Alice Burdick Schweiger – Jewish Independent

Food as great as views

Courtney Hazlett in Malta, one of the many places she has visited to record her Netflix program Restaurants on the Edge. (photo from marblemedia and OutEast Entertainment)

For producer Courtney Hazlett, traveling around the world for her new Netflix series, Restaurants on the Edge, has been an unforgettable, rewarding experience.

The premise of the show is to take struggling restaurants that have incredible locations with breathtaking views but ordinary or subpar food, and turn them around. A team of experts – chef Dennis Prescott, designer Karin Bohn and restaurateur Nick Liberato – come in and transform the establishments into magical eateries. The show is co-produced by marblemedia and OutEast Entertainment, which is a company run by Hazlett and her husband, Steven Marrs.

“We go around the world with a team of experts and, in a positive way, find restaurants that aren’t living up to the beauty of their location and help change that,” said Hazlett, who is also the show’s creator. “We change the décor, menu and business model. We want to add menu items that speak to that destination.”

Hazlett, who lives in Los Angeles, came up with the idea for the program while eating outdoors at a restaurant in Venice, Calif.

“We often go to places where the better the view, the worse the food,” she told the Independent. “That was the seed. I thought, we can go around the world, find restaurants that aren’t living up to the beauty of their location and help change that. My initial impression was, because of the spectacular view, restaurant owners felt they didn’t have to go all out with the food. But that wasn’t the case. It’s not that they aren’t trying, it’s just that a lot of restaurant owners are in over their head.”

In helping decide what changes needed to be made in each restaurant, Hazlett said they first went to social media to see what people were saying about the establishment. They looked at reviews on Tripadvisor and Yelp and read the comments patrons made.

“What I was most passionate about was the storytelling aspect,” she said. “We went out and met people who lived there. In some ways, the story of community shows up on the plate.”

Since it’s being aired on Netflix, it must be a global show, Hazlett explained. “We had to show as many corners of the earth as we could. It’s a lot of globetrotting.”

In Season One, released on Netflix in Canada last week, on March 14, the team traveled to Malta, Hong Kong, Tobermory (located in Ontario four hours north of Toronto), Costa Rica, Austria and St. Lucia.

Hazlett said Tobermory looked like the Caribbean, with gorgeous blue and green water, underground caves, cliffs and ancient forests. Tobermory is almost completely surrounded by water, with Lake Huron on one side and Georgian Bay on the other. The team chose to make over a seasonal restaurant called Coconut Joe’s.

“The owner was a sweet guy who was struggling with the business,” she said. “He loves to travel and wanted to make a restaurant inspired from his travels. That main inspiration was palm trees, and he wanted to have menu items reflecting any place you would find a palm tree. He had about 30 items on the menu – from Thai to Caribbean food, all over the place. The décor was tiki but not in a good way. The restaurant owner’s busy season is only eight weeks of the year because it’s so far north. Since we filmed the episode in the busy season, he had to shut it down one and a half of those weeks in June.”

The designer’s goal was to transform Coconut Joe’s from tacky tiki to chic tiki. The chef’s goal was to celebrate local food as well. At the end of the restoration, the owner was grateful and thrilled with the results.

Season Two, also released on March 14 in Canada, brought the team to seven more destinations, including wine country in British Columbia’s Okanagan Valley. There, they chose to transform the Outboard Waterfront Pub.

“The owners of the restaurant are such an integral part of the story we tell and, in this case, we were thrilled to include a father-daughter team, Campbell and Anne Stewart,” Hazlett said. “Campbell is hoping to retire sooner rather than later and leave the restaurant in Anne’s hands, and Anne, when we filmed, had an infant. So they’ve got a lot on their plate.”

Hazlett said she has always loved food and cooking. Born and raised in Pittsburgh, she earned a degree from Tulane University and a master’s degree in journalism from Columbia University. She went on to work at People magazine and OK! magazine, then was a correspondent for MSNBC, covering pop culture for MSNBC, as well as Today, Morning Joe and more, before running entertainment teams for NBC News Digital.

“Around 2012, I started producing,” said Hazlett, who moved from New York City to Los Angeles. “Then I started to develop content and, in 2014, created the production company OutEast Entertainment. ABC just ordered a medical drama pilot from us called Triage; it’s directed by Jon Chu, who directed the upcoming film In the Heights.”

Although Hazlett is Jewish and raises her children Jewish, she was born Christian.

“What happened is my mom never knew her father and, later in life, found out he was Jewish, and it unlocked something in me,” she explained. “Growing up, I always gravitated towards Judaism. My husband of eight years [Marrs] was a lapsed Catholic and we both converted. For us, as we started to lean into the Jewish traditions, it became such a centring force for our family. Over time, we started to keep Shabbat and celebrate Jewish holidays. We wanted our kids to grow up Jewish – they go to religious school and we are super-active in our temple. Converting became an easy choice for both of us and it made a lot of sense.”

