Cynthia Ramsay – Page 45

Finding hope during war

Laura Reynolds and David Volpov in The Wars, which opens Nov. 7. (photo by Javier R. Sotres)

Timothy Findley’s award-winning novel The Wars, adapted by Dennis Garnhum for the stage, comes to University of British Columbia’s Frederic Wood Theatre Nov. 7-23. Directed by Lois Anderson, it will be performed by UBC Theatre and Film’s graduate class of 2020, among whom is Jewish community member David Volpov.

Volpov takes on the leading role of Robert Ross, who is described as “a tender-hearted idealist who shares a strong bond with his wheelchair-bound sister” and “trades his comfortable Canadian life for the harsh world of trench warfare in World War I.”

“What I find challenging about playing Robert is imagining the play as a series of events, with each event slowly transforming him into a new person,” Volpov told the Independent. “At first, he’s a shy city boy who comes from a wealthy family. Over the course of the play, he becomes a confident lieutenant, who’s gained a lot more life experience. It’s not until he escapes his domestic life and goes to war that he truly discovers who he is. He discovers more about his sexuality, his morality around war and his will to live.

“As well as being a war story, the play is also a coming-of-age story. Finding those moments of change has been a rewarding experience because Robert is such a complicated character to crack. Even though he’s so young, he has so much trauma and weight that he carries with him to France. It feels like a big step for Robert every time he grows or learns something, or pushes past his comfort levels.”

Volpov is in his final year of the bachelor of fine arts acting program at UBC. As a writer, his plays include The Minimum-Wage Dame and Ten Years Later. His acting credits include Promethean Theatre Company’s productions of Of Mice and Men and Saint Joan.

“I love working with Promethean because we’re a small group of friends who are passionate about theatre,” he said. “We come together and discuss what stories we want to tell, what stories we think are important to tell. Then we go ahead and tell them. There’s nothing high-brow about it.”

Volpov’s appreciation for storytelling comes in part from his parents.

“My parents were Jewish immigrants from the former Soviet Union – my mom from Latvia and my dad from Belarus. Having grown up persecuted for being Jewish, they found it important to pass on their life stories to me, and that I understood what it meant to be Jewish,” he explained.

Growing up in Richmond as a secular Jew, he said, “It wasn’t until I was a teenager and spent one summer at Camp Tel Yehudah in Upstate New York that I felt connected to my heritage. The camp was oriented on teen leadership, so each camper chose a global issue which they were passionate about, researched it and created an activism action plan.

“The issue I chose to dive into was gun safety,” he said. “My group and I created a policy plan that we got the chance to take to Washington, D.C. We met with senators’ aides and representatives of the NRA [National Rifle Association] and the Brady Campaign. It was very important to be able to speak with people on both sides of the issue and still be able to have a healthy discussion. The experience impacted me a lot because it was the first time that I felt like I had a voice about something I was passionate about, something that felt so personal to me. That’s one thing that really helped in my acting from then on. Before that, I knew how to read and play someone else’s script, but that was when I learned how to make someone else’s text feel like it was my own.”

Considering the text of The Wars, Volpov said that one of the reasons Findley wrote about the First World War “is because that was the war that changed everything. It marked the first use of chemical weapons in war and the first time that the senselessness of war was widely reported. World War I marked a point where the world shifted to a much more cynical outlook, where the chaos of the world was realized.

“Presently,” he said, “we’re living in a similarly cynical time, in a new age of increasing isolationism – of Brexit and [Donald] Trump, and the climate crisis, too. The message that the play applies to the First World War can also apply to today: even when we’ve lowered our faith in our leaders and in humanity, we can always hold onto hope and lean on meaningful connections to others to get by.”

He added that “these connections take precedence over mere survival. The play is so life-affirming because it’s all about finding hope and joy even during the hardest times.”

For tickets to The Wars, call 604-822-2678 or email [email protected].

Presenting our stories

Tamara Micner performs her one-woman play Holocaust Brunch this weekend at Chutzpah! (photo by Sophie le Roux)

“In recent years,” playwright Tamara Micner told the Independent, “I feel there’s been increasing discussion about inherited trauma in indigenous communities and in other minority communities, such as Japanese- and Chinese-Canadian communities. For me, it’s been valuable to remember that, sadly, we as Jews are not alone in inheriting collective trauma. In fact, I also know white, Christian Canadians who have it, too. The tsures we carry is unique in some ways, but we’re definitely in good company.”

Micner, who now lives in London, England, will be returning home to Vancouver for a couple of weeks to perform her new one-woman show, Holocaust Brunch, at the Chutzpah! Festival. It is one of two theatre works that will see their Canadian première at this year’s festival; the other is The Diary of Anne Frank LatinX, directed by Stan Zimmerman, who is based in Los Angeles.

While The Diary of Anne Frank was mounted by Fighting Chance Productions last year (jewishindependent.ca/glimpse-of-life-in-the-annex), Zimmerman’s production features only Latinx actors. This is what makes this version of the play – written by Frances Goodrich and Albert Hackett Based and adapted by Wendy Kesselman – unique.

“I chose to use Latinx actors for the characters in the attic,” Zimmerman told the Independent, “after seeing a CNN report about a Jewish woman in L.A. who arranged to hide a Latina mom and her daughters after her husband was suddenly deported by ICE [U.S. Immigration and Customs Enforcement].

