Allan Zinyk as Patrice, left, and David Adams as Bryan in Elbow Room Café: The Musical (Phase 1). (photo by Emily Cooper)
Allan Zinyk and David Adams are veritable doppelgangers for Patrice (Patrick) Savoie and Bryan Searle, who started the Elbow Room Café on Jervis Street in 1983. While the restaurant moved to Davie Street in 1996 and the couple has since taken on another business partner, the heart of the café is Savoie and Searle, and, for many people, “home” is wherever they are.
Elbow Room Café: The Musical (Phase 1) really captures the depth and warmth of their relationship with each other, as well as with their staff and customers. It is a fitting and well-deserved homage to two men who have not only built a successful business, but a community, not to mention raising tens of thousands of dollars over the years for the charity A Loving Spoonful.
The Studio 58 and Zee Zee Theatre collaboration is a work in progress, but its Phase 1 opening on March 21 was a pretty polished effort. It will be interesting to see what changes on the path to its final form. Already, the musical – book and lyrics by Dave Deveau, music and lyrics by Anton Lipovetsky, directed by Cameron Mackenzie – arouses a range of emotions, from belly laughter to touching sentimentality. The songs are catchy and singable, the characters are memorable and relatable, the choreography is appropriately silly and sexy.
Led by professional actors Zinyk and Adams, the Studio 58 cast was top-notch. The audience gets lost in the life dramas that take place at the café: Tim and Tabby, a tourist couple from Kansas who stop in for a bite to eat on their way to Stanley Park, and are introduced to a whole new world; will Jackie and Jill, broken up for 253 days, get back together, despite all they’ve said to each other and what has happened since their breakup?; will the shy girl (aka Menu) find love at the café?; and Amanda, who finds out as her bachelorette party comes to an end that her wedding won’t take place as planned. Then there’s Patrice and Bryan, both getting older and a little slower – what’s to become of the café once they are no longer able to run it?
These main storylines are all played out in front of an odd, and endearing, assortment of other customers. One of the many notable aspects of this musical is how the supporting cast reacts to what’s going on around them. The full-cast musical numbers are big and bold, and there are some unique roles, such as Autograph, who takes on the personas of various celebrities who have eaten at the café, Tom Selleck and Sharon Stone, for example.
Since the musical is only in the first of a planned three phases, it is likely that the stories, dialogue and/or music will change. Considering who’s involved in the production, however, it should only get better. Then maybe afterward they can start on Jewish Independent: The Musical.
Elbow Room Café is at Studio 58 until March 29. As the musical’s program notes, there is “coarse language and immature content.” For tickets and information, visit studio58.ca.
Mere days before heading to Israel for a couple of weeks, Sara Ciacci, 90, called the Jewish Independent to make sure that I had received her new cookbook, Sara’s Kitchen: 90 Years of Devotion, 90 Recipes from the Heart (Gateway Rasmussen, 2015), and that I had all the information I needed about the Jewish Food Bank. For Ciacci, food and tzedaka are inextricably connected with life and community.
“Sara Ciacci is the beating heart of Temple Sholom’s kitchen,” reads the cookbook’s introduction. “From her kiddush lunches to the Sisterhood catering committee, second seders, women’s seders and the annual Yom Kippur break-the-fast, Sara has made a mission of nourishing her congregation since its earliest days. She is queen of all hamantashen, blintzes and latkes, and, every year, she and friend Leonor Etkin produce challot by the dozen for Temple Sholom’s High Holiday celebrations. Sara also makes the Vancouver Jewish Food Bank her priority, and all the hungry in our community will be the beneficiaries of all the money raised from the sale of Sara’s Kitchen.”
The Jewish Food Bank supports close to 400 Jewish individuals each year, according to its 2013-2014 report. Ciacci shared with the Jewish Independent an email she wrote to the Jewish Family Service Agency, which co-funds the food bank with Jewish Women International-B.C. and community donors. In it, she traces her memories of the service agency back 80 years, to the Depression era, when, like many families in the Jewish community, she writes, “my mother, two sisters and I needed help. I also remember Theresa Blumberg, the social worker who came to our home and found a reason to look in the food pantry, to talk with me and ask about school. She also found time to visit me during the 18 months that I was in the children’s preventorium for tuberculosis. It was Miss Blumberg who made sure that I had proper shoes and school supplies. My only possession from childhood is an 11th birthday book inscribed, ‘To my dear Sara, from Theresa Blumberg.’…
“My adult association with the Jewish Food Bank started in 1984 when our president, Jean Cohen, was helping a Jewish senior and found canned cat food in her cupboard. She did not have a cat. Jean brought the idea of a food bank for seniors and immigrants to our board. We then approached the Jewish Family Service Agency (JFSA) and an unofficial partnership was born. B’nai B’rith Women (now JWI-BC) would be responsible for collecting food and JFSA counselors chose the recipients. Hampers were provided based on a list that identified recipients only by a numbered card that specified their specific needs.”
Organized for a number of years by “two wonderful women who are no longer with us,” Renee Lifchus for BBW (now JWI-BC) and Isabel Lever from JFSA, “We packed the first hampers … in Safeway paper bags on the workbench in Carol Fader’s basement…. Hampers contained non-perishable food items that our members donated or collected from friends and family.”
In this tradition of community, several recipes in Sara’s Kitchen are Ciacci’s “by way of being begged, borrowed, copied, changed or invented.” The sources of these recipes are acknowledged, which adds to the community feel of this cookbook.
