.

Further, they say there should be free distribution of masks to populations that may be vulnerable or at higher risk. Rather than focusing on penalties to enforce policy, the group encourages education to help the public understand how to wear a mask properly, as well as the importance of wearing masks for the protection of health and provincial economic recovery.

British Columbia and other provincial mask groups have seen an increase in the number of doctors supporting the cause. As other provinces put mandates in place, focus in those areas has broadened to other relevant issues, such as effective ventilation protocols and tracking school outbreaks.

Masks4Canada does not sell masks or medical supplies, nor does it endorse or partner with for-profit enterprises.

Wolak has had a significant media presence since helping create Masks4BC. She has appeared on CTV Vancouver, Global News, CTV News Ottawa and OMNI Television, among other TV news programs. She has also spoken on various news radio shows, including CKNW’s Lynda Steele Show, The Jill Bennett Show and the nationally broadcast Charles Adler Live.

For more information, go to masks4canada.org.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Kristallnacht programs

Dr. Chris Friedrichs will deliver the lecture “How to Steal from Jews: A Story from Nazi Germany and What It Teaches Us,” which will be available from Nov. 9, 7 p.m., from the Vancouver Holocaust Education Centre. The Victoria Shoah Project is also holding a commemoration, called “The Persistence of Creativity Emerging from the Shards of Tragedy.” (photo from VHEC)

On the evening of Nov. 9, both the Vancouver and Victoria Jewish communities will be holding virtual Kristallnacht commemorations. This year’s commemoration marks the 82nd anniversary of the state-sponsored Kristallnacht (Night of Broken Glass), which took place throughout Germany and Austria on the night of Nov. 9-10, 1938. In the course of just a few hours, hundreds of synagogues were burned, thousands of Jewish-owned places of business were destroyed, almost 100 Jews were killed, and 30,000 Jews were arrested and sent to concentration camps. The shards of broken window glass seen in front of Jewish-owned stores all over Germany the next morning gave the memorial event its name.

The Vancouver Holocaust Education Centre, in partnership with Congregation Beth Israel and with support from the Robert and Marilyn Krell Endowment Fund of the VHEC and funds from the Jewish Federation of Greater Vancouver annual campaign, is presenting the lecture “How to Steal from Jews: A Story from Nazi Germany and What It Teaches Us,” by keynote speaker Dr. Chris Friedrichs.

The Nazi regime not only murdered millions of Jews, it also relentlessly confiscated Jewish property from owners later sent to their deaths. The illustrated lecture by Friedrichs will describe the step-by-step process by which two elderly Jews from wartime Berlin were stripped of all their assets before they were deported to the death camps – and shows how Nazi officials then fought with one another about what to do with the stolen property.

Friedrichs is professor emeritus of history at the University of British Columbia, where he taught for 45 years before his retirement in 2018. He is a specialist in German history and has been active for many years in Holocaust awareness education.

The Vancouver event is pre-recorded and will be available for viewing any time after 7 p.m. on Nov. 9: visit vhec.org/events-gallery/#videos.

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In Victoria, live-streaming via Zoom, the Victoria Shoah Project will present a program titled “The Persistence of Creativity Emerging from the Shards of Tragedy.” It is a remembrance of those who suffered on Kristallnacht and in the Shoah, as well as a reminder of how and why we, as a collective society, commemorate such tragic events. Remembrance is essential; however, we also must act in tangible ways to protect all peoples in our diverse community.

In recent years, there has been the unfortunate growth of attacks on minority groups and those who are “ the other.” This highlights the need for us to stand together to protect and safeguard all peoples, regardless of religion, race, sexual orientation or other factors, which may make them targets of a hateful few. And, in this context, the Victoria Shoah Project is inviting political and law enforcement leaders, as well as representatives from the diverse faith communities, to join together at the commemoration to lead the reading of a pledge of mutual respect and support.

It is also inviting the entire community to join the event – to remember the past and commit to take action for a better future, where we will respect and protect our neighbours, not remain silent in the face of any injustice against any person or group and work towards building bridges leading to unity and shalom (peace) in our community and beyond.

For more information, email [email protected], or visit victoriashoahproject.ca or facebook.com/victoriashoahproject.