“Contrary to initial media reports – that went worldwide – we are not replacing the Nazis with ICE agents [in the play]. We are performing a word-for-word production of the script that Natalie Portman starred in on Broadway in 1997. I’m not saying the situation is exactly the same as the Second World War, but there are parallels – parallels that we can hopefully learn from. Only then can we live by Elie Wiesel’s famous phrase, ‘Never again.’”

photo - Emiliano Torres and Genesis Ochoa in The Diary of Anne Frank LatinX, which will be at Chutzpah! Nov. 6-9 — Emiliano Torres and Genesis Ochoa in The Diary of Anne Frank LatinX, which will be at Chutzpah! Nov. 6-9. *(photo by Elvira Barjau)*

Some Jewish community members were concerned about Zimmerman’s casting choice.

“Initially,” he said, “I had a few Jewish friends question my decision to cast Latinx actors in the play. For them, it was more about not wanting to tarnish the legacy of Anne Frank. But, when they saw that we were honouring her memory, they understood the power of this production. I took to heart the insightful words of a young Anne Frank from her diary – ‘Our lives are all different, and yet the same.’”

The concept of “different yet the same” is one of the reasons that Micner was interested in telling the stories of Bluma and Isaac Tischler, who have both passed away. Born in Poland, they “met in medical school in Tajikistan during the war, and went on to become renowned Vancouver doctors.”

“I have known the Tischler family since 1987, when their daughter Yael and I did What Do I Do When I’m Two? together at the JCC,” said Micner, referring to a program at the Jewish Community Centre of Greater Vancouver. “Our parents and grandparents have also known each other for many years.”

That said, Micner explored some of her gaps in understanding, through creating Holocaust Brunch.

“Growing up,” she said, “I felt there was a disconnect between ‘the Holocaust story’ I was taught, which focused on Western Europe and camps, and my own family’s story, which was about living in Eastern Europe (Poland) and surviving the war in the Soviet Union. The Tischlers’ story has those parallels as well, and it feels important to me to talk about a kind of Holocaust story that I haven’t seen told in wider culture, and that some non-Jews I know have never even heard.”

Micner is no stranger to writing plays based on people she knows.

“I have created shows in the past that are inspired by my own family,” she said. “Holocaust Brunch is partly about another family’s story, and started with the Tischlers offering me part of their family’s story to tell in a piece of theatre. I take that offer very seriously as an act of trust and a responsibility, as the creator and performer of the piece. We’ve had several conversations along the way about the central questions and themes of the piece as it has taken shape, and they have seen the show as it has evolved.”

One of the central aspects of the work is looking at trauma from a third-generation perspective.

“I am indeed part of the ‘third generation,’ and Holocaust Brunch explores what it’s like living as a descendant of Holocaust survivors, two generations removed from that history and trauma,” said Micner. “It’s certainly based on some of my experiences and, inevitably, incorporates aspects of other people’s experiences based on conversations I’ve been part of, books and articles I’ve read, and so on. There are many of us who are thinking and talking about these issues.”

In contrast, Zimmerman witnessed a lack of discussion and knowledge about the Holocaust and, specifically, The Diary of Anne Frank.

“I was quite shocked,” he said, “when the 15-year-old actor playing Anne told us that she did not know who Anne Frank was before auditioning for our production. As a Jew, I grew mad to learn that Anne’s diary is no longer required reading in the California school system. I decided then that it was vital to get as many student groups as possible to see this play, with this cast.”

And it hasn’t been only the cast and audiences who have learned something from the play.

“Although I was a good student at my temple’s Sunday school,” said Zimmerman, “being involved in this play opened my eyes to so many stories about the Holocaust that I never knew before. These important lessons were gained by visits to several museums and meeting many survivors and hearing their stories firsthand.”

He added, “As many of our survivors pass, it is important for us as artists to find creative ways to keep Anne’s story alive.”

One of the ways in which Micner creatively tells her story is with humour. Describing Holocaust Brunch as a “dark comedy,” Micner explained, “I think there’s a history of Ashkenazi Jews using comedy to look at hard things – the oppression we’ve suffered, displacement, antisemitism, poverty and so on. Holocaust Brunch is certainly engaging with that tradition,” she said. “I think there’s also a history of Ashkenazi humour being self-deprecating – as in, making fun of ourselves – and, one of the things I’ve been interested in, is looking at where that comes from and what it would mean for us not to be the butt of our own jokes. Holocaust Brunch is using comedy to look at communal trauma, and how we might be able to heal from that. The show also uses humour to explore stereotypes and assumptions that some non-Jews have about Jews. I think laughter helps us open up and look at hard places.”

For his part, Zimmerman would like audiences who come to see The Diary of Anne Frank LatinX “to feel like they literally stepped into the shoes of these characters – just like the actors have. Then we can all have this highly emotional and very visceral experience that can only be achieved communally with live theatre.”

Holocaust Brunch runs this weekend in the JCCGV’s Wosk Auditorium, Oct. 27, 1 p.m., and Oct. 28, 7 p.m. The Diary of Anne Frank LatinX, co-presented with Howard Blank of Point Blank Productions, is at the Rothstein Theatre Nov. 6, 8 p.m.; Nov. 7, 8 p.m.; Nov. 8, 1 p.m. and 8 p.m.; and Nov. 9, 2 p.m. For tickets to these and other Chutzpah! shows, visit chutzpahfestival.com.

Dancing to Beethoven

ProArteDanza’s The 9th will première in Vancouver before heading home to Toronto. (photo by Alexander Antonijevic)

Ten years after its conception, ProArteDanza’s The 9th, a full-length contemporary dance performance, will have its world première in Vancouver at the Chutzpah! Festival Oct. 26-28.

