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Byline: Cynthia Ramsay

Ageism is everywhere

Ageism is everywhere

Panelists Margaret Gillis, left, and Dr. Melanie Doucet were the experts featured at this year’s Simces & Rabkin Family Dialogue on Human Rights, which focused on ageism.

“Ageism is anytime we make an assumption, a judgment, a stereotype, or discriminate based on age. And this can go in any direction. You’ve often heard people say, ‘too young to understand,’ ‘too old to understand.’ It can be directed toward oneself. It manifests in our interrelationships with others. And it is evident in our institutions and organizations. In fact, it is everywhere,” said Zena Simces in her remarks at the sixth annual Simces & Rabkin Family Dialogue on Human Rights, which took place over Zoom on Oct. 28.

Ageism impacts many aspects of life, said Dr. Simon Rabkin. “It affects our health, both physical and mental,” he said. “Studies have shown that psychosocial impacts of ageism include low self-esteem, self-exclusion, lack of self-confidence and loss of autonomy, both for older and younger people. The data indicate that workplace ageism is associated with increased depression and long-term illness. Importantly, studies have found that older persons with more negative self-perceptions of aging have significantly reduced longevity.”

Simces and Rabkin set the stage for the dialogue, which was called Too Old, Too Young: A Conversation on Ageism and Human Rights. It featured Margaret Gillis, founding president of the International Longevity Centre Canada (ILCC) and co-president of the International Longevity Centre Global Alliance, and Dr. Melanie Doucet, an associate with the Centre for Research on Children and Families at McGill University, who is a former youth in care. The discussion was moderated by Andrea Reimer, an adjunct professor at the University of British Columbia’s School of Public Policy and Global Affairs, who herself survived as a street-involved youth.

Gillis focused on the impact of ageism on older persons. She gave examples of human rights violations taking place in Canada, including that Canada’s long-term care homes have been under strain and in need of reform for at least two decades. She said an estimated one in 10 older Canadians experiences some form of elder abuse, adding that such abuse is underreported. She spoke about ageist employment practices and negative media representations of older persons.

“Ageism is toxic to the global economy and to health,” she said. “For instance, a US study showed a massive $63 billion per year impact on the economy as a result of ageism in health care. Perhaps one of the most distressing aspects of ageism is its prevalence, the World Health Organization finding one in every two persons is ageist.”

Nonetheless, not much is being done about it, said Gillis.

“I should note that there are protections against ageism in the Canadian Human Rights Code and the provincial human rights codes. But, the problem is, this takes time, money and know-how and our legislation and court process are not well-equipped to remedy complex situations like ageism easily and cost-effectively.”

Gillis encouraged people to join the Canadian Coalition Against Ageism, which she established. It comprises organizations and individuals who are working to confront ageism and bring about changes, based on the WHO global report on ageism. 

She advocates for the adoption of a United Nations Convention on the Rights of Older Persons. 

“In general, a convention is a method to achieve positive change by combating ageism, guiding policy-making and improving the accountability of governments at all levels, which we most certainly need,” said Gillis. “A convention would also educate and empower, and we’d see older people as rights holders with binding protections under international law.”

Doucet spoke about the human rights of younger persons, specifically youth who age out of the care system. She explained that youth age out of care at the age of majority and that, in British Columbia, about 1,000 youth age out annually.

A video Doucet made as part of her doctoral research included data on the difficulties most young people exiting care experience: 200 times the risk of homelessness, post-traumatic stress disorder rates on par with war veterans, and fewer than 50% finish high school.

Statistics Canada Census data from 2016 indicated that nearly 63% of youth ages 20 to 24 were still living with their parents, with almost 50% staying home until the age of 30. “And I’m sure those statistics have even increased since the pandemic,” said Doucet.

“Youth in care don’t have that luxury. They’re legislated to leave the system at age of majority. So, they’re deemed too old to remain in the child-welfare system after they reach age 18 or 19, depending on where they live in Canada, but, yet, too young to be sitting at the table when policy decisions are being made that impact them, sometimes even at their own intervention planning meetings with social workers.”

Additionally, in the last 20 years or so, a new developmental phase – “emerging adulthood,” which occurs between the ages of 19 and 29 – has been acknowledged in the academic literature, said Doucet. “It’s a phase that encompasses young people who are not necessarily children anymore but they’re not quite adults, and it provides room for identity exploration, trial and error, obtaining post-secondary education, and just figuring out one’s own place in the world. Youth in care aren’t able to experience this crucial developmental phase because of the legislated age cutoffs.”

There are studies that measure the benefits to both the youth affected and society at large of extending the age cutoff: “a return of $1.36 for every $1 spent on extending care up to age 25,” Doucet said.

Meanwhile, the cost of not extending care is high. For example, youth in care lose their lives up to five times the rate of their peers in the general population, she said. Poverty is more prevalent, as is homelessness, as previously noted.

“Out of the 36 countries in the global north, Canada is one of the six that does not have federal legislation to protect the rights of youth in care,” said Doucet. “While Canada has ratified the UN Convention on the Rights of the Child [CRC], it only provides human rights protections for children and youth until the age of 18. So, youth in care who are transitioning into adulthood actually don’t fit within the UN CRC because they’re deemed too old, even though they are a vulnerable population that experiences multiple human rights violations. This highlights that age-based discrimination is very much entrenched into the mainstream child welfare system in Canada.”

In the question-and-answer period, Gillis outlined three recommendations in the UN’s report on ageism: education/awareness campaigns; changes to laws, programs and policies, starting with long-term care and other basic human rights; and intergenerational work. We need to look at what other countries are doing, the evidence, best practices, she said, and pensions and other financial programs must keep up with cost-of-living.

Doucet spoke about initiatives she and her colleagues have undertaken.

“We developed what we’re calling the equitable standards for transitions to adulthood for youth in care. We released those in 2021, myself and the National Council of Youth in Care Advocates, which is comprised of people with lived experience from across the country, youth-in-care networks, and a couple of ally organizations, like Away Home Canada and Child Welfare League of Canada. This was our way to provide a step-by-step rights-based approach that centred on lived expertise, research and best practices, to guide how youth in care need to be supported as they transition to adulthood.”

There are eight pillars: financial, educational and professional development, housing, relationships, culture and spirituality, health and well-being, advocacy and rights, emerging adulthood development. And each pillar has an equitable standards evaluation model. For example, about housing: “Every young person should have a place they can call home, without strict rules and conditions to abide by.” 

“The ultimate goal [of] this project for us is, eventually, we are living in a society where the term ‘aging out’ no longer exists for youth in care, that they transition to adulthood based on readiness and developmental capacity instead of an arbitrary age,” said Doucet.

The Simces & Rabkin Family Dialogue on Human Rights was introduced by Angeliki Bogiatji of the Canadian Museum for Human Rights, which is a partner of the annual event. Juanita Gonzalez of Equitas – International Centre for Human Rights Education, also a program partner, closed out the proceedings. 

Format ImagePosted on November 8, 2024November 7, 2024Author Cynthia RamsayCategories NationalTags ageism, discrimination, elder persons, health, human rights, law, Margaret Gillis, Melanie Doucet, policy, Simon Rabkin, United Nations, youth, youth in care, Zena Simces
Learning from her ancestors

Learning from her ancestors

Tasha Faye Evans shares a work in progress at Dance in Vancouver. (photo courtesy Scotiabank Dance Centre)

“With everything I do, I always ask myself, what is the medicine of this work? How is this dance, this play, this project, contributing to the greater health and well-being of my community? Who is this character speaking for? Who am I dedicating this work to? Then, when it comes time to perform,” said Tasha Faye Evans, “I am rarely nervous, because it’s not about me and my skills, its more about the work I am doing and who I am doing it for.”