Task force set up

Over the last several years, there has been an alarming increase in antisemitic incidents across the globe, with many originating online. As social media posts do not stop at international borders, members of the national legislatures of Australia, Canada, Israel, the United Kingdom and the United States came together last month across party lines to launch the Inter-Parliamentary Task Force to Combat Online Antisemitism.

Members of the task force include Member of Knesset Michal Cotler-Wunsh (Blue and White, Israel), Member of Parliament Anthony Housefather (Liberal, Canada), MP Marty Morantz (Conservative, Canada), Congresswoman Debbie Wasserman Schultz (Democrat, United States), Congressman Ted Deutch (Democrat, United States), Congressman Chris Smith (Republican, United States), MP Josh Burns (Labour, Australia), MP Dave Sharma (Liberal, Australia), MP Andrew Percy (Conservative, United Kingdom) and MP Alex Sobel (Labour and Cooperative, United Kingdom).

The launch of the task force follows campaigns working to expose online antisemitism, including the #NoSafeSpaceForJewHate campaign that served as a global call to action to combat the virulent antisemitism that goes unaddressed or inadequately addressed on social media platforms.

The task force has the following goals:

  • Establishing consistent messaging and policy from parliaments and legislatures around the world in order to hold social media platforms – including Twitter, TikTok, Facebook and Google – accountable.
  • The adoption and publication of transparent policies related to hate speech.
  • Raising awareness about antisemitism on social media platforms and its consequences in order to acknowledge the tremendous responsibility that comes with the power the platforms hold.
  • Emphasizing that, if one minority cannot be protected by hate speech policies, then none can be. This task force will, therefore, serve as a means for protecting all minority groups from online hate.
  • Underscoring that the fight against antisemitism is a non-partisan consensus in democratic countries.

“Always and at this time in particular, as we stand united in fighting a global pandemic, another virus rages that requires global collaboration and cooperation,” stated Cotler-Wunsh. “By working with multi-partisan allies in parliaments around the world, we hope to create best practices and real change in holding the social media giants accountable to the hatred that exists on their platforms. It is imperative that we work together to expose the double standards.”

Housefather said, “Online hate, including antisemitic hate, is growing exponentially. Posts are viewed across national borders and impact people in many jurisdictions. Social media platforms have failed to adequately address hatred on their own. But they cannot be expected to create different policies in every separate country. By working together, we can create international definitions and recommendations for regulating social media platforms that can then be reviewed and hopefully implemented by each individual country.”

Morantz added, “Online hate is an abhorrent reality on social media platforms. I am honoured to work on a bipartisan basis with my Canadian colleagues, as well as international colleagues, to find solutions that keep all those safe who might suffer from online hate, antisemitism and discrimination.”

Choices event will inspire via Zoom

Jewish Federation of Greater Vancouver women’s philanthropy co-chairs Sue Hector, left, and Shawna Merkur. (photos from Jewish Federation)

There’s good news and bad news for the annual Choices gala, which celebrates Jewish women’s philanthropy in Metro Vancouver. The good news is Choices will be held this year, despite COVID-19. The bad news is it will be held exclusively on Zoom, as there is no alternative safe way to convene a large gathering during the pandemic.

The 16-year-old event raises tens of thousands of dollars each year for Jewish Federation of Greater Vancouver’s annual campaign. Last year, 240 donors raised $52,302. Average attendance is 500 and has been as high as 620 some years.

“Every year, the amount raised varies, based on the different expenses of the event and the amounts raised through games, raffles and silent auctions,” said Sue Hector, who co-chairs Federation’s women’s philanthropy with Shawna Merkur.

“Choices is, at its essence, an event that inspires women of all ages to give to the Jewish community or to get involved in our community,” Merkur said. “It’s all generations in the room, all coming together for Jewish Federation to help our community. It’s really quite a beautiful thing.”

In fact, Choices has been so successful over the years that there have been complaints from the men’s campaign because they have no event like it, Hector said.

When the event is in person, the cost per person is $54, which covers the expenses of the actual event, while the Federation fundraising component comes from raffles, silent auctions and games held during the event. However, women need to make their Federation annual donation when they register for Choices and the minimum donation is $136. That said, no one is turned away based on their inability to afford that donation.

This year, because there will be no food served and no physical venue required, there’s no cost to the event. Instead, organizers are asking women to make an optional $54 donation to Federation’s COVID relief fund.