“We were originally planning to première it in Toronto for November,” Roberto Campanella, co-artistic director of ProArteDanza, told the Independent in a phone interview. “We’re opening in Toronto Nov. 6, which is a week-and-a-half after Chutzpah! And then Mary-Louise [Albert] called and said, ‘How do you feel about bringing The 9th here?’ And I said, ‘Well, it would not be a bad idea for everybody involved to have that opportunity…. We love being at Chutzpah! We’ve been before, we have a longtime relationship with Mary-Louise.” (Albert is artistic managing director of Chutzpah!)

Campanella created The 9th with ProArteDanza co-artistic director Robert Glumbek in collaboration with the dancers. Inspired by Beethoven’s Ninth Symphony and performed to the score, the show has four movements and is about 70 minutes long, with no intermission.

Each dance movement was created and mounted on its own: the first, then the third, the second and, finally, the fourth, which the company performed this past June in Trois-Rivières, Que., for the festival called Dansencore. Regarding the full-length work, Campanella said “it’s one thing to put on one movement at a time separately, and we’re realizing it’s a completely different beast because we have to also layer [each movement] with the concept of a wall or, in this case, the symbol of the Berlin Wall, so it’s taking almost a different life for me and for Robert…. And it’s only eight dancers and it’s going to be incredibly physical and athletic and intense, so we also have to distribute our dancers in a way that we don’t kill them in the first movement.”

Ten years ago, Dansencore commissioned Campanella and Glumbek to create the first movement. At the time, the festival was celebrating its 15th anniversary, as well as the establishment of Trois-Rivières, with Beethoven’s Ninth, said Campanella. “The idea was that there were different choreographers allocated for the four different movements … and we put the whole thing together probably in one day or two with the live orchestra and the live choir, so it was a mega-super-project. It all came together then.

“What we decided to do, with the permission, of course, of the festival, we said, ‘Can we present out first movement only for our company, ProArteDanza?’ We were granted permission and we presented just the movement itself as part of a mixed program the year after, or the same year, here in Toronto. Then we looked at each other, Robert and I, and said, ‘Why don’t we do a long version of it? Why don’t we continue? But let’s take our time. Why don’t we continue on the same path we’re doing, a movement at a time, we present it, we look at it and see what comes out of it?’

“And then, in 2010, I was in Berlin shooting a movie and I had a few days off,” continued Campanella. “I went to the Berlin Wall, which is essentially rubble, it’s just bricks, there isn’t much, but there are these audio-visual stations, where you can put headphones on and have a look at old footage of when they were building it; it’s pretty much the history of the wall. And there was one image that still, I would say, hit the spot, which was these two families on [opposite] sides of the wall waving at each other, probably they were related to each other … and the waving at each other was different from one side of the wall and the other. And then I thought, could it be that this [image] is actually our Ninth Symphony concept? So, I talked to Robert and I said, ‘Can we explore that and see where it goes?’ And that’s when the ball started rolling for us, but always maintaining the idea that we were not going to present the whole thing until we had all the four movements done and presented.”

The timing of The 9th’s completion comes with a few coincidences, said Campanella. Most notably, the final concert date, in Toronto, is Nov. 9 and, he said, “Nov. 9, 1989, is the actual day of the fall of the Berlin Wall,” so the show will occur exactly 30 years after the wall’s fall. He also noted that ProArteDanza’s show, which is called The 9th, ends on the ninth and that, at the 1989 celebration of the fall of the Berlin Wall, Leonard Bernstein conducted the Ninth Symphony.

For Campanella, the fall of the Berlin Wall is “about freedom, it’s about brotherhood, it’s about unity and diversity, celebrating all of that.”

In addition to the challenges of portraying these concepts, Campanella said it’s been fascinating to reimagine the movements that were created in the early years.

“We look at what we did 10 years ago and we cringe,” he said. When he and Glumbek watched videos of the piece, “you should have heard us, we were thinking, ‘Who choreographed that?’”

The pair have broken through many artistic walls since then in their respective careers, said Campanella, that they decided “this is not us anymore and so we are going to revisit it, reassess it, reevaluate what we’ve done and why.”

He pointed out that the original first movement was also created by a different cast. “There is only, I think, one [dancer] left who’s done everything. So, there are things that are born with a certain cast but there is a turnover of cast, [so] it will inevitably take a different direction naturally, as well as us being different now than 10 years ago.”

Part of what’s great about dance, he said, “is that you have the ability to remount things. A painting, once it’s done, it’s done. You’re going to hang it somewhere and you’ll look at it; it’s done, it’s over. For us, we have that ability to remount and re-look at it and say, ‘Who am I now that’s going to be in this current version of it?’ So, it’s been a very fascinating process.”

Campanella said, in creating The 9th, he and Glumbek “took our time because we really wanted to respect first and foremost the score of this magnificent piece of artwork,” referring to Beethoven’s composition.

In The 9th, more than one version of the symphony is used. Of those that were not chosen, Campanella said, “some of the versions are what we think are excruciatingly slow for us. Maybe they are amazing versions for musicians, for the experts, [but] they’re not conducive to the physical movement part of it.”

For tickets to The 9th, visit chutzpahfestival.com.

Gotta Sing! marks 25

Simone Osborne, left, Tiffany Rivera and Matthew Rossoff are just three of the alumni who will help Gotta Sing! Gotta Dance! celebrate on Nov. 10 at the Rothstein Theatre. (photos from the artists)

“I never thought that Gotta Sing! Gotta Dance! would be so popular and I certainly didn’t think that I would still be involved 25 years later. I love these kids and being involved!” Perry Ehrlich told the Independent.

Ehrlich created the musical theatre summer camp at the Jewish Community Centre of Greater Vancouver in 1995. Its first quarter-century will be celebrated at the Rothstein Theatre Nov. 10, with 3:30 p.m. and 7:30 p.m. shows, as part of this year’s Chutzpah! Festival.