Evans was speaking to the Independent in advance of Dance in Vancouver, which runs Nov. 20-24 at the Scotiabank Dance Centre. The dance and theatre artist, who has Coast Salish, Welsh and European-Jewish grandparents, is presenting t’emək’ʷqən-seed, a work in progress, in a free-to-attend double bill with Starr Muranko/Raven Spirit Dance on Nov. 22, 2 p.m. A moderated conversation with the artists will follow the performances.

“There is not a word in Coast Salish culture for art,” writes Evans on her website. “Our art is functional. Our dances, prayers. Our songs, blessings. I am an artist because I love fiercely and creating work is my way of having hope, preserving the sacred and imagining a better future for all our relations.”

“My own body of work has always been because I am not a blockader, I don’t write the letters to the people in charge, I am weary of shaking my fist in the air,” she told the Independent. “My dance, theatre and community work are my way of addressing a helplessness I feel in the face of the misused powers in the world. My community work is mostly about redress and recalibrating values to align with the original caregivers of these Coast Salish lands and waters. We all share in a sacred responsibility to ensure a future of health and well-being for all our relations, and my work is in service of this sacred responsibility.”

Evans’s choreography has been presented by various companies and she has participated in performances and festivals around the world. She has many projects on the go, in dance and more broadly. One initiative is In the Presence of Ancestors, an exhibition of five Coast Salish House posts being carved and raised in Port Moody along its Shoreline Trail. She was recognized for the 

exhibit with a 2023 Edge Prize, which is given to leaders, or “Edgewalkers,” in the Salmon Nation, described on the prize’s website as “a bioregion defined by the historic range of wild Pacific salmon, from the Salinas River in California, north to the Yukon River in Alaska.”

seed was inspired by a sculpture created by Coast Salish artist James Harry.

“The sculpture was part of KWÍKWI – The Seventh, an exhibit James Harry and his partner Lauren Brevner dedicated to their daughter, the seventh generation born in James’s family since colonization,” said Evans. “seed draws upon what master carver Xwalacktun [James Harry] refers to as the Ancestor’s Eye or the Salish Eye, and the fundamental shapes and teachings of Coast Salish art and design, the sphere, crescent and trigon. The Salish Eye can be found carved into the oldest Coast Salish tools and, for that matter, I refer to these shapes as sxwōxwiyám, part of our original stories, written into the land and shared generation to generation, teaching us how to be human.”

Having collaborated with master carvers for more than a decade now, Evans said her “choreography experiments with how Coast Salish art and design can be expressed in movement, gesture and architecture of the space. I am developing a methodology that is based in the shapes and cultural teachings of the Ancestor’s Eye, the sphere, trigon, crescents, and the space in between. I am passionate about showcasing Coast Salish art form and culture and I am driven to share sxwōxwiyám and invoke a sacred responsibility in my audiences for all our relations.”

photo - Tasha Faye Evans
Tasha Faye Evans (photo by Yasuhiro Okada)

What people will see at Dance in Vancouver is “the tap root of t’emək’ʷqən-seed,” said Evans, “the first part of the work to grow, unfolding itself first towards the earth. I’ll be sharing that vulnerable moment of the creative process where the story is newly manifesting, taking root in the body and just beginning to grow.”

seed was commissioned by Odd Meridian Arts, whose artistic director is Ziyian Kwan. While in residence there, Evans created another work, Song.

“My connection with Odd Meridian Arts began decades ago when I was a shaved-head theatre kid and Ziyian was one of those dancers I’d see on posters and just stare at in awe,” shared Evans. “She’s always represented ambition for me and what a successful career as an artist looks like. (I don’t think I’ve told her this.) Ziyian has always been one of those artists whom I could only aspire to be.”

It was during COVID that Evans said she “got over” herself and responded to a message Kwan had posted on Facebook.

“Song was also a seed,” said Evans. “It was a section of a larger piece I am still creating called Cedar Woman. It was a landing piece in my creative process, when I was exploring how to re-member myself to a legacy of Coast Salish women. I follow the song I hear calling me in my heart. The dance is a journey through the song, all the way back in time to my first grandmother, singing the song as prayer for her grandchildren during the great flood. I don’t dance Song the same in Cedar Woman any longer, but the core of Song, is finding itself in seed.”

For Evans, being part of such diverse ancestry, holding space for her Coast Salish, Welsh and Jewish heritage, is challenging. 

“For much of my adult life, it has been learning how to sit in the circle within my Indigenous community,” she said.

“I didn’t grow up in Jewish culture more than our comfort foods like chicken soup, matzah, and lox and cream cheese. We did not practise being Jewish and I learned very little about this part of me other than the trauma we all carry. For years, I wore a Star of David, mostly because it was a gift from my Nana. Sometimes, I feel my Jewish great-grandmother Faye nudging me disgruntledly until I mention her name, too, when I introduce myself. I’m not sure how to hold being Jewish in this body while living here in these Coast Salish lands and waters.

“There is a piece I’d like to create for my GG Faye, actually. I have a long mink coat that reminds me of one of the photos I have of her, taken just before World War II. I know she’d really appreciate that and I welcome the parts of me I would discover dancing for her.”

Her Welsh heritage has also been less explored, but, said Evans, “I have always longed to go to Wales. To dance on those lands and waters and listen to the language calls me for sure.

“While it’s these Coast Salish lands and stories that dance in me the loudest, I do honour that I am the dream of all my ancestors.”

Dance in Vancouver also features a work by Action at a Distance/Vanessa Goodman on Nov. 23 and DIV Unstructured on Nov. 24 includes Idan Cohen/Ne.Sans Opera & Dance. For more information and tickets, visit thedancecentre.ca.

Format ImagePosted on November 8, 2024November 7, 2024Author Cynthia RamsayCategories Performing ArtsTags ancestry, choreography, Coast Salish, culture, dance, Dance in Vancouver, history, indigenous, Tasha Faye Evans
Comedy can unite and heal

Comedy can unite and heal

Comedian Erik Angel performs his one-man standup show, Speaking Falafel, at the Jewish Community Centre of Greater Vancouver on Nov. 14. (photo from Erik Angel)

“This year, I discovered even more how comedy is an important tool to bring people together, for release and relief, and I won’t be exaggerating if I say that comedy saved me this year,” Erik Angel told the Independent in an interview in advance of his solo performance Nov. 14, 8 p.m., at the Jewish Community Centre of Greater Vancouver. He’ll also be taking part in a show for students at the University of British Columbia while he’s here.

“This is perhaps the saddest time in my life, with a lot of pain, sorrow and worry, and going on stage night after night and making people laugh, helps me clear my mind and move on,” said Angel of the year since Oct. 7, 2023. “On stage, I deal with my reality today, with antisemitism, but I do it in an entertaining way. They say that comedy is tragedy plus time and I call my performance a humanitarian respite for the soul.”

Angel, who lives in New York, has opened for headliners like Maz Jobrani and Zarna Garg. He’s been part of several comedy festivals and has performed in more than a dozen countries to date. This will be his first time in Vancouver.

Born and raised in Israel, Angel moved to the United States for love, he said, after meeting his bashert at, of all places, the Jewish community centre in Krakow, Poland, in 2015. 

“I went to Krakow for a long weekend and all my life changed completely,” he said. 