In keeping with her Jewishness, Hazlett would love to find a location and restaurant in Israel. “Next season, I would love to film in Israel and other Jewish places,” she said.

Hazlett admitted it was a lot to ask an owner to close down his or her restaurant while her crew did renovations, especially if the restaurateur had a cash flow problem. “But, on the flip side, being on Netflix is great advertising for them,” she said, adding that they don’t compensate the restaurants, but they do pay for the cost of the makeovers. “In fact, I received notes from the restaurant in Malta that he has had more than 2,000 people reach out to him because of the show. That’s a lot of new customers!”

Alice Burdick Schweiger is a New York City-based freelance writer who has written for many national magazines, including Good Housekeeping, Family Circle, Woman’s Day and The Grand Magazine. She specializes in writing about Broadway, entertainment, travel and health, and covers Broadway for the Jewish News. She is co-author of the 2004 book Secrets of the Sexually Satisfied Woman, with Jennifer Berman and Laura Berman.

Schitt’s Creek in final season

Co-creators Eugene Levy, left, and son Daniel Levy were among the Schitt’s Creek panelists at the 92nd Street Y in New York City on Jan. 17. (photos by Rod Morata/Michael Priest Photography)

Fans of Canada’s mega-hit TV show Schitt’s Creek were eagerly eyeing the stage at the 92nd Street Y in New York City on Jan. 17. They had just viewed the first two episodes of the sixth and final season on a big screen and the main cast was about to appear. When the curtain lifted, the audience loudly cheered, as Eugene Levy (Johnny), Daniel Levy (David), Catherine O’Hara (Moira) and Annie Murphy (Alexis) sat smiling.

The moderator, Vanity Fair’s Richard Lawson, didn’t waste any time asking why they decided to call it quits.

“We had discussed it and thought six seasons would give us enough time to tell our story,” said Daniel Levy, the show’s co-creator, co-executive producer, writer and Eugene Levy’s real-life son. “Working so closely with the show, it almost spoke to me. I felt we built enough to land the plane, so to speak. From day one, I have been aware of overstaying your welcome. I would rather leave people with a real joyful idea of what the show was and what it meant to them.”

The clever, funny, quirky Schitt’s Creek is a fish-out-of-water sitcom in which the ultrawealthy Rose family – Johnny and Moira and their two adult children, David and Alexis – goes into bankruptcy and loses everything. With no money and nowhere to live, they have little choice but to relocate to Schitt’s Creek, a Podunk town that Johnny once bought David as a joke. Their new home is the town’s no-frills one-storey motel, and the foursome, who had previously been preoccupied with their own extravagant lives, learn to become a real family. “When you get down to it, the stories are about who people are, not what they are,” said Eugene Levy.

Once settled into their new life, the Rose family has to contend with the town’s scruffy mayor, Roland Schitt (Chris Elliott), his wife, high school teacher Jocelyn (Jennifer Robertson), the sarcastic motel receptionist, Stevie Budd (Emily Hampshire), and café waitress Twyla (Eugene Levy’s real-life daughter, Sarah Levy).

Schitt’s Creek, filmed in Ontario, premièred in 2015 on CBC in Canada and Pop TV in America. It’s produced by Not a Real Company Productions Inc. In 2017, the show started airing on Netflix as well, and viewership soared. The series has won numerous awards, including Canadian Screen Awards, and an MTV Movie and TV Award for Daniel Levy.

Initially, Daniel Levy came to his dad with the show’s premise and a script. “In the beginning, it was a way to do something with your son,” recalled Eugene Levy. “We started it as a great project and wanted to make it as far as we could. We ended up getting it on the air in Canada on a real network – and I thought that was great. Cut to five years later and, thanks in a major way to Daniel, who has guided this to a brilliant conclusion, Schitt’s Creek has received so much acclamation and passion from fans.”

photo - Pop TV’s Schitt’s Creek: A Screening and Conversation featured, left to right, Eugene Levy, Catherine O’Hara, Daniel Levy and Annie Murphy, and was moderated by Vanity Fair’s Richard Lawson — Pop TV’s Schitt’s Creek: A Screening and Conversation featured, left to right, Eugene Levy, Catherine O’Hara, Daniel Levy and Annie Murphy, and was moderated by Vanity Fair’s Richard Lawson. *(photo by Rod Morata/Michael Priest Photography)*

Each season, the writers have been able to advance storylines without crossing the line into absurdity, and the actors have been able to develop their characters’ unique personalities and eccentricities.

“I wanted to make sure the actors were challenged and excited about coming back [each season] to do their parts,” said Daniel Levy. “When you have a cast of this quality, an ensemble as extraordinary as we have, it would be a dishonour not to show up each season with great storylines, given the calibre of work that they do. The actors need to feel challenged and excited to come back to do their part – that’s what keeps them motivated. When things flatline, people check out.”