“The two shows,” said Ehrlich, “feature opera sensation Simone Osborne, currently living in Germany, who was the youngest winner of the Metropolitan Opera theatre auditions; Matthew Rossoff, from New York and Toronto, who was dance captain for Jesus Christ Superstar on Broadway; Tiffany Rivera, a pop, jazz and soul singer; faculty members Advah Soudack, who just toured Canada in the hit play Glory, and Meghan Anderssen, star of Annie Get Your Gun and Thoroughly Modern Millie at Theatre Under the Stars); my daughter, Lisa Ehrlich Kesselman, winner of the PNE Star Discovery and National Youth Talent Search; Erik Ioannidis, star of Joseph and the Amazing Technicolor Dreamcoat [at Theatre Under the Stars]; vocalist Andrew Robb; singer and bassist Benjamin Millman; and, of course, my ShowStoppers troupe, who performed with Eric Church and Barry Manilow at Rogers Arena, with the legendary troupe Foreigner at Hard Rock Casino Theatre, [on] Canada Day at Canada Place, [and] singing the anthems for the Canucks and at the PNE.

“Everyone – and I mean everyone, including the kids who will narrate the shows – participated in Gotta Sing! Gotta Dance! in the past. And Wendy Bross Stuart will be on stage with them!”

Since Gotta Sing! Gotta Dance! began, Erhlich said “four things have changed.

“One, the kids are now older. In year one, we accepted 6-year-olds. Now, the youngest are 9 or 10 and over 70% are in high school.

“Two, the curriculum for Gotta Sing! Gotta Dance! has become more intensive each year; the levels of singing, dancing and acting is at an all-time high.

“Three, there has been a great social dynamic among the kids that has increased over the years. I hear over and over again that kids have met lifelong friends at Gotta Sing! Gotta Dance!

“And, four, I am thrilled by the number of non-Jewish kids who participate in the program and love being at the JCC. In early years, I had to explain security and what it means to be Jewish. No more.”

For tickets to the 25th anniversary tribute and other Chutzpah! shows, visit chutzpahfestival.com.

Chutzpah! hosts Bernhard

Sandra Bernhard is at the Vogue on Halloween night, as part of the Chutzpah! Festival. (photo by Brian Ziegler)

“When I was a little kid, I had three older brothers and I got a lot of attention for being cute and funny, and I’ve always had an ability to comment on situations as they unfolded in front of me,” said veteran performer Sandra Bernhard in a phone interview with the Jewish Independent. “I think that’s what kept it going all these years – I find it entirely hilarious when you’re in the middle of something and you’re able to pull it apart and bring the most humour out of it, or the most outrage, and that’s always been the most interesting part of what I do.”

Bernhard is bringing her critically acclaimed show Quick Sand to the Vogue Theatre on Oct. 31 as part of the Chutzpah! Festival, which runs Oct. 24-Nov. 24. The comedian, actor, author and radio host is known for her outspokenness. She said it’s second nature for her to say what’s on her mind. “By being funny and being a character, which I’ve always been,” she said, “that gave me the access to say things that other people wouldn’t say necessarily, or that wouldn’t be heard.”

Bernhard’s daily radio show, Sandyland, which is on SiriusXM’s Radio Andy channel (created by Andy Cohen), earned her a Gracie Award, an honour given by the Alliance for Women in Media to “recognize exemplary programming created by women, for women and about women in all facets of media and entertainment.” Bernhard also stars as Nurse Judy in the award-winning, boundary-pushing show Pose on FX Networks, about “the legends, icons and ferocious house mothers of New York’s underground ball culture, a movement that first gained notice in the 1980s.”

Bernhard has countless film and television credits, has created and performed several one-woman shows, recorded a few albums and performed with or opened for many artists. She also has written three books.

While she knew from a young age that she wanted to be a performer, it wasn’t until her late teens that the goal started to become a reality.

“I moved to L.A. in the mid-’70s, when I was 18, 19,” she said. “I became a manicurist in Beverly Hills, so I had a day gig, but I didn’t really know how I was going to jump into the waters, because I also wanted to be a singer. I really wanted to be an entertainer, the whole package.

“And then I met up with a group of friends and they thought I was hysterical and then there was this woman I met who, I did her nails and she was a cabaret singer and she would go to the open mic nights and she said, ‘You’re really funny. I know you want to sing, but put your material together and I’ll take you to these open mic nights.’ She took me to one and then I met my friend Paul Mooney and my friend Lotus Weinstock the first night I got up and they took me under their wings. And that’s how I started – I literally fell into it, because I was a natural, and then I started doing the hard work, which was getting up night after night after night to do my act, and I honed my act and the material and then, eventually, I got good at it.”

One of the reasons she remains popular and her material fresh is because she keeps working at it, “finding different ways into it. For me,” she said, “the most important thing is being as authentic as I can, year to year, day to day, because you do change, you evolve as a person, you want to peel the layers of the onion away and get deeper into your core as an artist, as a performer, and I think that’s what continues to inspire you and make you a better performer.”

Describing her style as “edgy, funny, strong, no nonsense, but funny nonsense,” she said, “I don’t feel like I have to really temper anything because you shed your skin as you go along, and certain things just don’t work anymore.”

Born in Flint, Mich., and raised in Scottsdale, Ariz., Bernhard was bat mitzvahed, but, she said, “My father, I don’t think he related to being Jewish much at all, except maybe culturally, and my grandparents – my grandfather went to shul every day but I think that was a little bit later in life. When he came over here from Russia, everybody was busy trying to make a living. And, of course, people ended up in some small towns here and there, and you didn’t always have time for your religion and your traditions.”