Angel has worked in several creative fields. As a singer-songwriter, he released three albums in Israel. He studied drama and worked as an actor for five years. He did some standup comedy in Hebrew at open mics in Israel almost a decade ago, but said he quickly switched to doing routines in English, even while still in Israel.

“Since summer 2016,” he said, “I’ve been doing comedy in English, almost on a daily basis.”

The show that Angel is bringing to the Vancouver JCC next week is the product of a lot of work. 

“Speaking Falafel is an hour of comedy that I worked on for seven long years of comedy spots, day after day, and I am very proud of it. It’s a very funny show about my journey since I went on this long weekend in Krakow and met the love of my life. I share the difficulties of becoming a new immigrant, newly married in my 40s, the differences between Israeli culture and other cultures in the world, how to be now ‘the Jew’ everywhere, to live 24/7 with a second language. I tell stories, I speak with the audience, and I even sing a little bit.”

The Nov. 14 show is a bonus for Vancouverites, as Angel’s main purpose for coming to the city is the UBC show, which is the start of a winter tour for Comedy for Peace. 

Angel established Comedy for Peace five years ago.

“I grew up in Israel with two million Muslims. I never met one – not in school, not in my basketball team,” he said. “I started to meet Muslims when I started to travel the world. The meetings were always friendly, and I wanted to do something artistic together. When I moved to New York, I became part of the New York comedy scene. I produced the first show, that was a huge success, and since then we have had shows in more than 50 cities in the US and Canada.

“Comedy for Peace is not a political event,” he stressed. “It’s about different communities who sit together under one roof and have fun. Simple as it sounds, we want to show people how easy it is to collaborate, laugh, learn about each other and discover how much we are more alike than different. Today, we also have a version with Christian comedians that will travel with the West Coast tour. Nov. 9, Comedy for Peace will be part of the New York Comedy Festival for the second time.

“After Oct. 7, a few shows were canceled (and a few not) and very fast we decided that, for us now, it’s more important than ever and this is why we keep going,” added Angel. “There are comedians, mostly Muslim or Christian Arabs, that cut me off and don’t want to be a part of it – it’s painful because I didn’t change – but most of the comedians are still on board. And our goal now is to bring our message everywhere possible, and [I] will never give up and will always believe most of us, the people, just want to live together peacefully.”

Performing alongside Angel at UBC will be Liz Glazer, Gibran Saleem and Paul Schissler.

“From my experience, people that come to support the show support the idea and are not coming to protest or say something against it and I hope it will be the same this time,” said Angel when asked if he was concerned about the protests and vandalism that have taken place at UBC and other universities. “We are a non-political peace show, so it’s crazy for me to think that things will go differently. Until today, the only problem we have had to deal with was people calling/writing or trying to shame online our Muslim/Christian Arab comedians or asking them not to do it anymore. Most of them just want to do it more since then. But still, we have the reality, there are many haters out there and everything can happen. We have a Q&A session at the end and we are open to speaking with reasonable people that will come with an open heart and ask questions they want to speak about or to understand more. This is part of our mission, to be there together on stage.”

To watch some clips of Angel’s performances from around the world, visit his YouTube channel, youtube.com/@erikangelcomedy9702, or his Instagram page, instagram.com/erikangelcomedy/?hl=en. For tickets to Speaking Falafel, go to eventbrite.com. 

Format ImagePosted on November 8, 2024November 7, 2024Author Cynthia RamsayCategories Performing ArtsTags antisemitism, comedy, Comedy for Peace, Erik Angel, immigration, JCC, marriage, peace, Speaking Falafel
Eastside artists open studios

Eastside artists open studios

A stained-glass panel in a wood frame by Hope Forstenzer. (photo by Hope Forstenzer)

More than 500 artists are opening their studios, galleries or workshops to the public Nov. 14-17 for the 28th annual Eastside Culture Crawl Visual Arts, Design & Craft Festival. Among the artists are many Jewish community members, including Suzy Birstein, Olga Campbell, Ana Clara Feldman, Hope Forstenzer, penny eisenberg, Lori Goldberg, Lynna Goldhar Smith, Ideet Sharon, Stacy Lederman, Shevy Levy, Lauren Morris and Esther Rausenberg. 

“The Culture Crawl offers a unique opportunity to connect with our communities, to support artists in their livelihoods, and to come away inspired and reinvigorated by the countless ways in which artists explore and share their creativity with the world,” said Rausenberg, who is also the artistic and executive director of the Eastside Arts Society, which puts on the event.

Birstein, who creates and showcases her work from her 1000 Parker Street studio, is a figurative artist whose ceramic sculptures and paintings are self-portraits connecting her to women of history and mythology. 

“I am merging my own personal narratives with the narratives of inspiring women artists whose lives and art ‘embrace enchanting intrigues’ to transcend life’s challenges,” she explained. “This includes Frida Kahlo, Leonora Carrington, Leonor Fini, Vali Myers, Artemesia Gentileschi and Niki de Saint Phalle,” as well as figures like Athena and Alice in Wonderland.

photo - “I’m Going With Myself” by Suzy Birstein
“I’m Going With Myself” by Suzy Birstein. (photo by Byron Dauncey)

Her upcoming solo retrospective, curated by Dr. Angela Clarke at Il Museo, is now scheduled for 2026, rather than next year, which is what was originally planned. The retrospective will combine her Tsipora and Ladies-Not-Waiting series.

“This past year has brought me two profound highlights that resonate deeply in my artwork,” said Birstein. “First, I’ve embraced the idea that the Tsiporas – my Hebrew name, meaning ‘Bird’ – have always been part of the Ladies-Not-Waiting.

“On the personal side, my husband courageously and successfully underwent two major surgeries in 2024, which deepened my appreciation for life and the importance of love and compassion. Additionally, our daughter-in-law became a permanent resident of Canada, allowing our family to thrive together.

“These experiences have infused my art with newfound freedom, imagination, and a willingness to experiment with construction, colour and concept. Each piece I create reflects this journey and the richness of these connections, as with my Ladies-Not-Waiting.”

Birstein and fellow Crawl artist Lori Goldberg spent October in Italy on a self-directed residency, which comprised four segments, each with its own and overlapping purposes, said Birstein.

They explored art at Venice Biennale and other exhibits in Venice. They went to Amalfi, where, Birstein said, “I created a most special and memorable experience – to visit Gianni Menichetti, who was the partner of Vali Myers (one of my artists). In a valley above Positano, Gianni lives off the grid with his family of animals – 10 dogs, ancient doves, chickens, fish, a rooster and others. Gianni himself is a well-known poet, artist, writer, as well as protector and preserver of the land and its natural inhabitants. He’s a most unique human being. Although we were only together for 24 hours, it is as though we have always known each other and always will.”

In Napoli, said Birstein, “within the ancient graffiti-covered walls of this chaotic, lively city, we [were] exploring, experimenting and expressing evolving directions for our art practice.”

Lastly, they went to the island of Ischia for a family celebration, visiting thermal springs, gardens and the sea.

photo - "You sing my songs" by Suzy Birstein
“You sing my songs” by Suzy Birstein. (photo by Alan @ Fidelis Art Prints)

“There are moments in my life when personal and global experiences intertwine – what I like to call destiny with focus,” said Birstein. “My Italian adventure, from connecting with Gianni in Positano, family in Ischia and gallerists in Naples, to engaging with art at the Venice Biennale, inspires every aspect of my life. I sense that I’m in the midst of crafting my next ‘big story,’ which will undoubtedly reflect in my evolving art practice. These experiences shape not just who I am, but also how I create.”