“That fund is being used to help agencies in the Jewish community manage the stress of the pandemic, from the Jewish schools to the Jewish food bank,” Hector said. “A task force has come together to work on this, interview the different agencies to find out what their needs are and determine how they’ll distribute the funds raised.” (See jewishindependent.ca/the-road-to-recovery.)

The virtual event Nov. 8 at 5 p.m. will feature a community speaker, Hannah Amar, a young single mother who benefited from Tikva Housing’s programs. She will share her journey from near-homelessness to a new home at the Ben and Esther Dayson Residences. “I think her story will really speak to the women watching,” Merkur said.

A main event speaker, Michelle Hirsch, will deliver her talk from Cleveland, Ohio. A member of Jewish Federations of North America’s national women’s philanthropy board and the Jewish Agency for Israel North America, Hirsch organized the Amazon Prime initiative on behalf of the National Youth Leadership Council in response to Hurricane Harvey. (For more on both speakers, click here.)

“In some ways it’s easier this year because we don’t have a lot to organize – no raffle, no caterer or venue and no silent auction,” Hector said. “But, we still wanted everyone to come together in some fashion, and Zoom is the only way. In such crazy, uncertain times, it’s nice to have something familiar and, hopefully, this virtual event will uplift people and give them courage and hope to face what we still have to face.”

To register for Choices – chaired this year by Courtney Cohen, Leanne Hazon and Sherri Wise – visit jewishvancouver.com/choices-form.

Lauren Kramer, an award-winning writer and editor, lives in Richmond. To read her work online, visit laurenkramer.net.

Bahr to host Chutzpah!

Iris Bahr pulls double duty at the 2020 Chutzpah! Festival, as host and performer. (photo from Chutzpah!)

Comedien, writer, actor, director, producer and podcaster Iris Bahr will both host this year’s Chutzpah! Festival, Nov. 21-28, and perform her stand-up live Nov. 26.

Known for her eclectic characters, Bahr will call on many of them as she converses with the other festival artists as part of her hosting duties.

“I’ll be conducting these conversations either as myself or as some of my characters, depending on the artist I’m speaking to,” Bahr told the Independent. “My alter egos include Shosh, the salty Israeli who has become popular on Instagram, Rae Lynn Caspar White, my ‘Southern redneck intellectual,’ and Shuli, my Orthodox character who is beyond excited to ‘dive into the arts’ for the first time.”

Many JI readers will know Bahr’s stand-up from having seen her perform at last year’s Chutzpah! The show will be somewhat different this time around.

“My stand-up will involve more crowd work and storytelling versus just straight-on stand-up to camera,” she said. “I have found that to be a more captivating and enjoyable experience for everyone involved when the audience can also engage and experience each other’s presence, it’s the closest we can get to a communal live theatrical experience in these challenging times.”

For more on Bahr, see jewishindependent.ca/bahrs-many-personas. For more about Chutzpah!, visit chutzpah.com and read the next issue of the JI.

Living and working together

Eman El-Husseini, left, and Jess Salomon with furry family member Esther Honey El-Husseini. (photo by Mike Bryck)

Jess Salomon and Eman El-Husseini, aka the El-Salomons, close out this year’s Chutzpah! Festival on Nov. 28. They will live-stream from Brooklyn, and local comedians will join the event from the Rothstein Theatre.

In performance, the married Jewish-Palestinian lesbian comedy duo leans into the things that make them unique. Their chemistry is not only evident on stage, but even comes out in an email interview, where the pair play off one another like, well, a couple who knows and loves each other well.

JI: You met when you were each performing solo routines and continued in that vein, I think, even after you were married. When and why did you team up professionally as well?

Jess: It didn’t really come from us. We weren’t out in comedy until we got engaged so it was only after that, that we started making jokes about our relationship. Sometimes, we’d follow each other on a show and it became obvious who we were talking about. Like how many Jewish-Muslim-Palestinian Canadian couples that moved to America from Canada are there? Another comedy couple might be able to be on a show together and say my boyfriend did this or my girlfriend did that, and no one would connect that they were referring to one another. So, we built in this reveal and, eventually, people started asking if we were going to share the stage together. We didn’t want to, but it’s a sacrifice we make for the fans!