He continued, “When you create characters the audience loves, you can take them on a lot of terrific story rides. With the growth of the characters, we were able to add in a layer of sentimentality. Without sounding shmaltzy, there was such a collective sense of excitement with our cast and crew, that actors showed up to watch scenes that they weren’t even in.”

The show’s writing has revealed the characters’ different layers. Take Alexis, for example. While she is self-involved, mostly oblivious and enjoys referring to past relationships with Hollywood celebrities, she is still charming. “When we met Alexis on paper, she was not that likeable – she was quite shallow and selfish,” said Murphy about the character she plays. “But, when I got the breakdown for the audition, at the end it said, ‘a young Goldie Hawn,’ who is bubbly and effervescent, but grounded. I wanted to play her as a fully fleshed out human being. The writers did a good job letting her grow as a human. I have so much fun playing her.” (Alexis often exaggerates her hand gestures and is fond of saying, “Ew, David!” to her brother.)

Moira, the family matriarch, has become an iconic figure over the years. Before moving to Schitt’s Creek, she was a socialite, actress and inattentive mother – she didn’t even recall her daughter’s middle name! While she remains eccentric, self-absorbed and theatrical, she, too, is likeable. “Originally, I wanted to come up with a character I would have fun playing and people would love watching,” said O’Hara, who wears a variety of wigs in every episode. “I didn’t know anyone would care. But the writers kept giving me great opportunities.”

Moira accentuates inappropriate syllables when she speaks. How does she choose which syllables to accentuate? “In the moment, it just makes sense,” O’Hara said, laughing, and raising her voice at the word “sense.”

The character of David has a few obsessive-compulsive tendencies, is occasionally hypochondriacal, is into pop culture, has a keen eye for fashion and is often sweetly sarcastic. He opened the store Rose Apothecary and started to date Patrick (played by Noah Reid), his business partner. As the series progressed, the two fell in love and, in the last season, they plan their wedding. When asked if the sexuality addressed in the series caused advertisers to push back, Daniel Levy said he wasn’t aware of any advertiser having done so. “The networks have given us a lot of freedom,” he said, “and, for that, I am so grateful.”

From the beginning, Schitt’s Creek was a low-budget show. “We were just a little Canadian television show,” Daniel Levy admitted, adding that they didn’t exactly have the budget of The Marvelous Mrs. Maisel. “But not having money helped. We had to maximize our budget and were forced to be creative and put the little money we had on the screen. As the expression goes, diamonds are formed under extreme pressure. Great work happens where you are pushed to the limits.”

The final episode will air April 7. “It’s a beautiful conclusion to the series,” said Eugene Levy.

Daniel Levy wrote the last episode of the show in half a day. “Because we had exceptional writers who helped me make this show what it was, the last episode essentially wrote itself,” he said. “We didn’t want to backload a ton of stories, which can happen in some series finales. I didn’t want to be burdened with expectations of making it any bigger than it is, because it’s a small show. I didn’t want it to feel any bigger than any other episode we had done. I wanted our last episode to be just a great episode of TV.”

Alice Burdick Schweiger is a New York City-based freelance writer who has written for many national magazines, including Good Housekeeping, Family Circle, Woman’s Day and The Grand Magazine. She specializes in writing about Broadway, entertainment, travel and health, and covers Broadway for the Jewish News. She is co-author of the 2004 book Secrets of the Sexually Satisfied Woman, with Jennifer Berman and Laura Berman.

Yiddish Fiddler draws crowds

Steven Skybell and Jennifer Babiak in the Yiddish version of Fiddler on the Roof, which is slated to run through January 2020 in New York City. (photo by Matthew Murphy)

It’s no wonder the current Fiddler on the Roof on stage in New York City has been extended several times since it debuted Off-Broadway last summer. The immense draw isn’t just the splendid choreography, the well-known beloved music, the compelling, stellar cast, the emotional dialogue – it’s the authenticity that strikes a chord. Based on a collection of vignettes by Yiddish literary icon Sholem Aleichem, this production of Fiddler is entirely in Yiddish, the guttural tongue that the people on whom the characters are based would have used in real life.

This is the first time in the United States that Fiddler is being staged in Yiddish. Directed by the venerable actor Joel Grey, it opened at the Lower Manhattan’s Museum of Jewish Heritage in July 2018 and transferred to the more commercial Stage 42 near Times Square in February 2019. It’s expected to run through January 2020. It has both English and Russian supertitles.

“When Fiddler on the Roof in Yiddish first premièred last summer for a limited eight-week run under Joel’s vision, it was a show that moved people to tears and I knew it had to be seen by as many people as possible,” producer Hal Luftig told the Independent.

Set in 1905 in a Jewish shtetl in the town of Anatevka, on the outskirts of czarist Russia, Fiddler is centred around Tevye (played by Steven Skybell). He’s a poor dairyman with a wife and five daughters. Three of his daughters are of marrying age and the expectations are a matchmaker will find them a husband.