Ceramics and glass artist Hope Forstenzer is also expanding the way she creates. 

“I got a grant to learn woodworking throughout 2024, and that’s been a big highlight,” she told the Independent. “I’ve been working to make pieces that use both glass and wood, and it’s been exciting and challenging to learn a whole new medium. My progress has been slow and steady, and some of the work I made will be in the Crawl this year.”

This is Forstenzer’s third year of making clocks for the Crawl, and she said she’s really been enjoying the process. 

“This year, I’m experimenting with different colours and patterns, and I’ve also got one that’s in a stained-glass panel in a wood frame I made. I’ve spent more time with clockworks and hand design, as well, and am experimenting with different materials for those aspects of the clocks.”

photo - A seder plate by Hope Forstenzer
A seder plate by Hope Forstenzer. (photo by Hope Forstenzer)

In addition to the clocks, visitors to Forstenzer’s studio in the Mergatroid Building, 975 Vernon Dr., will see her stained-glass panels in wood frames, blown seder plates, dreidel blown ornaments, small blown lamps with battery-powered LEDs inside, and some vessels and bowls.

“One of my roles at Terminal City Glass Co-op is the coordinator of the Learning Fire Program, and I’ll be doing a glassblowing demonstration with some of our students on Saturday the 16th from 1:15-3:15,” said Forstenzer.

For more about Learning Fire, visit terminalcityglass.com/pages/learning-fire.

Both Birstein and Forstenzer have works in the Culture Crawl’s preview exhibition, which runs to Nov. 29 at Pendulum Gallery, Alternative Creations Gallery, the Cultch and Charles Clark Gallery, with display dates depending on the venue.

For the full list of events and participating artists, go to culturecrawl.ca. 

Format ImagePosted on November 8, 2024November 7, 2024Author Cynthia RamsayCategories Visual ArtsTags 1000 Parker Street, art, Eastside Culture Crawl, glass, glass-blowing, Hope Forstenzer, Mergatroid Building, painting, sculpture, Suzy Birstein, Terminal City Glass Co-op

The joys of connection

Actor Kerry Sandomirsky – who has more than 130 stage and screen credits – is making her producing debut with the Vancouver première of The Sound Inside, written by Adam Rapp, which was nominated for six Tony Awards in 2020, including best play. The Nov. 14-24 performances at Vancity Culture Lab represent two other milestones – the first production of Sandomirksy’s newly established company, all day breakfast theatre, and the launch of the Search Party’s New Cartography initiative.

photo - Actor Kerry Sandomirsky produces her first play – the Vancouver première of The Sound Inside, by Adam Rapp – and launches her new company, all day breakfast theatre
Actor Kerry Sandomirsky produces her first play – the Vancouver première of The Sound Inside, by Adam Rapp – and launches her new company, all day breakfast theatre. (photo from the Cultch)

“I was looking for something to produce, so I was reading a lot of scripts,” Sandomirsky, who is Jewish, told the Independent. “There was something about The Sound Inside that kept pulling me back. Adam Rapp describes it as haunting, and I think I was haunted by it. My aunt and uncle who live in LA are avid theatre-goers. On two previous occasions they have suggested work I should consider. Coincidently, those pieces became important touchstones in my career. When I was in the middle of negotiating rights for The Sound Inside, they contacted me once again about this compelling show they had just seen. I hung up and bought the rights.”

Being a producer comprises multiple responsibilities.

“Producing involves raising money, putting a team together, creating a budget, getting insurance, finding a theatre, organizing and initiating publicity and marketing campaigns, and ensuring the production is created in a supportive environment,” said Sandomirsky. “So often in life we are in a state of reactive business, and producing was a way for me to take agency.”

Sandomirsky not only produces The Sound Inside, but co-stars in it with Jacob Leonard; Mindy Parfitt, founding artistic director of the Search Party, directs.

Sandomirsky portrays the character of Bella Baird, “an under-appreciated novelist and tenured creative writing professor who forms an unlikely bond with a mysterious yet talented student, Christopher Dunn,” played by Leonard, who happens to have been a student of Sandomirsky’s when she taught at Studio 58. “Brimming with suspense, Rapp’s riveting play explores the limits of what one person can ask of another,” reads one description of the 90-minute play.

“The Sound Inside is about two people who have isolated themselves from the world, but, to their great surprise, find in each other a reprieve from loneliness,” said Sandomirsky of the play’s appeal. “It is about the delight of connection, the joy of a shared sense of humour, and the power of being seen.”

“The Search Party created New Cartography as a response to Kerry’s desire to produce The Sound Inside,” Parfitt told the Independent. “It has been a way for us to expand how we create theatre and to identify ways we can support and encourage artists to develop themselves.”

photo - Mindy Parfitt, founding artistic director of the Search Party, whose New Cartography initiative offered Kerry Sandomirsky support in her first producing role
Mindy Parfitt, founding artistic director of the Search Party, whose New Cartography initiative offered Kerry Sandomirsky support in her first producing role. (photo from the Cultch)

The Search Party’s website notes that the initiative’s purpose is “to provide mid-career and established artists an opportunity to develop new aspects of their practice. Initiated by the artist, it provides hands-on practical experience in a previously unexplored area of their own creative landscape. Through the New Cartography program, artists receive mentorship, resources, tools and systems in theatre production.”

An application process for the initiative isn’t in place yet, said Parfitt. But, if artists are interested, they can contact her through the company’s website, searchpartyproductions.com.

“There are many aspects to this process which are new for me,” Parfitt said. “Kerry brought me the script. She and Jacob had done considerable work on it before I got involved and so there was some catching up for me to do. This is unusual as a director. Usually that process is completely reversed.

“We have been rehearsing part-time over several weeks, which also is different from the complete immersion that all of us are used to,” she continued. “The Search Party is dedicated to marrying a strong design with a compelling script. Kerry’s company – all day breakfast theatre – prioritizes actor-driven theatre.  is an exploration in uniting our two visions.”

“Mindy has been instrumental in demystifying the many logistics of producing,” said Sandomirsky. “She has provided practical advice and infrastructural support. The experience has given both of us an opportunity to make theatre in a new way.”

For tickets to The Sound Inside, visit thecultch.com/ticket/the-sound-inside. 

Posted on November 8, 2024November 7, 2024Author Cynthia RamsayCategories Performing ArtsTags drama, Kerry Sandomirsky, Mindy Parfitt, New Cartography, producing, the Cultch, The Sound Inside
Feel-good comedy at Metro

Feel-good comedy at Metro

The cast of Bound! The Musical (In Concert), a quirky, character-based show, the story of which is a vehicle for the characters’ journeys and personal growth. (photo by Joelle Wyminga)

For two nights only, Nov. 19-20, Metro Theatre and Bound Musical Theatre Society are presenting the world première of the feel-good comedy Bound! The Musical (In Concert). 

Written by longtime friends Wayne Morris and Glen Freedman, their collaboration on Bound! – music and lyrics by Morris, book by Freedman and Morris – began in 2015. Morris had been working on the concept for several months.

The show is a reimagining of Shakespeare’s Love’s Labour’s Lost. Four Olympic-bound male athletes “are tricked into abstaining from vices and ‘romance’ during their high-intensive training, only to find themselves suddenly at the centre of a research study run by a group of attractive, brilliant and highly driven women,” reads the synopsis. “What follows is a hilarious battle of wills as their desires and the binds of their stringent guidelines battle for the win.”