Nonetheless, Bernhard said, “I find a certain amount of meditative escape just going to Shabbat and hearing the music and the songs I grew up with, and I like the community. Whether it’s the High Holidays or staying for kiddush and eating a bowl of cholent, there’s something very visceral about it. It connects me with who I was as a kid and my grandparents…. There’s all that emotion, it’s vivid and visceral and it’s just a nice place to calm down and go into and have a little bit of a break from the day to day.”

Saying that she’s “thrilled to be coming back to Vancouver,” Bernhard said the Oct. 31 performance will be “a fun night.” Accompanied by the Sandyland Squad Band, she will combine music, comedy and social commentary in Quick Sand, which, she said, offers “endless amounts of room” for her to go off script.

“I’m always prepared to jump off if something happens or inspires me or the thought process, my mind, and that’s the way it’s always been for me,” she said. “But I also have very set pieces that you want to be able to fall back on and have that continuity to the show, so that you’re not standing up there just talking about a bunch of silliness. I want people to walk away having been entertained.”

For tickets to Bernhard and other Chutzpah! shows, visit chutzpahfestival.com.

A frantically funny farce

Cindy Hirschberg-Schon, left, as Maria Merelli and Tracy Labrosse as Tatiana Racón in A Comedy of Tenors, at Metro Theatre Oct. 4-19. (photo by Sophie Gardner)

Tracy LabrosseTracy Labrosse“What could possibly be better than escaping life with a frantically funny farce? A Comedy of Tenors has slamming doors, mistaken identities, ridiculous dialects and a very suggestive tongue prop. What else do you need?” said Tracy Labrosse about the upcoming production at Metro Theatre.

Set in 1936, A Comedy of Tenors centres on Henry Saunders’ efforts to put on the greatest concert that Paris has ever seen – The Three Tenors – but he will only succeed if he “can keep an amorous Italian superstar and his hot-blooded wife from causing runaway chaos.” Written by Ken Ludwig, the Metro production, which runs Oct. 4-19, is directed by Kayt Roth.

Labrosse, who works at Vancouver Talmud Torah, plays Tatiana Racón.

“I love to be challenged in each production I’m in [and] Racón has definitely been a fun challenge for me,” Labrosse told the Independent. “I tend to get the ‘girl next door’ roles, so playing a sexy Russian opera singer has certainly allowed me to tackle a type that I don’t normally get the chance to play. She’s bold, she’s vivacious, and she’s a troublemaker.”

Jewish community member Cindy Hirschberg-Schon takes on the role of Maria Merelli, the feisty wife of tenor Tito (played by Carlos Vela-Martinez).

“I tried out for both Maria and for Racón,” said Hirschberg-Schon. “I thought I’d keep the options open. But I have a lot more in common with Maria.”

She said, “Maria is her own woman – strong and independent – but she is also very loving. Maria has a lot of me in her. She and Tito have been married for 25 years and I have been married for 27 years. From their fierce love to their fierce fighting, I can relate.”

In addition to her role, Hirschberg-Schon also helped on the costume front.

“I work in fashion as a technical designer, so I know about apparel,” she explained. “I did costumes once before but, being also an actor, it would be a lot to take on. But we needed help so I stepped in…. I measured the full cast, which for me is not a big deal. I helped out when we needed a few extra eyes to find costumes in both the Metro costume closet and also the kindness of Vagabond Players [and their] closet.”

Hirschberg-Schon studied acting before changing career directions.

“I went to college for acting in Toronto for two years,” she said, “but then decided I did not want to be a waitress the rest of my life and went to fashion school. I then concentrated on career, marriage and motherhood. After 20 years, I finally decided it was time to get back to the stage, with the support of my husband and family. So, I guess I have been acting for seven years plus a few.”

“I’ve been in love with theatre ever since I was given my first speaking role in a school play at the age of 9,” said Labrosse. “I went to theatre school after high school, and have been involved in theatre consistently ever since. It’s a lifelong love affair for me.”

Labrosse said she didn’t audition for any specific role in A Comedy of Tenors. “For me,” she said, “if the story is something I’m drawn to – something that I find intriguing – then I want to be a part of it. After that, it’s up to the director. In this case, Kayt saw me as Racón, and I’m so glad she did. It’s such a fun role to play.”

Both Labrosse and Hirschberg-Schon have been in other Metro productions.

“I’ve had the pleasure of acting, producing and directing at the Metro Theatre. A Comedy of Tenors is my 10th production there,” said Labrosse. “There are so many wonderful community theatre organizations in the Lower Mainland and I think I’ve worked with most of them over the years. Some of my favourite previous productions include The 39 Steps, Steel Magnolias, Moon Over Buffalo (also a Ken Ludwig show) and Wait Until Dark.”

Among Hirschberg-Schon’s favourite roles are Evil Stepmother in the award-winning Cinderella panto with Metro Theatre and Lady Edith in Metro’s Robin Hood and Marian panto; Penny in Vagabond Players’ You Can’t Take it With You; Olga in Royal Canadian Theatre Company’s Bedfull of Foreigners; and Yenta in a Toronto production of Fiddler on the Roof.

“Growing up,” said Hirschberg-Schon, “I watched my mother, Marion Hirschberg, on the stage. She was very involved in community theatre and is still on the stage now, at 80. She taught me so much and I am in awe to see her perform. I have theatre in my blood and stage is home to me. But the biggest thrill is to share it with an audience – because theatre does not become alive until there is an audience to share it with.”

To be a part of that audience, tickets can be purchased by leaving a message at the Metro Theatre box office, 604-266-7191, or visiting tickets.metrotheatre.com. Note that A Comedy of Tenors “contains strong language and sexual references.”