But, despite tradition, the strong-willed girls have their own idea of who they want to marry – and it’s all for love. Their marital choices give Tevye plenty of tsouris (aggravation). Eldest daughter Tsatyl (Rachel Zatcoff) marries a poor tailor in need of a sewing machine. Second daughter Hodl (Stephanie Lynne Mason) falls in love with a penniless Bolshevik revolutionary who winds up in Siberia. And though Tevye convinces his wife, Golde (Jennifer Babiak), that it’s OK to break from the matchmaker tradition, it is too much even for him when his third daughter, Khave (Rosie Jo Neddy), falls in love with a gentile – he banishes her from the family, declaring her dead.

Meanwhile, the political climate is very antisemitic. There are pogroms, and the czar is expelling Jews from the villages. At the end of the musical, the Jews of Anatevka are notified that they have three days to leave the village or they will be forced out by the government.

The original Broadway production opened in 1964 and, in 1965, won nine Tony Awards including best musical, best score, book, direction and choreography. Zero Mostel was the original Tevye. The music was by Jerry Bock, lyrics by Sheldon Harnick and book by Joseph Stein. The original New York stage production was directed and choreographed by Jerome Robbins. In 1971, there was a critically acclaimed film adaptation that garnered three Academy Awards, including best music.

The Yiddish translation was originally performed in Israel in 1965. It was crafted by Shraga Friedman, an Israeli actor who was born in Warsaw, escaped the Nazis in 1941 and settled in Tel Aviv.

In the New York production, the set design, credited to Beowulf Boritt, is simple. The word Torah (in Hebrew) is painted across the main banner and is torn apart and sewn back together as a symbol of what the Jewish people have endured.

From the very start, the audience gets drawn in when the cast forms a circle and sings “Traditsye” (“Tradition”). Another familiar tune – “Shadkhnte Shadkhnte” (“Matchmaker Matchmaker”) has the audience moving in their seats. While most of the music and lyrics are basically the same, there are some changes. “If I Were a Rich Man” becomes “Ven Ikh Bin a Rothshild” (“If I Were a Rothschild”).

While most of the cast is Jewish, some are not, and very few of the actors actually knew Yiddish before the show. Jackie Hoffman, who brilliantly plays Yente the Matchmaker, grew up with some Yiddish in her home but was far from fluent in it.

photo - Jackie Hoffman plays Yente the Matchmaker — Jackie Hoffman plays Yente the Matchmaker. *(photo by Matthew Murphy)*

“I didn’t learn the language for my role, I learned my lines,” admitted Hoffman, who grew up on Long Island, N.Y., in an Orthodox home and attended a yeshivah for nine years. “It was difficult, but when I’m hungry to learn a role, that helps a lot. We have great coaches who are relentless. I did hear Yiddish in the house growing up, my mom and grandmother conversed, and I’m now grateful for every word I’ve learned.”

Hoffman and the cast were taught the language phonetically. Many had seen Fiddler performed in English in various theatrical productions, as well as the film. “It feels bashert this is the first production of Fiddler that I have ever been in and it is clearly the most meaningful,” said Hoffman, who has been in dozens of television shows and films, including Birdman, Garden State and Legally Blonde 2. “It merges the Jewish part of my life with the career part,” she told the Independent.

It is hard to leave the theatre without thinking of the similarities between Tevye’s Anatevka and many parts of the world today, including the United States. Jewish traditions are often challenged and antisemitism is once again on the rise.

“I don’t think that antisemitism ever went away, but it is a very scary time now,” said Hoffman. “It is mind-blowing how current the piece feels in that way.”

At the end of each performance, it’s clear by the enthusiastic applause and the long standing ovations, that the audience feels they have experienced something great. “They seem blown away by it,” said Hoffman. “They are impressed that we’ve pulled off a three-hour musical in Yiddish and they’re staggered by how pure and emotional an experience it is.”

At Stage 42 on 422 West 42nd St. in Manhattan, Fiddler on the Roof in Yiddish runs just under three hours with one intermission. For tickets, call 212-239-6200 or visit fiddlernyc.com.

Play’s Vancouver links

Zayd Dohrn’s Reborning returns to the New York stage this summer. (photo from Zayd Dohrn)

The play Reborning, written by Zayd Dohrn, is being performed Off-Broadway at the Soho Playhouse in New York City from July 5 through Aug. 3, thanks to Vancouver’s Reality Curve Theatre.

A Canadian nonprofit professional theatre company founded in 2011, Reality Curve reached out to Dohrn to bring this play, which ran in Vancouver last year, to the New York stage. The production is produced by artistic director Paul Piaskowski, Darren Lee Cole and Rebecca McNeil, and is presented by Playbook Hub with support from the Vancouver Film School, the Canada Council for the Arts and Shimon Photo.

Reborning is a dark comedy-drama with elements of horror. In it, people are able to buy life-like infant dolls that look like loved ones who have died. The play centres around Kelly, a woman who lives with her boyfriend in Queens, N.Y., and creates “reborn” baby dolls. She has a client who commissions her to make a replica of her dead baby girl and, as Kelly constructs this doll, it stirs up memories from her own life.