“Glen and I were hanging out at Kits Beach, and I started telling him about the show,” Morris recalled. “Glen peppered me with all kinds of questions about the characters and the story. It turned into a two-hour conversation, after which I said, ‘Glen, you have to write this with me.’”

“To which, without any hesitation, I said, ‘yes,’” Freedman told the Independent. “The idea of working with Wayne on a creative project again (yes, we’ve been down this road before, though many years ago) carried a sentimental nostalgia for me.”

“When we first met, we started writing and performing songs together,” said Morris. “Together, we joined an ’80s band led by one of Glen’s friends. It was the ’80s after all!”

“It was a blast, even though they wouldn’t let me sing,” quipped Freedman.

The pair has lived in Metro Vancouver for more than 25 years, Morris in Maple Ridge, Freedman in Yaletown.

“We met at Marianopolis College in Montreal in our late teens, and became great friends. After university, we backpacked through Europe together,” said Morris.

Morris was an actor before becoming a singer-songwriter and then music producer as well. Freedman, while a keyboardist, took a less musical route and became a psychiatrist. Along the way, he also completed a creative writing program at Simon Fraser University and attended Bishop’s University in Quebec, where he performed in Chekhov’s The Cherry Orchard.

Morris and Freedman formed the Bound Musical Theatre Society earlier this year “as the vehicle for this and future productions,” said Morris. “Our lawyer recommended a not-for-profit society as the type of entity the local theatre industry is used to working with.”

The Metro Theatre production of Bound! is directed by Hailey Fowler, with musical direction by Kylie Fonacier. It features a diverse ensemble cast in what Morris describes as “a character-based show, and the story is a vehicle for the characters’ journeys and personal growth.

“For me,” he said, “this focus on character was challenging at first as a lyricist, in that the lyrics needed to reflect 10 distinct voices. As the show and characters continued to develop, and the songs were continually rewritten and refined, this process became easier, as both the characters and the lyric-writing process became more familiar.”

“As our show is about resilience and the possibility of change at times of challenge,” said Freedman, “it was my view that we had to create characters, each with their own unique personality quirk that was getting in their way – ‘bounding’ them up, you might say. Each character would then get their own story arc, in which they would overcome these constraints, to a realistic degree. The goal was to induce the audience to see themselves in these characters, such that they would walk away from the show with a feeling of hope and a bounce in their step.”

No doubt the musical’s 16 original songs will contribute to that bounce. Morris said his biggest musical influence is the Beatles, “and so that is a big musical influence for the show, including having a wide variety of musical styles across the show, in the same way the Beatles do.”

In a similar vein, Morris based the story on Shakespeare’s Love’s Labour’s Lost because, he said, “I wanted to have the best possible source material, and what better source than Shakespeare? Using Shakespeare ensured a solid story structure. Love’s Labour’s Lost is a very fun story, with silliness and great wordplay. That’s the type of show I wanted to write. Also, in Love’s Labour’s Lost, I loved the fact that the women in the story consistently have the upper hand over the men; very progressive then, and seems to fit our world today!”

“I couldn’t agree more,” said Freedman, whose day job has helped him in the creation process.

“Due to the nature of my work as a psychiatrist, I have, over time, developed an understanding of the nature of suffering – a human experience that ties us all together – and how personality informs how we suffer,” he said. “I have also had the privilege of having seen firsthand how change in how we think can manifest. This, I feel, has helped in our creating characters that are true to life, and who undergo change for the better, in a manner that we hope will be experienced by the audience as believable and relatable.”

And which will leave audiences feeling positive, though Morris and Freedman differ slightly in their outlook.

The press material describes Morris as a “glass half-full person.”

“It’s part of my nature to look for the good in everyone, and I’ve discovered that almost everyone means well deep down,” he said, acknowledging, “I’ve also been very fortunate that hard work and some good life decisions have led to things working out for the most part in my life.”

As for Freedman, optimism comes a little harder.

“Through my adult life (and with lots of therapy), I’ve gradually moved to a place of being able to recognize what’s in and out of my control, of what I have agency over and what I have to accept, of understanding that, just because I accept something does not mean I have to like it, and of letting go of expectations of how I wish things should go,” he said. “This mindset has fostered within me a capacity to face the events of life, sometimes tumultuous, with curiosity, a sense of humour and presence.”

While neither Morris nor Freedman are religious, Judaism does impact their lives.

“Judaism has shown me the value of a strong sense of community and connection,” said Morris. “The importance of these is a huge theme of the show.”

“I would add,” said Freedman, “that feeling oneself to be part of a community helps to add meaning to our lives.”

For more information and tickets to Bound!, go to boundthemusical.com/in-concert. 

Format ImagePosted on November 8, 2024November 7, 2024Author Cynthia RamsayCategories Performing ArtsTags Bound Musical Theatre Society, comedy, Glen Freedma, Metro Theatre, musicals, Wayne Morris
More than an edgy cabaret

More than an edgy cabaret

Left to right: Shane Baker, Sasha Lurje and Michael Wex in The Last Night at the Cabaret Yitesh (Di Letste Nakht Baym Yitesh), which closes this year’s Chutzpah! Festival Nov. 9-10. (photo by Shendl Copitman)

“The final sketch in the show, ‘The Last Jew in Poland,’ is based on a real 1930s cabaret sketch of the same name that got Ararat, the famous Yiddish cabaret, closed down,” said creator Michael Wex of The Last Night at the Cabaret Yitesh (Di Letste Nakht Baym Yitesh), which plays at the Rothstein Theatre Nov. 9-10 as part of the Chutzpah! Festival.

“The sketch, however, hasn’t survived,” he continued. “Shimon Dzigan (of Dzigan and Shumacher), who was a member of the troupe, describes the general set-up of the piece in his autobiography, but doesn’t give many details, except to say that everybody involved expected to be arrested the next day (and was surprised not to be). I’ve tried to reconstruct something that would have bothered the censors of the 1930s as much as the original.

“‘Di Endekuvne,’ one of the genuine old songs in the show, was actually banned following its first performance,” he said.

The Last Night at the Cabaret Yitesh is set in Poland in the spring of 1938. With only one performance left before the censor’s office closes the cabaret, and with their visas secured to leave the country, the performers decide to put on a show of forbidden material and greatest hits.

The idea for The Last Night at the Cabaret Yitesh came from Andreas Schmitges of Germany’s Yiddish Summer Weimar, who called Wex with a request.

“Since 2019 was the 100th anniversary of the Weimar Republic, Yiddish Summer was planning a commemorative program and Andreas wanted to know if I could put together a Yiddish-language cabaret revue that would reflect the way Yiddish culture absorbed and was influenced by the zeitgeist of the Weimar era,” said Wex.

photo - Michael Wex
Michael Wex (photo by Zoe Gemelli)

Wex, who is Canadian, is an internationally recognized expert on Yiddish. He has many nonfiction books to his name, including Born to Kvetch: Yiddish Language and Culture in All of Its Moods, on the history of Yiddish, and Rhapsody in Schmaltz: Yiddish Food and Why We Can’t Stop Eating It. He’s also a translator, novelist, playwright, columnist, public speaker and performer. His creative process involves much research. For Schmitges’ proposed project, Wex first sought out surviving Yiddish cabaret material.

“I dove into scores of books, listened to even more recordings, in search of authentic material that would still resonate with a 21st-century audience,” he said. “Much of the older material just didn’t ‘read’ anymore: there were a lot of jokes about local politics and references to long-forgotten celebrities. There was fairly strong political censorship in interwar Poland, especially in the years following the Nazi takeover of Germany, which means that much of the surviving satirical material is pretty bland. I deliberately sought out lesser-known Yiddish cabaret songs, including at least one that was never recorded.