Eman: The first time we shared the stage was at a gig in an old synagogue turned community centre in L.A. I went on first and introduced Jess for her performance. We bantered, unprepared, on stage for about 10 minutes. We had no idea a reviewer from Tablet was in the audience and, although we individually performed for about 30 minutes separately, that 10 minutes of banter stole the show…. We didn’t think much of it but, a year later, 2018, we were in our hometown of Montreal for the Just for Laughs Festival. The BBC World Service was in town to put on a comedy show. They called us and asked if we’d want to record a set together and we said, ‘absolutely not.’ First of all, they have a huge listenership and we wouldn’t be able to polish an act under such short notice and, second, no one wants or should want to work with their spouse. But, the British have a way to persuade, it must be the accent.

At the same time, because we were back in our hometown, Just for Laughs offered us two shows to do whatever we wanted. We decided to perform individually for 20 minutes and then 20 minutes together. We almost got divorced but the audience loved it! We sold out both nights and added a third. Who would have thought a duo act would be so sought after? We’ve been working together ever since, and we are still married! I think, at this point, if we ever separated, we’d have to be closeted about getting divorced.

JI: From where do you get the strength and confidence to be a stand-up comedian?

Eman: I have no idea why and how I’ve stuck with this career after my first set. I bombed so hard and, until today, continue to bomb at times, but there is truly an addictive element to making someone laugh. Even if it’s a single person in a room. Laughter is so genuine and isn’t easily had. I mean, even in our day-to-day life Jess and I will share with each other how we made a stranger laugh shopping for groceries or walking the dog. It’s so rewarding.

Jess: Making strangers laugh and then talking about it is 100% an Eman thing. Right now, we’re in an argument over a speech therapist I’m convinced she hired just to entertain while she insists she has a speech impediment that must be fixed.

Eman: I feel like my strength and confidence comes from my parents. Although my sister and I have a brother, I managed to be the favourite.

Jess: You do have a masculine energy they might be responding to.

Eman: A big reason I wanted to be a stand-up comic is because of how misrepresented and underrepresented Arabs, Muslims and particularly Palestinians are in the media. More often than not, I am the first Palestinian someone meets in real life. I feel like an ambassador of sorts, dispelling stereotypes about my people. Exposure is such a powerful tool in getting through to people and if you can make them laugh that’s a big bonus. Even if people are immediately turned off by what I represent, they are still curious to hear what I have to say. I remember headlining a show in Niagara Falls once. I had to be on stage for 45 minutes. Twenty minutes in, I realized I haven’t made a single person laugh….

Jess: I love that it took you 20 minutes! That’s confidence.

Eman: They were conservative-leaning so, I called them out, ‘Guys! I know you don’t like what I’m saying but I can tell you like me.’ That eviscerated the room! From that moment forward I knew I could never quit comedy even if I wanted to.

Jess: I tried to do a joke about the no smoking sign on the plane and quickly realized there were at least a few comics who had done the same joke. That’s when I realized it’s better when I pull from personal experience. Even if I’m not an ambassador like Eman. I’m not the first Jewish comedian people have seen.

illustrations - The El-Salomons have their own cartoon. (Illustrations by Jesse Brown)
The El-Salomons have their own cartoon. (illustrations by Jesse Brown)

JI: How and when did your new Crave Canada special, Marriage of Convenience, come about?

Jess: After performing in Montreal for Just for Laughs and the BBC in 2018, we kept working on our duo act and growing our audience on Instagram for our comics (@theelsalomons). We sent a tape of what grew into an hour-long show to Just for Laughs and that’s how we got booked for the Crave special.

Eman: We realized people preferred us together than individually, which is insulting considering we had about a decade each of solo experience. It’s understandable, there are so many stand-up comics but rarely any duo acts.

Jess: There’s no one I’d rather lose my individual identity for.

Eman: Aw.

JI: What is the origin of the cartoons?

Eman: Jess came up with the idea. We would get such a huge response on social media when we’d write these back-and-forth status updates about each other.

Jess: Huge is relative.

Eman: People asking when the sitcom was coming out.

Jess: And, knowing that it would take awhile for us to find the time to write a pilot that was pitch-ready and be in a place where we could sell a series, a weekly cartoon on Instagram seemed like a manageable place to start to develop the character version of ourselves and, hopefully, an audience. We also have a close family friend, Jesse Brown, who just happens to be an incredible illustrator that wanted to work on this with us. So that’s how it was born.

Eman: The El-Salomons was the hashtag for our wedding, and Jesse drew us for our invitations … my mother-in-law saw them and said, “He made you look thin.”