“It’s a relationship between a younger and older woman – a customer and an artist – who are both looking for something and it becomes dangerous,” said Dohrn, who lives in Chicago and is an associate professor at Northwestern University. “There is a whole subculture with these dolls. I wrote the play right after the birth of our first child. My wife was shopping online for baby toys and clothes and she found these life-like dolls. The photos of them are incredible, realistic, detailed and medically accurate. Some even have hospital bracelets. There is something beautiful about them, yet very disturbing.”

Dohrn talked to customers and heard their testimonials. “Many of these people can’t get over the loss of their baby and use the dolls therapeutically.”

The play stars Emily Bett Rickards (CW’s Arrow), Piaskowski (Unspeakable, The Twilight Zone) and Lori Triolo (Riverdale), who is also the director.

The first production of Reborning, which starred Ally Sheedy, was 10 years ago at the Summer Play Festival at the Public Theatre in New York City, when Dohrn was at the Julliard School. It has had more than 20 productions nationally and internationally over the last decade, including in Los Angeles, Brazil, Panama, Florida, San Francisco and, in 2018, Vancouver, where he connected to Reality Curve.

Dohrn’s life and road to literary success could be a fascinating play in itself. His parents, Bill Ayres and Bernadine Dohrn, were leaders in the radical group the Weather Underground (also known as the Weathermen) back in the 1960s and 1970s. There was an accidental explosion in a Greenwich Village townhouse where Weathermen lost their lives, and the couple went underground, using assumed names. Dohrn, who is now 41, spent his early childhood on the run.

“It didn’t seem strange to me to grow up being fugitives, that was just our life,” he said. “We lived in New York City in Harlem, traveled a lot, moved around a lot and lived in communes. Then my parents turned themselves in and we settled in New York. My mom went to jail for almost two years when I was 5, and I have vivid memories of visiting her there. My dad took care of me while she was gone.”

When his mom was released from prison, she became a lawyer. “My dad became a professor and I was raised in a middle-class house, although they still had their notoriety and they were committed to their politics and their cause,” said Dohrn. “Growing up, we would go to a lot of demonstrations and meetings with other activists.”

Dohrn went on to earn an undergraduate degree from Brown University, a master’s in fine arts from New York University, a master of arts from Boston University and a playwriting fellowship from Julliard. He also spent a lot of time in China. Fourteen years ago, he married Rachel DeWoskin, and they have two daughters. DeWoskin, who is from Ann Arbor, Mich., is an author, teaches at the University of Chicago and also spent many years living in China before she and Dohrn met.

Many of Dohrn’s plays draw from his childhood and life experiences. In one of his earlier plays, Haymarket, set in 1886, a bomb explodes in the middle of a peaceful rally of demonstrators in Chicago – at least one of the radicals goes into hiding. His play Sick, about a Manhattan couple who go to extreme measures to protect themselves from pollution, was reminiscent of living in Beijing and witnessing the fear during the SARS epidemic.

When asked about his religion, Dohrn said he considers himself a cultural Jew. “My mom was half-Jewish and my parents were atheists, but, culturally, my mom considers herself Jewish and we were raised as cultural Jews and celebrated Passover and Chanukah,” he explained. “We celebrated in a radical way – we did Passovers in a women’s prison in upstate New York, celebrating the Exodus as a story of freedom and celebrating with female inmates in prison.”

Dohrn noted that he, his wife and kids have traveled a lot, visiting Jewish sites. “My wife considers herself Jewish and we are raising our girls with a lot of Jewish cultural influences,” he said.

Dohrn and DeWoskin spend time each year in China. “Rachel kept her apartment in Beijing for at least 10 years and we would go for a few months every year,” he said. “When our kids started to grow up, we wanted a place where they could be more independent so we got an apartment in Shanghai. We spend three-quarters of the year in Chicago and one-quarter of the year in Shanghai. We both have academic schedules so we are able to spend the summers and winters there. There are still historical monuments and artifacts from the Jewish community in Shanghai and the synagogue is now a museum. Our apartment there is in the building that was the Jewish processing centre for the refugees during World War II.”

Currently, Dohrn is developing a series about radical political movements like the Weather Underground and the Black Panthers for Showtime and a feature film for Netflix. He’s looking forward to Reborning being back on the New York stage. “For me,” he said, “it’s a bookend, to have it back in New York again after all these years.”

Not long ago, not far away

This child’s shoe and sock were found in January 1945 among thousands of others at Auschwitz-Birkenau, abandoned by the Nazis as the Red Army approached. (photo from Collection of the Auschwitz-Birkenau State Museum, Oswiecim, Poland. ©Musealia)

On display now at the Museum of Jewish Heritage in New York City, the exhibit Auschwitz: Not Long Ago. Not Far Away is the most comprehensive Holocaust exhibition ever mounted in North America about Auschwitz. Dedicated to the victims of the death camp, the goal of this exhibit is to make sure no one ever forgets.