“My next resort was to see what was going on in non-Yiddish Polish culture at the time. I went through newspapers from the period to try to figure out how much international pop culture was available in 1920s and ’30s Poland and was delighted to find that Hollywood movies that would have played in Vancouver in, say, 1934, were playing in Warsaw at pretty much the same time, and that Louis Armstrong records were on sale in Warsaw record stores. I looked at the pop music charts: the most popular song in Poland in 1928 was ‘Ain’t She Sweet’ translated into Polish. This information widened the range of material that could plausibly be presented as being performed at the time and gave me the licence I needed to adapt and translate some well-known pop songs of the era into Yiddish.”

photo - Patrick Farrell in The Last Night at the Cabaret Yitesh (Di Letste Nakht Baym Yitesh), which is at the Rothstein Theatre Nov. 9-10
Patrick Farrell in The Last Night at the Cabaret Yitesh (Di Letste Nakht Baym Yitesh), which is at the Rothstein Theatre Nov. 9-10. (photo by Shendl Copitman)

Wex wrote some songs and sketches to round out the show, then came up with the storyline that adds context: the performers whose cabaret is about to be closed, but who have ship tickets and visas to leave the country.

“Suddenly, they’re free to perform what they want to, not only what they’re allowed to,” said Wex, who also directs and acts in The Last Night at the Cabaret Yitesh.

The other people involved – Shane Baker (United States; co-director, performer), Patrick Farrell (US/Germany; original music, arrangements, piano, accordion, percussion), Regina Hopfgartner (Austria; vocals), Daniel Kahn (US/Germany; vocals) and Sasha Lurje (Latvia/Germany; vocals) – “are the people for whom the show was written,” Wex said. “It’s like an A-list of contemporary Yiddish performers and I recall telling Andreas that I wouldn’t do the show without them. It was my one diva moment – but I think it worked.”

The current incarnation of the show premièred at the Ashkenaz Festival in Toronto in 2022. It had changed so much from the 2019 Yiddish Summer Weimar production that, Wex said, “Weimar could almost be seen as a workshop.”

For Wex, giving audiences an idea of what 1938 Poland was like is important “because the whole world is looking more like 1938 Poland with every passing day.”

“Arts and culture,” he said, “including but not limited to comedy and music, is really the best way we have of trying to find a common ground from which to understand conflict, stand up to tragedy and, ultimately, seek out ways to mitigate or ameliorate the feelings and attitudes from which such conflicts and their accompanying tragedies have grown. As we see every day, shouting slogans might make us feel good and brave and involved but it does nothing to establish the common ground necessary to arrive at any kind of understanding with our opponents. Arts and culture, comedy and music – they’re all bulwarks against dehumanization.”

The Last Night at the Cabaret Yitesh is in Yiddish with English supertitles. For tickets, go to chutzpahfestival.com – where you’ll find the whole Chutzpah! lineup – or call 604-257-5145. The festival runs Nov. 1-10. 

Format ImagePosted on October 25, 2024October 24, 2024Author Cynthia RamsayCategories Performing ArtsTags Cabaret Yitesh, Chutzpah! Festival, Holocaust, Michael Wex, music, politics, Rothstein Theatre, social commentary, Yiddish
Who holds power over you?

Who holds power over you?

Jeremy Goldstein, centre, and volunteer participants in the Newcastle, Australia, performance of Truth to Power Café earlier this month. Members of the Vancouver community will participate in the event here on Nov. 3. (photo by Cassandra Hannagan)

“Who has power over you and what do you want to say to them?” This is the question at the centre of Jeremy Goldstein’s Truth to Power Café, which he will present – with the help of local community members – Nov. 3 at the Rothstein Theatre as part of the Chutzpah! Festival.

“As with all our events, we invite participants to sign up to the project through a combination of open call and personal invites, which we send out in close collaboration with our presenter, who, in this case, is the wonderful Chutzpah! Festival,” explained Goldstein. “We don’t normally confirm the line-up until a week or two before the performance, so it’s a little early to say what people will speak about, but we’re looking for Vancouverites willing to engage in a process of compassionate truth-telling. When we combine this with my own memoir, told through poetry, image, film and music, it makes for fantastic theatre.”

The deadline was earlier this week for local community members of all ages, experiences and backgrounds to apply to be a part of the event. Selected participants will present a short monologue related to the question of who has power over them and what they want to say to that person, whoever it may be, a parent, sibling, boss, politician, neighbour, friend. In a 2022 Total Theatre Magazine article, Goldstein wrote, “Participants’ voices are heard and understood through the political and philosophical beliefs of Harold Pinter and his Hackney Gang.”

“Nobel Prize-winning playwright Harold Pinter wrote about power and occupation. His inner circle, the Hackney Gang, were a group of working-class lads who met in 1947,” Goldstein explained to the Independent. “They knocked about London’s East End in the 1950s, where they took on the bullies and fought with antisemitic fascists. The gang included my late father, Mick Goldstein, and the late poet/actor Henry Woolf, who became known as the ‘King of the Avant Garde,’ and with whom I co-created the show directed by Jen Heyes.

“For 60 years, the Hackney Gang held firm in their belief of an independent media and in speaking their truth to power,” said Goldstein. “They remained on the side of the occupied and the disempowered and their allies. These are the people we invite to appear in the show with me.

“Ultimately,” he added, “the show has become a love letter to the memory of my father Mick, and his friends of 60 years, Henry Woolf and Harold Pinter.”

Goldstein started Truth to Power Café eight years ago.

“Back in 2016, I was presenting New York’s queen of the underground and former Andy Warhol Factory superstar Penny Arcade at Soho Theatre in London,” he said. “I wanted to stage a pre-show event so I opened up my address book and invited 24 Londoners to respond to the question, ‘Who has power over you, and what do you want to say to them?’ Over four nights, I saw the theatre come alive with raw and compassionate truth-telling and was compelled to make a show out of it.”

But there were unexpected challenges.

photo - Jeremy Goldstein brings his Truth to Power Café to the Chutzpah! Festival Nov. 3
Jeremy Goldstein brings his Truth to Power Café to the Chutzpah! Festival Nov. 3. (photo by Cassandra Hannagan)

“Two weeks before the first night, my face became numb and the doctors told me I had a stage 4 lymphoma,” shared Goldstein. “At the time, I didn’t know if I would live, let alone make it to the Soho Theatre performances. Eighteen months and a stem cell transplant later, I was cured and premièred the show at Festival 18, the arts and culture program for the Gold Coast Commonwealth Games in Australia.

“I’ve been on the road with it ever since, playing everywhere from poor working-class mining communities in the north of England to remote townships in the Australian outback to Queer Zagreb in Croatia and on to Lincoln Centre in New York – Truth to Power Café is a genuine global hit.”

Since it began, the show has had some 800 diverse participants taking part in eight countries.

“Some participants are established writers, artists and community activists, whereas others have never spoken up in public before, let alone centre-stage, under lights in their local theatre, sharing intensely personal life stories in front of their friends and family,” said Goldstein. “I’ve become a vessel through which these stories are told. It’s a very privileged position to be in and I don’t take it for granted. I want people taking part to have a positive experience, so I’m very aware of people’s well-being as part of the process leading up to each performance, and into the show itself. I check in with everyone after the show. Many of our participants have become my friends.”

He is well aware of how confronting power can put a person in a vulnerable position.