Jess: Actually, yes, that is how it was born.

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Chutzpah! starts Nov. 21. For the full lineup and tickets, visit chutzpahfestival.com or call 604-257-5145.

Generations combine

Mary-Louise Albert returns to the stage Nov. 19-21 in a new work by choreographer Serge Bennathan. (photo by Maxx Berkowitz)

The Dance Centre presents Mary-Louise Albert: Solo Dances/Past into Present Nov. 19-21. Jewish Independent readers will be very familiar with Mary-Louise Albert, whose resumé includes a two-decade career as a solo dance artist and dance company member, as well as 15 years directing the Chutzpah! Festival.

The JI last spoke to Albert as she was moving on from Chutzpah! to other endeavours (jewishindependent.ca/bidding-adieu-to-chutzpah). In that interview last year, Albert said, “At 64, I still have a bit of ‘oomph’ left to pursue.”

“The ‘oomph’ related to centring work and artistry, in this next journey of mine, on dance and having the energy and focus to do it well,” Albert said when the JI caught up with her in anticipation of the upcoming show. “This next phase of my working life includes not only personal dance creation and performance projects like this one, but, as well, developing new Canadian and international professional contemporary dance through the B.C. Movement Arts Society, which I co-founded and direct, that will take place in remote and rural areas of B.C. We have received the very good news of confirmed provincial and federal funding and our first series starts late spring to December 2021.

“The Solo Dances/Past into Present project was developed over the past two years. The three solos being presented were created and performed during the last six years of my 20-year professional dance career, when I was between 39 and 45 years old. Because they were created during this latter period of my dancing career, when I stopped dancing, they stopped with me. I was never really interested in choreographing so, when I stopped dancing, I didn’t look back. I was ready and wanted to head into the next chapter of my working life, which involved business school and ended with directing the Chutzpah! Festival and Norman and Annette Rothstein Theatre for 15 years. We, the choreographers and myself, were all in our 40s and older and everyone moved on.

“But,” she added, “in the back of my mind, over these past years, I knew it was not right to let these beautiful dances end with me. I felt like there was ‘a little something’ still missing from this very enjoyable period of my career as a solo-commissioning dancer. A sense that something was not quite complete. It became clear that I needed to pass on the solos to this generation of outstanding female dancers and support their growth with performing options by way of building their solo repertoire. I received personal financial support from the Canada Council and BC Arts Council and this multilayered project of artistic sharing that brings two generations of dance artists together in the reconstruction of Canadian contemporary choreography began!”

Solo Dances/Past into Present features Peter Bingham’s Woman Walking (away), danced by Livona Ellis; Tedd Robinson’s oLOS, featuring Vanessa Goodman; and Allen Kaeja’s Trace Elements, performed by Rebecca Margolick. (More to come in the Nov. 13 JI.)

“The solos have not been performed since 2001 and have never been remounted and reworked,” said Albert. “As a dance professional, I feel strongly that it is important to revisit these eclectic and beautifully crafted solos and put them back in repertoire with Canadian (B.C.-based/-born/-raised) dancers who have the versatility and desire to further develop the works, enjoy and share.

“Working so intimately with Allen Kaeja, Tedd Robinson and Peter Bingham many years ago brought a level of understanding as a solo performer that I had not experienced before in such depth,” she said. “As people, they all had/have a wonderful down-to-earth approach to themselves and their work and this led to a generosity and nonjudgmental approach to their creative process with me.”

Albert said the three solos “are all very different and timeless.” She described oLOS as “a deeply intuitive and somewhat mysterious work that transports performer and audience on an inquisitive journey, via the nature-walking and naïve love of [Gustav] Mahler’s Songs of a Wayfarer”; Woman Walking (away) as “a journey of one, arriving or leaving, listening to memory that is gently propelling what is next for her in an exploration of a complex yet personal quest”; and Trace Elements “wishes that this work of memory of persecution was just a source of history uncovered, but the dance is as relevant today with the growth of fascism and antisemitism as it was 21 years ago when it was created.”

In addition to remounting these works with other soloists, Albert herself will be performing the première of the first phase of a new solo work, Empreintes (which means fingerprints), commissioned from Serge Bennathan.