A study conducted by the Conference on Jewish Material Claims Against Germany reported that 41% of Americans and 66% of millennials say they don’t know about the Auschwitz death camp, where more than a million Jews and others, including Poles, Sinti and Roma, Soviet prisoners of war, homosexuals, Jehovah’s Witnesses and others, were executed. And 22% of millennials say they haven’t even heard of the Holocaust.

image - Artist Alfred Kantor’s depiction of arrival in Auschwitz: “Throw away your baggage and run to the trucks” — Artist Alfred Kantor’s depiction of arrival in Auschwitz: “Throw away your baggage and run to the trucks.” *(photo from Gift of Alfred Kantor, Museum of Jewish Heritage, N.Y.)*

“Seventy-three years ago, after the world saw the haunting pictures from Auschwitz, no one in their right mind wanted to be associated with the Nazis,” Ron Lauder, founder and chair of the Auschwitz-Birkenau Foundation Committee and president of World Jewish Congress, said. “This exhibit reminds them, in the starkest ways, where antisemitism can ultimately lead and the world should never go there again. The title of this exhibit is so appropriate because this was not so long ago, and not so far away.”

The exhibition consists of 20 galleries spanning three floors, and features more than 700 original objects and 400 photographs. They are on loan from more than 20 institutions and private collections around the world, as well as the Auschwitz-Birkenau State Museum in Poland.

An audio guide given to each visitor upon entry details the items on display. Visitors will see hundreds of personal possessions, such as suitcases, eyeglasses, photos, shoes, socks and clothes that belonged to survivors and those murdered at the concentration camp. In one glass case, a child’s shoe is on display with a sock neatly tucked inside. We are left to wonder, who put that sock in the shoe and were they expecting the child to shower and then retrieve it?

photo - Determined to survive, and to have a head of hair again one day, Ruth Grunberger made this comb for herself in Auschwitz, using stolen scrap metal and wire — Determined to survive, and to have a head of hair again one day, Ruth Grunberger made this comb for herself in Auschwitz, using stolen scrap metal and wire. *(photo from Collection of the Museum of Jewish Heritage. Gift of Ruth Mermelstein, Yaffa Eliach Collection donated by the Centre for Holocaust Studies.)*

Auschwitz was located 31 miles west of Krakow in the small southern Polish town Oswiecim, which dates back to the Middle Ages. Jews were a part of its society for centuries. Auschwitz-Birkenau was conceived and initially constructed to house 100,000 Soviet prisoners of war and slave labour, before it became a factory of death. The architect who designed the camp was Fritz Ertl, a native of Austria. Ultimately, some 1.1 million Jews and thousands of others were killed there. Many who arrived at Auschwitz were sent directly from the overcrowded, sealed, windowless boxcars to the gas chambers and crematoriums.

There are videos throughout the exhibit, including one of Hitler and a large adoring crowd. There’s a concrete post that was a part of the fence at the Auschwitz camp, and a part of the original barrack for prisoners at the killing centre.

photo - Margit (Manci) Rubenstein made this Star of David necklace from material taken from the lining of her shoes and shoelaces while imprisoned in Auschwitz (1944) — Margit (Manci) Rubenstein made this Star of David necklace from material taken from the lining of her shoes and shoelaces while imprisoned in Auschwitz (1944). *(photo from Collection of the Museum of Jewish Heritage. Gift of Sugar siblings in memory of Rosenfeld and Schwartz families.)*

A German-made Model-2 boxcar, like those used to transport people to Auschwitz, sits outside the museum. In a video, survivors talk of the horrible conditions and stench inside those boxcars.

Viewers can see the operating table, test tubes and instruments used in medical experiments. There’s a gas mask used by the SS and a model of a gas chamber door used in crematoria 2, 3, 4 and 5 – and testimonies from survivors of the camp. To show the striking contrast between the victims and the perpetrators, there are photos of Rudolf Hess at his nearby residence with his family enjoying the outdoors.

Nazi ideology and the roots of antisemitism are traced from the beginning, to understand what happened before the gas chambers were created. Discrimination and bigotry against Jews existed long before Hitler came into power, of course. In one room, there’s an anti-Jewish proclamation issued in 1551 by Ferdinand I that was given to Hermann Göring for his birthday by German security chief Reinhard Heydrich. The proclamation required Jews to identify themselves with a yellow ring on their clothes. Heydrich noted that, 400 years later, the Nazis were completing Ferdinand’s work.

In a video seen near the end of the exhibition, Holocaust survivors urge people to refrain from hate and to work for peace.

This exhibition was in Madrid before coming to New York. This important and moving must-see exhibition is both a reminder and a warning.