It’s Bobby’s birthday

Jonathan Winsby plays birthday boy Robert in Company, which opens Oct. 11. (photo by Nicol Spinola)

For his 35th birthday, Robert (Bobby), a bachelor, has invited a group of his married friends over to celebrate. And, married or not, you can be a part of Bobby’s party by attending Raincity Theatre’s production of Company, which runs Oct. 11-26 at “Bobby’s Apartment,” 2531 Ontario St.

The immersive production of Stephen Sondheim’s Company is being produced by the same creative team that was behind last fall’s award-winning immersive production of Sweeney Todd: The Demon Barber of Fleet Street. Co-producers are Chris Adams (director), Nicol Spinola (choreographer) and Jewish community member Kat Palmer. Also part of the Company creative team was researcher Michael Groberman. And there are other Jewish connections.

“It is only notated in the script that Paul, Amy’s fiancé, is Jewish,” Adams told the Independent. “However, it is mentioned that half of Amy’s friends are Jewish, meaning a few other characters probably are, too – most notably, Larry, played by Jewish community member Warren Kimmel.”

Larry is Joanne’s third husband. Joanne has known Robert for years.

“Larry is extremely wealthy and successful,” said Kimmel. “He is probably the oldest character in the play. His parents split when he was a child but he is fascinated by his wife and very happily married.”

Just now old enough to play the character, Kimmel quipped, “I intend to make him look younger than his real age.”

Company debuted in 1970.

“This piece is all about commitment and partnership and marriage,” said Kimmel. “It was written not long after the pill was invented, which, along with other cultural changes, threw into question traditional ideas around marriage, monogamy and the way men and women in society commit to each other.”

He added, “As is usually the case, Sondheim and his collaborators have created perhaps the most incisive examination of these issues and so they resonate even today. Every song is so specific and true to life that everyone can identify and, if you haven’t had these exact thoughts yourself, you will definitely have a friend or family member who is in just such a situation. Add to that the incredible music and one hell of a cast and what you have from Raincity is another ‘must see’ piece of theatre.”

As for Raincity’s choice to produce Company, Adams said, “Oftentimes, as it goes with equity collectives, it is a group of people who find a great show and want to see it produced. In this case, not only did I know the show was great, I knew we had Jonathan Winsby to play Bobby. Having worked with Jonathan on last year’s Sweeney Todd, I knew he was more than up for the challenge of this role and I knew it was on his bucket list to play. Sondheim is popular with actor/singers because it is difficult. People want to sing it and audiences seem to want to hear it. We are blessed as well that Company comes with such a strong book and brilliant songs.”

As with Sweeney Todd, the audience will be in the thick of things, specifically, in the midst of Bobby’s birthday party. “We have a bar set up to sell drinks, you can purchase birthday cake or come early and play a song on the piano – everything a fun 1969 birthday party should have,” said Adams. “The audience will grab their purchased seating – you can buy a pillow/floor seat, a couch, a chair or a bar stool – and cozy up to enjoy the show. While there is, obviously, no audience participation, they will feel very much included in the festivities and witness this brilliant journey of a man struggling through his 35th year.”

There is limited seating at the party, however, and Adams said the run is already more than 80% sold out. “If anyone is wanting tickets,” he said, “I’d suggest they don’t wait.”

For tickets, visit raincitytheatre.com.

Vancouverite’s novel on trail

Vancouver writer Aren X. Tulchinsky at the Aug. 16 unveiling in Toronto of Project Bookmark Canada’s plaque honouring his novel, The Five Books of Moses Lapinsky. (photo by Lisa Sakulensky)

The Canadian Literary Trail has a new bookmark – one honouring The Five Books of Moses Lapinsky by Vancouver writer Aren X. Tulchinsky. The 25th such plaque to be erected by Project Bookmark Canada across the country, the unveiling took place Aug. 16 in Dominico Field at Barton Avenue and Christie Street in Toronto. Tulchinsky took part in the ceremony.

“Last October, I received a phone call from Laurie Murphy, executive director of Project Bookmark Canada, letting me know my historical novel The Five Books of Moses Lapinsky was nominated for a bookmark,” Tulchinsky told the Independent. They chose to unveil the plaque on Aug. 16 because it is the day on which the 1933 riot in Christie Pits took place.

Surprised and thrilled to hear that Project Bookmark Canada and the City of Toronto would be erecting the plaque in honour of his book, Tulchinsky said, “I was particularly struck by the timing, when, right now, we are all being called upon to make sure that dark chapters of our history do not repeat themselves.”

He explained, “My novel is about a fictional Jewish Russian immigrant family, living in the Kensington Market neighbourhood in the 1930s and ’40s. The main character, Sonny Lapinsky, is a Jewish boxer. He is 9-years-old … when the riot in Christie Pits occurs and, on that night, he discovers he has boxing talent and goes on to become a professional boxer. That same night, tragedy strikes the Lapinsky family.

“Many Canadians are not familiar with the 1933 riot, which involved 15,000 people and is the largest race riot ever to occur in Canada. A group of British- and German-Canadian young men, members of the Swastika Club, set off the riot when they unfurled a huge, black and white swastika flag in Christie Pits during a packed amateur league baseball game on a hot August night. The Project Bookmark plaque in Christie Pits will bring greater awareness to this piece of Canadian history and, of course, to my novel.”

Project Bookmark Canada was founded by writer Miranda Hill in 2007, with the first plaque being unveiled in 2009 – for Michael Ondaatje’s In the Skin of a Lion, at the Bloor Street Viaduct in Toronto. There are bookmarks from British Columbia to Newfoundland. Vancouverites have easy access to Bookmark No. 12, which commemorates Wayson Coy’s The Jade Peony, at the southeast corner of Pender Street and Gore Avenue in Chinatown.