“The basic rule in life is don’t rock the boat or to tell a white lie to keep the peace, so whether you choose to speak from the personal, political, professional or even all three, speaking truth to power can put you at risk,” he said. “We, therefore, make the show in a safe space or, in the words of one our recent participants, Ed Wright: ‘To talk truth to power, to find our own power, we need to be able to feel safe. To have our power returned to us when it has gone missing, we need to know we have been listened to.’”

The question being asked – “Who has power over you and what do you want to say to them?” – is meant to challenge ideas of power and give voice to people who don’t normally have a chance to speak out, said Goldstein.

“People from marginalized communities tend to talk about progressive change, whereas those with privilege and power want to maintain the status quo and have more power,” he said. “We live in the post-truth age of the demagogue, where fake news is the new norm. In politics, the oppressed often have to fight for the right to simply say what they are experiencing and, in personal relationships, that artificial barrier is also in place. If you have an approach to allowing the conversation to happen, the chances of change occurring are much higher.”

The Nov. 3 Chutzpah! show is Truth to Power Café’s Canadian première and its 60th performance.

“It’s extremely rare to have two significant milestones back-to-back,” said Goldstein, “so I can’t wait to celebrate this with the good people of Vancouver.”

Chutzpah! runs Nov. 1-10. For the full lineup and tickets, visit chutzpahfestival.com or call 604-257-5145. 

New this year for the Chutzpah! Festival: Jewish Community Centre of Greater Vancouver members receive discounted ticket prices and concession purchases at the theatre. Select Student/Senior/JCC Member tickets and ChutzPacks and bring your membership card to the theatre.

Format ImagePosted on October 11, 2024October 9, 2024Author Cynthia RamsayCategories Performing ArtsTags Chutzpah!, Chutzpah! Festival, memoir, storytelling, Truth to Power Café
Space for love amid messy

Space for love amid messy

Chutzpah! resident artists Livona Ellis, left, and Rebecca Margolick in their debut collaborative piece, Fortress, which is part of a double bill at the Dance Centre next month. (photo by Benjamin Peralta)

Strength, vulnerability, love, pain, joy, healing, creation. Two world premières at this year’s Chutzpah! Festival explore these and other aspects of what it means to be human. The Nov. 8-9 double bill of Fortress and About Time are being presented with the festival’s community partner, the Dance Centre.

Fortress is the debut collaborative piece by Chutzpah! resident artists Rebecca Margolick and Livona Ellis. In it, the dancers and choreographers contemplate femininity, what it means to be strong, what it means to be vulnerable and the balance between the two.

“I draw strength from the resilience and emotional intelligence of the women in my life. My mom, Mary-Louise Albert, and my grandmothers, Phyllis Margolick and June Albert, are key inspirations,” Margolick told the Independent. “I also think of my great-great-grandmother, Rivka Margolick, who fled the pogroms in Latvia in the late 1800s with her nine children. She died a week after arriving in Montreal, but her bravery continues to inspire me. I often think about how that one lucky and bold move to escape and to come to Canada has led to me here, now.”

Margolick’s heritage infuses her creative life.

“Jewish culture encourages asking questions and exploring ideas from multiple perspectives, which mirrors my creative process,” she explained. “I constantly question the work I’m building, not out of doubt, but as a way to deepen and refine it. This openness to possibilities, paired with a focus on collaborative exploration, is something I see as a direct reflection of my Jewish values, and one that I connect to strongly in my culture, my work, and the overall way I operate in the world.”

Born and raised in British Columbia, Margolick recently returned to Vancouver.

“I officially moved back in July, but I had been coming back here more often since the pandemic,” she said. “I was based in New York City for 14 years. For the last 18 months, I was nomadic and traveling around for work without a home base. I chose to settle back in Vancouver to be closer to family, have better access to nature, have a calmer lifestyle, and to strengthen the community and close friendships I have here.”

Margolick’s choreographic work has been presented around the world, and she has danced with various artists and companies, including Sidra Bell Dance New York from 2012 to 2016. She joined Andrea Peña & Artists this year.

Ellis has performed with several groups, including 11 seasons with Ballet BC, and has create works for many companies. She received the Vancouver Mayor’s Arts Award for Emerging Artist in 2017 and the inaugural Louise Bentall Award for Emerging Choreographer in 2023. She is also a dance educator.

The Jewish Independent first wrote about Fortress and Margolick and Ellis’s collaboration in 2021 (jewishindependent.ca/four-solos-and-a-duet). 

“It has almost completely changed!” said Margolick of the work’s evolution since then. “We took some base movement ideas from the original work, for example, rocking, and then extrapolated on it. Our themes and original inspiration for the work have remained similar. We’ve let ideas breathe more, creating space for simplicity to stretch, and allowing the work to feel more spacious and exploratory.”

Margolick described how she and Ellis work together.

“Like a lot of creative processes, it feels like we’re building a puzzle,” she said. “We start with throwing out a bunch of ideas (puzzle pieces), trying them out, placing them next to other ideas, and seeing how they work together. Some ideas fit, while some don’t. It’s a constant process of refining, editing and reworking until the picture becomes clear. We aim to craft an arc that makes sense but still leaves room for mystery and space for the audience to create their own experience.”

As for her own journey with femininity, strength and vulnerability, Margolick shared, “Over time, I’ve grown more comfortable in my own skin, learning to embrace my imperfections and express my emotions more freely. I’ve come to understand that there is great power in vulnerability. As I’ve matured, I’ve also leaned into dialectical and critical thinking, which has helped me appreciate the complexity of femininity. Working on Fortress has reinforced for me that true strength lies in allowing space for tenderness and care, even when it feels messy.”

***

About Time choreographer Idan Cohen has also come to better understand messiness – the countless disparate ideas, feelings and events that co-exist at any given moment – in his exploration of time via Philip Glass’s solo piano études.

“It’s been very challenging to create throughout this traumatic year,” he acknowledged. “It feels like, since Oct. 7, one faces two major options: there are those who break and those who assemble, constructing something out of the pain and confusion. I chose to create About Time as a commentary on the ways we consume information, form opinions and lose empathy. Time goes on whether we want it to or not. The question is, with what do we fill that space, the time we are given. My time is filled with both love and pain. I break, but I also feel the urge to create, provoke thought and promote healing.”

Born and raised in Israel, but now an established Vancouverite, Cohen’s career includes seven seasons with Kibbutz Contemporary Dance Company and various international tours, residencies and scholarships. A multiple-awarding-winning performer and choreographer/director, he is founder and artistic director of Ne.Sans Opera & Dance.

The original idea to create a piece to Glass’s études came from Cohen’s colleague and friend, conductor and pianist Leslie Dala, back in 2020. 

photo - Will Jessup in Idan Cohen’s About Time, an exploration of time through Philip Glass’s solo piano études. In this year’s Chutzpah! Festival, Jessup and Benjamin DeFaria perform the piece with pianist Leslie Dala at the Dance Centre Nov. 8-9
Will Jessup in Idan Cohen’s About Time, an exploration of time through Philip Glass’s solo piano études. In this year’s Chutzpah! Festival, Jessup and Benjamin DeFaria perform the piece with pianist Leslie Dala at the Dance Centre Nov. 8-9. (photo by Chris Randle)

“Even now, between other projects, I find myself continually returning to Glass’s études,” said Cohen. “I have to understand the core of the music. It is more than just the composer’s intention – it’s about tracking and studying their identity, which makes them a cultural phenomenon, that deep essence through which they form a perspective, their cultural DNA. Glass is such a fascinating artist, and I have a tendency to obsess and study things over time – it is a friendship. I am immersed in Glass’s unique understanding and appreciation of time, and in the way he engages with philosophies and perspectives.”