“At the age of 65, I’m going back on stage after a 19-year hiatus. I am still a bit dumbstruck by this,” said Albert, “and will be honest that I still often find myself mentally whispering WTF? But it is part of this new dance journey of mine as a senior citizen. I’ve never shied away from challenges and listening to my soul. There are many dance artists still performing at this age but most have never stopped. This is certainly a special experience, with its range of physical and emotional exploration, to be coming back to it at the age of 65.”

Bennathan, she said, “is a profound dance artist and is a beautiful painter and poet, as well. This new work explores the layers of artistry, physical trust and depth of reflection that a new stage in life, which I am embarking on, opens up. Serge is interested in the artist in me that is now, and the work reflects this…. The simplicity, strength and internal depth of the work, and the trust we have in each other, is quite simply a gift.”

In creating a commissioned work, Bennathan said, “The process always starts by trying to feel the energy of the dancer, then trying to discover what is just behind, what is the essence of why the artist desires to do such a work. Then, once together in the studio, if I can reduce the process to one word it would be ‘listening.’ That is the most important, to be listening to the inner self of each other to create a dynamic.”

He said “the idea of Albert passing on works created for her by powerful creators to magnificent dancers is fantastic. What a beautiful and creative way to feed the texture of a community in all its dimensions.”

“I feel that Mary-Louise’s foresight and inspiration to reenvision her past solos with the original choreographers and giving them, if wanted, the freedom to also reimagine the solos on these three mid-career dancers, was brilliant,” agreed Kaeja. “Her project intrinsically melds past with present in a generational sharing for all of us involved.”

For Trace Elements, which “deals with present and past antisemitism and cultural intolerance,” Kaeja said Margolick brings “not only her natural Jewish genealogy, but her depth of self, range of talent and profound and thoughtful life experience into this creative process…. I love that Mary-Louise has also invited Serge to choreograph a new solo for her – created specifically for who she is now as an individual, dancer, creator, innovator, curator and powerhouse – is profound.”

For Kaeja, creating a commissioned work centres around the person commissioning it. “My process is called ‘structured innovations,’ whereas I create a series of parameters that are clearly defined in physicality, intent and quality and texture of the movement,” he said. “With these boundaries, the dancer begins to create movement vocabularies and physical ideas. I then invite variations to the movement suggestions, redefine these in many ways and finally create the final choreography. I have always credited the dancers as ‘created with and performed by.’”

The creative process “is different with each solo,” said Bingham. “It depends partially on what the dancer is used to. I would say that it is always collaborative and research-oriented. The search is to find a language, both verbal and physical, that becomes our focus. I stress that the search must be mutually creative, an exchange. We try physical ideas and curiosities until the piece begins to reveal itself. In short, it becomes a product of our relationship.”

Similarly, Robinson works closely with the dancers involved. “When commissioned,” he said, “I assess the room (the space) and performer (who will move in the space). I start with basic concepts that I have developed, steps that sort of help us to get to know one another. As I see how the performer(s) interpret what I show or say, then I am better able to assess the space we will cover, the space of the creation and the space that the performer will need to inhabit. From there, we work together to create.”

With regards to the piece he created with Albert, Robinson said, “It was a more technical solo than I might normally do, because Mary-Louise likes to move and move big, so that is what we incorporated, plus the small and detailed work that I often use. I also worked on some bigger dramatics and that attracted me. I liked to lip sync when I was younger, so I feel that we lip synced with our total body for this work of Mahler.”

The planning and creation process of Solo Dances/Past into Present began and was completed before COVID-19, except for her solo with Bennathan, said Albert. “There have been challenges,” she said, “as the dancers have gone back to the solos, needing studio space to rehearse for this show during the pandemic. Serge and I worked mainly in Sointula, which has an inherently blissful feel to it (and lots of humpback whales!) so it made creating during COVID easier. We also are working at the Dance Centre, as are the other dancers, which has been excellent.”

The Dance Centre has COVD-19 protocols in place. “Executive director Mirna Zagar and the entire Dance Centre staff are working tirelessly, making it possible on so many levels for artists to be able to get back into the studio and on stage and be safe,” said Albert, who also gave “a big shout out” to technical and lighting director Mimi Abrahams. “We have worked together now for over 10 years and she is truly the unsung hero that makes it all happen,” said Albert. “Her calmness and clear head gives us a grounded base as we gear up to perform in the middle of a pandemic.”

For tickets and more information, visit thedancecentre.ca.