“Visitors are encouraged to read their way across Canada, online and in person,” said Project Bookmark board of directors president Hughena Matheson in the press release about Tulchinsky’s honour. “A launching place for conversation, collaboration and learning, the bookmarks provide a unique reading experience and a deeper understanding of the country and its people.”

“I think Project Bookmark Canada is an important organization,” said Tulchinsky. “Their goal is to get people to read Canadian books. It is vital to celebrate our unique Canadian history and, sadly, our country is constantly in the shadow of the U.S., with American books filling our bookshelves. With the loss of small independent bookstores across the country who used to promote Canadian authors, and with people buying books online from huge American corporations, many excellent Canadian books go unnoticed. As a Canadian and as a writer, I applaud the work Project Bookmark Canada is doing to bring Canadian stories to the forefront.”

photo - The Five Books of Moses Lapinsky bookmark text — The Five Books of Moses Lapinsky bookmark text. *(photo by Don Oravec)*

At the Aug. 16 unveiling, Tulchinsky read the excerpt of his novel – published under the name Karen X. Tulchinsky – that appears on the plaque. “It is the moment when, in 1933, the Swastika Club unfurled a huge swastika flag at the ninth inning of an amateur league baseball game in the park. All summer, the Swastika Club had been bullying Jews on the beaches of Toronto. On this day, they upped the ante and brought their antisemitism to the west side of town, which was mostly Jewish and Italian immigrants. After a summer of being kicked off the beaches, young Jewish men fought back. And, interestingly, the Italian men in the park joined the Jews in fighting against the Swastika Club and their allies, in what became the largest race riot ever to occur on Canadian soil.”

“Our past president, Don Oravec, spoke at the unveiling and said the novel was on his radar as a potential bookmark,” Project Bookmark’s Murphy told the Independent of how The Five Books of Moses Lapinsky was selected. “When Daniel Gelfant made an official submission to us to consider the book and its variety of Toronto settings as potential bookmarks, the wheels were set in motion. The board’s national bookmark advisory committee reviewed the proposal and approved it for development. Councilor Joe Cressy made a motion to the City of Toronto to provide funding in support of a bookmark for the Christie Pits ball field, on the anniversary of the riots in 1933. It was approved, and subsequently developed. Additional funds were raised by individual donors attending a bookmark fundraiser on Aug. 15, complete with a boxing demonstration by the author and the Toronto Newsgirls Boxing Club at Jazz Bistro.”

When he first started writing the novel, Tulchinsky, who was born in Toronto, said it “was loosely based on stories my grandfather had told me about his escape from Russia before the Second World War and his early days in Toronto, where his first home in Canada was in the Kensington Market area.

“When I started researching the Jewish community in 1930s Toronto, I discovered the riot that pitted young Jewish men and their Italian allies against the Swastika Club and their gentile allies…. As a Canadian Jew, I knew immediately that I would tell my story against this backdrop, an important piece of our history that had not yet been told in fiction. So, I created a fictional family, with four sons, all of whom get involved in the riot in different ways. On the night of the riots, one of the brothers is permanently injured in a way that shatters the family, especially the main character, Sonny, whose guilt over what happened to his brother causes a rift between him and his father, that sends the family into turmoil.

“The Five Books of Moses Lapinsky, which takes place … when Hitler first came to power in Germany, and continues through the Second World War years, is about antisemitism in Canada,” he said. “It’s about how hatred only leads to more hatred and violence. At the risk of sounding like the Vancouverite I am, I believe the only cure for hate is love. Sadly, history tends to repeat itself and, today, in 2019, we are seeing a rise in hate crimes in Europe, the U.S. and here in Canada against Jews, Muslims, South American migrants and the LGBTQ community. We are witnessing the president of the United States taking children away from their asylum-seeking parents and imprisoning them in what can only be called concentration camps. The themes in my novel, sadly, are just as relevant today as ever. I hope people see the parallels in the fascism that swept the world in the 1930s with what is happening today. I just keep hoping that humans will find a better way forward that does not repeat the mistakes of our past.”

And Tulchinsky continues to examine that past.

“I am currently working on a new novel, set in 1930s Berlin, in which I follow fictional characters (Jewish and non-Jewish) as Hitler first comes to power. In the story,” he said, “we watch as the Jewish characters are systematically stripped of their civil rights, then their livelihoods and, eventually, their lives. For my research, I have read hundreds of books on the Holocaust and the rise of the Nazis in the 1930s and I can tell you there are many policies the Trump administration is pursuing in the U.S. that are taken directly from Hitler’s playbook. In the current climate, with antisemitism, racism and homophobia on the rise, I feel particularly driven to finish and publish this new novel.”

To find out more about the Canadian Literary Trail, visit projectbookmarkcanada.ca.

When Chabad turns up

A still from The Rabbi Goes West: one of Chabad-Lubavitch Rabbi Chaim Bruk’s goals is to see a mezuzah on the door of every Jewish home in Montana.

In their documentary The Rabbi Goes West, filmmakers Gerald Peary and Amy Geller have succeeded in a difficult task – providing a balanced, respectful and entertaining glimpse into what happens in a state with a small, minimally affiliated Jewish community when Chabad-Lubavitch arrives.

A branch of Chassidism, Chabad-Lubavitch was started some 250 years ago in White Russia, in what is now Belarus. After the Holocaust, the movement began its outreach in earnest, trying to reach non-religious and unaffiliated Jews almost literally everywhere in the world. There are now approximately 5,000 Chabad emissaries in more than 90 countries.