***

Located in the Museum of Jewish Heritage, at 36 Battery Place, entry to the exhibit Auschwitz: Not Long Ago is by timed tickets available at mjhnyc.org. An audio guide is included with admission, and tickets range from $10 to $25. Hours are Sunday to Thursday, 10 a.m.-9 p.m. (last entry at 7 p.m.), and Friday, 10 a.m.-5 p.m. (last entry at 3 p.m.). The exhibit will be in New York until January 2020.

Disney’s first coming out

The cast of the Disney Channel’s Andi Mack included, left to right: Asher Angel as Jonah Beck, Peyton Elizabeth Lee as Andi Mack, Joshua Rush as Cyrus Goodman and Sofia Wylie as Buffy Driscoll. (photo by Disney Channel/Mitch Haaseth)

Before it was canceled two weeks ago, after three seasons, the Disney Channel’s Andi Mack covered new ground. The tween coming-of-age show not only had a Jewish character, Cyrus Goodman, but he was the first openly gay character on the channel. The coming-out storyline, which aired earlier this year, received high praise for the way it was handled. The show’s inclusivity is one reason fans are still fighting – via social media – to keep the show on the air. New episodes will run through the end of summer.

Joshua Rush, who played Cyrus, is Jewish himself. On the ABC TV show Good Morning America, Rush, who is 17, said that the response was overwhelmingly positive. “I’ve really gotten to see the myriad ways that both this new coming-out scene for Cyrus, and this Jewish representation of his family, has affected the fans,” Rush said.

The scene in which Cyrus comes out to his friends is set in front of a buffet spread of traditional Jewish food at his grandmother Bubbe Rose’s shivah. While explaining the foods, such as kugel, classic bagels and lox and gefilte fish, he blurts out that he is gay. The episode, called “Once in a Minyan,” was written by Jonathan Hurwitz, whose credits include The Daily Show. Hurwitz shared in a guest post for GLAAD (Gay and Lesbian Alliance Against Defamation) that he was driven from personal experience to write this episode as “someone who’s Jewish, has dealt with long-term anxiety and has come out to his friends and family.”

photo - Joshua Rush played the first openly gay character on the Disney Channel: Cyrus Goodman on the show Andi Mack — Joshua Rush played the first openly gay character on the Disney Channel: Cyrus Goodman on the show Andi Mack. *(photo by Disney Channel/Mitch Haaseth)*

Cyrus’s Judaism allowed the writers and show’s creative team to incorporate Jewish traditions and rituals. In one episode, Cyrus has a bar mitzvah – and, in it, Rush recites the same Torah portion from his own bar mitzvah. Another example is the shivah scene, where the writers included Jewish bereavement rituals like covering mirrors and the recitation of the Mourner’s Kaddish; there is also a yahrzeit candle on display.

Prior to the announcement of the show’s cancelation, the Jewish Independent spoke with Rush, who was born in Houston, Tex., but now resides in Los Angeles.

JI: Did you have any input in the character being Jewish?

JR: Our show’s creator, Terri Minsky, is Jewish, and so am I. From the beginning, there had been discussions of the character being Jewish, but actually acting on it in the context of the bar mitzvah and shivah episodes came later, after the character was more fleshed out. The storylines themselves were all Terri’s though.

JI: Did you suggest the bar mitzvah storyline, since you had recently had one?

JR: After learning of the character’s Judaism and being more comfortable with Terri and the writing staff, I was immediately very excited at the idea of giving Cyrus a bar mitzvah. I loved mine but, because I celebrated mine in Israel, I didn’t get all the accoutrements of an American bar mitzvah, so I really enjoyed the massive party we had for the “bash mitzvah”!

JI: What kind of feedback have you gotten from family, friends and fans about your character being gay? Being Jewish?

JR: The feedback has been overwhelmingly positive. I think, a lot of the time, the media, and especially kids shows, display Jewish characters in side plots. See Chanukah being “Jewish Christmas,” Pesach being “Jewish Easter,” etc. With this great representation of the religion in the cast and writer’s room, we were able to show a Jewish character who is a main character, who has his own life, his own story, and being Jewish is just a part of that. Not being the butt of jokes as a result of his faith has given me a lot pride.

JI: What messages do you hope viewers will get from your storylines?

JR: I think something that’s really special about Cyrus is that he knows that he doesn’t know everything about the world and about himself. But he’s never afraid to ask the tough questions about who he might be and what that means for his life. That’s an incredibly honourable thing, and I think we can all learn from that.

JI: On a personal note, does your family celebrate Jewish holidays?

JR: We celebrate most holidays and being Jewish is a big part of our household. The show was very flexible with allowing us to celebrate Yom Kippur, Rosh Hashanah, and we even cooked traditional Jewish foods for Chanukah every winter, much to the delight of the crew. (My dad makes the best matzah balls on planet earth!)

Mizrahi to perform here

Isaac Mizrahi’s cabaret show, which is at the Rio Theatre on March 18, is a preview of his new book I.M.: A Memoir. (photo by Britt Kubat)

Celebrated fashion icon Isaac Mizrahi is bringing his multiple talents to Vancouver. On March 18 at the Rio Theatre, he will be performing his cabaret show I & Me, accompanied by the Ben Waltzer Jazz Quartet.