Cohen has learned a few things from this immersion. In particular, he said, “In order to survive, I had to remind myself that no timeline is more important than another – joy and pleasure exist in any given moment, alongside tragedy, weakness and pain. There are multiple realities, and the worst atrocities happen simultaneously with moments of celebration and joy.”

While the music is the foremost inspiration, Cohen said it serves as “the gateway through which a creative world is assembled.”

“In a creative process,” he said, “I need to find my interpretation of the music, to discover where the core connection lies between the music and myself. It is an act of artistic communication – between artists, between Glass and me, the dancers, Leslie Dala, the designers and everyone involved. I find the act of art-making to be an important practice in both creation and healing.”

Dala will perform Glass’s études live during About Time, which features dancers Will Jessup and Benjamin DeFaria.

To the community, “who have endured unbearable pain this year,” Cohen said, “I dedicate every movement and every step of this creation to you, sending you strength and love. I am praying for better times to come.”

***

The Fortress and About Time double bill will take place at Scotiabank Dance Centre. For the full Chutzpah! Festival lineup and tickets, visit chutzpahfestival.com. 

New this year for the Chutzpah! Festival: Jewish Community Centre of Greater Vancouver members receive discounted ticket prices and concession purchases at the theatre. Select Student/Senior/JCC Member tickets and ChutzPacks and bring your membership card to the theatre.

Format ImagePosted on October 11, 2024October 9, 2024Author Cynthia RamsayCategories Performing ArtsTags Chutzpah!, Chutzpah! Festival, dance, Idan Cohen, Leslie Dala, Livona Ellis, Ne. Sans, Rebecca Margolick

Virtuoso musician, impresario

The reasons why Wendy Atkinson, who owns Ronsdale Press, wanted to publish Have Bassoon Will Travel: Memoir of an Adventurous Life in Music by the late George Zukerman, are the reasons people should read it. Zukerman had a long and impressive solo career as a bassoonist, was a pioneer in organizing concerts and tours, and gave remote communities across Canada the rare chance to hear classical music performed live. 

“She recognized that his anecdotes capture a vital period in Canada’s musical history and are vivid reminders of the lengths musicians will go to tour our vast country,” reads the afterword. “George’s memoirs go beyond simply capturing a life. He expanded the cultural reach of classical music in Canada; no small feat and Canada is better for it.”

image - Have Bassoon Will Travel book coverHow Zukerman’s memoir came to be is an example of the communities he created in his life. When he died Feb. 1, 2023, in White Rock, the manuscript had been written, but it took several volunteers – each with their own connections – to bring it to publication quality and get it printed. After reading Have Bassoon Will Travel, you will know why they did it. Not only was Zukerman a world-class musician and impresario, but he was a world-class human being: humble, funny, innovative, hardworking, fairness-driven, adventuresome, the list goes on.

Zukerman was born in London, England, on Feb. 22, 1927. Well into the book he talks about how he never liked his name, George – his parents, both American citizens living abroad, named him after the United States’ first president, George Washington. His middle name, Benedict, was in honour of 17th-century Jewish philosopher Baruch (Benedict) Spinoza, who was expelled by his community for his ideas. Zukerman also discusses his surname, the spelling of which differs across family thanks to the North American melting pot. There is something to be said about living up to one’s name, and Zukerman certainly was a leader in his fields of music, both as performer and impresario; he certainly forged his own path, uplifting the place of the bassoon in the orchestral world, creating opportunities for fellow musicians to perform and bringing classical music to the remotest of areas; and he lived in several places and traveled, mostly for work, around the world.

It is incredible how much of life is directed by (seeming) happenstance. Zukerman’s first encounter with the bassoon was at 11-and-a-half years of age. It was an accidental meeting, as his older brother showed him around the London prep school Zukerman was about to attend.

“We wandered past the windows of a basement chapel and glanced down to where an orchestra was rehearsing,” writes Zukerman. “A row of tall pipes seemed to reach for the ceiling. I could see and hear very little through the moss-covered stone walls and grimy opaque windows of the old school, and I wondered what on earth these strange-looking instruments were. My brother, already in Form IV, authority on much, including most musical matters, declared them to be bassoons, and the piece in rehearsal the annual Messiah. We walked on to explore my new school, and any awareness that I would spend my life playing that instrument would have been uncannily prescient. The bassoon remained buried deep among early memories.”

His next encounter was as random. As the Second World War began, the family – less Zukerman’s journalist father, who joined later – left London for New York City. There, Zukerman attended the newly established High School of Music and Art. 

“By way of an audition,” he shares, “I played [on the piano] my one and only party piece (a simple Beethoven sonatina). To my surprise as much as anyone else’s, I was admitted to the class of 1940! Dare I suspect that my acceptance had as much to do with short pants and an English accent as with any evident musical skill?”

On the first day of school, the kids were told to pick an instrument. “No British prep school could have readied me for such democratic and independent action, so I hesitated,” writes Zukerman. “On all sides of me, the pushy American kids ran furiously and grasped what they could most easily identify. The violins, clarinets, flutes, trumpets, cellos and drums disappeared into groping hands. When I finally reached the shelf, all that remained was an anonymous black box. I lifted it gently and carried it toward a teacher standing nearby. ‘Excuse me, Sir,’ I asked timidly, ‘but what is this?’

“He looked down, and a broad smile covered his face. ‘Why, you are our bassoonist!’ he declared.”

With faint remembrance of the tour with his brother, he thought, “Was I now going to play such an instrument?”

Indeed, he was, and to eventual great acclaim, both as part of orchestras and as a soloist. But, as you can imagine, bassoonist was not exactly a living-wage career, at least not in Zukerman’s time, and his parallel career arose from a need for more work. Having learned during his time with the St. Louis Sinfonietta in the 1940s about community concerts – where money was raised in advance through subscriptions rather than individual ticket sales, and no contracts were signed until the money to pay for everything had been raised – Zukerman, who was by then living in Vancouver, brought the idea to Canada. His offer to an American company to be their representative here declined, Zukerman decided to do it on his own. 

“Canada was coming of age, and Canadian communities were ready to make their own concert plans and to welcome Canadian groups and soloists, even if at the time they were equally unknown,” he writes. “Within a decade, Maclean’s magazine would write that I had successfully outsmarted the Americans at their own game.”

It is fascinating to read of Zukerman’s efforts to expand the reach of classical music in Canada and other countries – he visited the Soviet Union eight times between 1971 and 1992, as performer and concert organizer, and brought Soviet musicians to Canada to tour. Decades earlier, he spent a year-plus in Israel, part of the nascent Israel Philharmonic. He was also part of the Vancouver Symphony Orchestra in its early days, and of the Vancouver Jewish community – Abe Arnold, publisher of the Jewish Independent’s predecessor, the Jewish Western Bulletin, had a small but notable impact on Zukerman’s life.

Have Bassoon Will Travel is a truly engaging read. The way in which Zukerman writes is like how he would have spoken, though likely more concise and organized. The effect is that we the reader are having a chat with him, reminiscing. We get a feel for what life was like back in the day for a musician and entrepreneur. We feel nostalgia for a time many of us never experienced personally.

Posted on October 11, 2024October 10, 2024Author Cynthia RamsayCategories BooksTags autobiography, bassoon, business, entrepreneurship, George Zukerman, history, impresario, Israel Philharmonic, memoir, music, travel, Vancouver Symphony Orchestra

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