While emissaries may receive some seed funding to start a new centre, they must raise their own funds to stay active. In 2006, Chabad Rabbi Chaim Bruk ventured from Brooklyn, N.Y. – Chabad headquarters is in Crown Heights – to Bozeman, Mont., to scout it out. Encouraged by the growing population and the amount of tourism, Bruk returned to Crown Heights to get the OK to set up a centre there. Given the green light, he and his wife Chavie did just that in 2007. The rabbi’s goal? To ensure that every one of Montana’s 2,000 Jewish families has a mezuzah on their door. One of the ways in which he makes headway on this task is by traveling all over the state, asking safe-looking strangers (who are the vast majority, he says) whether there are any Jews in the area and then, when he finds them, boldly introducing himself and his purpose.

As charming and open as Bruk seems, his presence, the ultra-Orthodox Judaism to which Chabad adheres and the movement’s expansionist mission – two more Chabad centres have opened since the Bruks arrived – are not universally welcomed by the Montana Jewish community. The Rabbi Goes West includes interviews with fellow rabbis Francine Roston (the first Conservative woman rabbi to lead a large congregation), who came to Montana from New Jersey in 2014; Allen Secher (co-founder of Chicago’s first Jewish Renewal congregation), who came to Montana after he retired in 2000 but retook the bimah when he found out he was the only rabbi in the state at the time; and Ed Stafman (a former trial lawyer), who came to the state from Florida. The film also includes commentary from local Jews from all four congregations.

While Bruk has limited involvement with the other congregations and rarely, if ever, joins their events – he contends that most of them violate some aspect of Judaism, such as the laws of kashrut, for example – the Jewish community does unite, along with other religious and secular groups and individuals in the state, when faced with neo-Nazi threats and cyberattacks.

The Rabbi Goes West is a documentary well worth seeing, both for its content and the way in which that content is presented. Sponsored by the Vancouver Jewish Film Centre, it screens at the Vancouver International Film Festival Oct. 7, 6:30 p.m., at Cinémathèque, and Oct. 8, 11:30 a.m., at International Village 10. For the full festival lineup, visit viff.org.

Creative, engaging memoir

Nora Krug’s Belonging offers a thoughtful and artistic exploration of identity and history. (photo by Nina Subin)

Nora Krug’s Belonging: A German Reckons with History and Home (Scribner, 2018) opens with a page made to look like it’s written in pencil on yellow graph paper. The illustration of a bandage takes up half the page, which is ostensibly “From the notebook of a homesick émigré: Things German.” Entry No. 1 is about Hansaplast, a type of bandage created in 1922 that Krug associates with safety, her mother having used it, for example, to stop Krug’s knee from bleeding after a roller-skating accident at age 6. “It is the most tenacious bandage on the planet,” writes Krug, “and it hurts when you tear it off to look at your scar.”

Belonging is the written and illustrated account of what happens when Krug decides to rip off the Hansaplast and examine the scars left by the history of her family – which had only been related to her in vague terms – and her country of birth, Germany. It is a creative and engaging memoir about Krug’s efforts to define for herself and reclaim for herself the idea of Heimat, tarnished by the Nazis’ use of it in propaganda.

Heimat can refer to an actual or imagined location with which a person feels familiar or comfortable, or the place in which a person is born, the place that played a large part in shaping their character and perspective. Krug’s exploration of identity comprises archival research, interviews with family members and others, and visits to her mother’s and father’s hometowns – Karlsruhe (where Krug grew up) and Külsheim, respectively.

Alternating with the narrative of her discoveries are several notebook entries, on a range of items, from bread to binders to soap, which are both points of pride, as they are quality-made items, and metaphors. For example, Persil is “a time-tested German laundry detergent invented in 1907,” which Krug uses. However, she writes, “Some referred to the postwar testimonials written by neighbours, colleagues and friends in defence of suspected Nazi sympathizers as Persil Certificates. Persil guarantees your shirts to come out as white as snow.”

As well, Krug includes pages “From the scrapbook of a memory archivist,” which present odd and sometimes disturbing arrays of items found at flea markets on her research trips to Germany. These include Hitler Youth trading cards, a letter from the front containing a lock of hair and photographs of soldiers petting or holding various animals, mostly dogs.

But the main intrigue of the book comes from what Krug shares as she persists in her research, asking questions and scouring documents. She wants to find out all she can about her family’s involvement in the Holocaust, in particular that of her maternal grandfather, who died when Krug was 11, and her paternal uncle, who was drafted at 17 and shot and killed at age 18, before her father, a postwar baby, was born; her father was named after the brother he never knew. Despite her efforts, many of Krug’s questions remain unanswered.

At the end of Belonging, it’s not even clear if Krug – who readers find out early on married into a Jewish family – feels any less guilty or any more secure in her self and in her past. But she does manage to start the healing process on some family rifts. And she highlights a couple of steps towards healing that she witnesses in Germany. For example, of Külsheim – which had, in 1988, the 50th anniversary of Kristallnacht, abandoned a proposal for a memorial plaque where the synagogue once stood, before it was burned down the night of Nov. 10, 1938 – she writes: “Plans are made to restore Külsheim’s old mikvah, and a memorial stone is erected where the synagogue used to be, ‘as a manifestation of sadness and shame,’ Külsheim’s new mayor says on the day it is installed.”

The book ends as it began, with a notebook entry. No. 8 is Uhu, “invented by a German pharmacist as the first synthetic (bone-glue-free) resin adhesive in the world, in 1932.” Despite its world-record strength, which is why Krug imports it to repair everything from the soles of her shoes to broken dishware, Uhu “cannot cover up the crack.”