Mizrahi’s North American tour is timed with the release of his new book, I.M.: A Memoir (Flatiron Books). The show, which includes poignant stories and fun songs, covers anecdotes about his life, his mother, what it was like growing up in an Orthodox Jewish Syrian community in Brooklyn, the challenge of being gay, and rising to the top of the fashion world. “It’s done with a lot of humour,” he told the Independent. “I hope it’s compelling, amusing and resonates with the audience.”

The songs, he explained, go along with the story. “I chose songs that can dramatize the story,” said Mizrahi, who has performed with Waltzer in clubs for more than 20 years. “My opening number is ‘I feel Pretty’ and, believe it or not, I am not singing it with irony.”

Mizrahi also delivers his own rendition of Cole Porter’s “You’re the Top.”

The first time Mizrahi showed off his talents in front of a crowd was in elementary school, when he started doing impressions for his peers.

“When I was about 7 years old, I went to see Funny Girl with my family and was so inspired by [Barbra] Streisand I started imitating her. Then I impersonated Judy Garland and Liza Minnelli,” recalled Mizrahi, who attended yeshivah from kindergarten through eighth grade. “I would do these female impressions inappropriately in places like the lobby of shul!”

But it was designing clothes for the rich and famous that made Mizrahi a household name. When he entered High School of Performing Arts in New York City, he had planned on going into show business. However, by the time he was a junior, he switched gears and found a better way to express himself. “I realized all my friends were gorgeous, thin, blond and movie-star types, and I was fat and I didn’t have that self-image,” he said. “So, I re-thought my career and decided to work in the fashion industry. It enriched me so much, and gave my life a different kind of story and platform.”

His interest in the world of fashion didn’t come from out of the blue. His father was a children’s clothing manufacturer and Mizrahi, who was obsessed with reading fashion magazines, had sewing machines at his disposal. “I started to make puppets and sew clothes for them,” said Mizrahi, who added that he liked doodling sketches of outfits in the margins of his Hebrew books. “By the time I was 10, I had this big puppet theatre in the garage and I made their clothes. My father had sewing machines everywhere and he taught me how to sew. By the time I was 13, I was a really good sewer and I started making clothes for my mom and myself. It became this fun, compelling thing. My mom, who is now 91 years old, was really into fashion and encouraged my interest.”

After high school, Mizrahi attended Parson’s School of Design in New York City. His first fashion job was working at Perry Ellis, then with designer Jeffrey Banks, and then Calvin Klein. Along the way, he honed his skills, in such areas as selecting fabric, sketching clothes and participating in design meetings. By the time he was 26, he went out on his own.

In 1989, he presented his first show, which catapulted him into fame and his couture soon dominated the fashion mags. He dressed celebs for red carpets, and his clients included Michelle Obama, Meryl Streep, Hillary Clinton and Oprah Winfrey.

“Designing for Michelle Obama was such a thrill,” he said. “And Barbra Streisand was so lovely. I tailored a suit for her and Women’s Wear Daily erroneously attributed it to Donna Karan. Barbra wrote me a note saying, ‘We know who really made this suit!’”

But Mizrahi’s successful journey has had its lows. While he made countless guest appearances on television and in movies, earned an Emmy nomination for best costume design for his work in Liza Minnelli Live and was the subject of the acclaimed documentary film Unzipped, which chronicled his 1994 collection, his company was losing money and closed after his fall 1998 collection.

He returned to fashion in 2002, teaming up with Target and becoming one of the first high-end designers to create affordable clothes for the general public. In 2009, he launched his lifestyle brand Isaac Mizrahi Live!, sold exclusively on QVC. In 2011, he sold his trademark to Xcel Brands. Among his many credits, he hosted his own television talk show, The Isaac Mizrahi Show, for seven years; he wrote two books; and he narrated his production of the children’s classic Peter and the Wolf at the Guggenheim Museum. In 2016, he had an exhibition of his designs at the Jewish Museum in New York. Currently, he sells on QVC and via Lord & Taylor, and serves as a judge on Project Runway: All Stars.

Throughout all of his fashion endeavours, he has found time to be on stage. Mizrahi, who is a charming storyteller, said he loves doing live cabaret. “I hope the audience will really enjoy themselves when they see my show, and laugh and enjoy the music,” he said. “I want them to get the idea who I am and how I got there – and I want them to know the story of my life.”

When asked what he’d like his legacy to be, the designer, entertainer and showman referred to his Judaism. “My name is Isaac, which means laughter in Hebrew,” said Mizrahi, who considers himself a cultural Jew. “I think, most importantly, I want my legacy to be about humour.”

Tickets to I & Me at the Rio Theatre are $58 in advance and $60 at the door. They can be purchased at riotheatre.ca/event/isaac-mizrahi-i-me. The March 18 show starts at 8 p.m.