There are three chapters, starting with most everyone’s favorite meal: dessert. The second chapter comprises Passover recipes, the third, “and everything else.” There is an index for quick finds, a page on which to note your favorite recipes and their page number for easy reference, as well as a couple of pages to write in a few of your own recipes. Each section is headed by a full-color page of some of the treats waiting to be made.
The desserts section starts with a few tips, such as the need to chill cookie dough for at least an hour. Ginger snaps, blueberry drop cookies, and apple and honey cake bread pudding with butterscotch sauce are among the 36 pages of desserts to try after Passover.
In addition to the Passover conversion table – offering substitutes for flour and Graham cracker crumbs, for example – there is a spice guide, and pieces of advice offered throughout, such as how to ripen avocados more quickly and how to make radish roses. Appropriately, on page 90, is “Sara Ciacci’s Recipe for a Rich Full Life,” featuring nine wise ingredients.
Since I’m reviewing this cookbook in the Jewish Independent’s Passover edition, the recipes I tested are all kosher for the holiday: spinach vegetable kugel, red cabbage and almond crisps. Everything turned out according to plan, except the almond crisps, which were golden brown in about half the suggested time. I will remember this next time I make them because they are so good and easy to make, there will be a next time.
SPINACH VEGETABLE KUGEL
3 large carrots
10 oz package frozen spinach, thawed
1 medium onion
2 stalks celery
1 cup chicken [or vegetable] bouillon
3 eggs
3/4 cup matza meal
salt and pepper to taste
Preheat over to 350˚F. Grease an eight-inch square pan.
Cut up and grate carrots. Set aside. Chop spinach, onion and celery. Place in a two-quart saucepan. Add grated carrots and bouillon. Cook over medium heat for 15 to 20 minutes until vegetables are soft.
Place the eggs and matza meal in a mixing bowl. Stir in cooked vegetables. Season with salt and pepper. Spread the mixture evenly in the baking pan. Bake, uncovered, for 45 minutes. Cut into squares before serving.
RED CABBAGE
1 medium onion
1 average-size red cabbage
4 medium apples
1/4 cup canola oil or butter
1/2 cup water
3 tbsp (or more) red wine vinegar
3 tbsp sugar
1 tsp salt
3 or 4 whole cloves
1 tsp caraway seeds (optional)
Slice onion and sauté in oil/butter until translucent. Shred cabbage. Peel, core and slice up apples. Place cabbage in a pot and top with the sliced apples. Add water and remaining ingredients. Place on medium-low heat and simmer one hour (or longer), stirring occasionally until cabbage is tender.
Adjust vinegar/sugar to taste. Some lemon juice can be substituted for the vinegar.
ALMOND CRISPS Perfect for Passover, these cookies also make a great gluten-free option at any dessert buffet.
3 cups sliced almonds with skins, lightly toasted
1/2 cup sugar
2 egg whites. at room temperature
1/2 tsp vanilla (optional)
Preheat oven to 350˚F. Line cookie sheet with parchment paper.
In a large bowl, mix (do not beat) egg whites with sugar. Add vanilla. Stir in almonds.
Using a tablespoon, make mounds of mixture on cookie sheet and flatten into thin rounds with your fingers dipped in cold water or with the back of a spoon. Bake for 20 minutes or until golden brown.
Turn off the oven and leave cookies in the oven with door open for 10 more minutes.
Makes 20 to 22 cookies.
For copies of Sara’s Kitchen, contact Darcy Billinkoff at [email protected].
New Budapest Orpheum Society ensemble, from left to right: Danny Howard, Iordanka Kissiova, Mark Sonksen, Ilya Levinson, Don Stille, Philip Bohlman, Stewart Figa and Julia Bentley. (photo from Cedille Records)
A different type of “soundtrack” has recently been released: New Budapest Orpheum Society’s As Dreams Fall Apart: The Golden Age of Jewish Stage and Film Music 1925-1955 (Cedille Records, 2014).
NBOS is an ensemble in residence in the humanities division at the University of Chicago. The group has released three CDs: Dancing on the Edge of a Volcano: Jewish Cabaret Music, Popular and Political Songs, 1900-1945 (Cedille Records 2002) and Jewish Cabaret in Exile (Cedille Records 2009), as well as a CD to accompany the book Jewish Musical Modernism, Old and New (University of Chicago Press 2008), which is edited by NBOS artistic director and narrator Philip V. Bohlman.
Bohlman is the Mary Werkman Distinguished Service Professor of the humanities and of music at the University of Chicago. According to his bio, “The study of Jewish music in modernity has provided a primary focus for his research for 35 years and, since 1998, has provided the context for his activities as a performer…. His work in historical performance has been recognized with the Noah Greenberg Award from the American Musicological Society and the Donald Tovey Prize from Oxford University.”
As are their previous CDs, As Dreams Fall Apart is both an esthetic and academic effort. The CD booklet includes a lengthy and fascinating essay by Bohlman on sound in film, which, of course, has as its origins the stage. Bohlman takes it to the Jewish cabaret stage specifically.
“In history’s very first synchronized sound film, Alan Crosland’s 1927 The Jazz Singer, the title character, Jakie Rabinowitz takes to the stage as Jack Robin, enacting and envoicing the struggle between Jewish tradition in Samson Raphaelson’s original play, The Day of Atonement, and the dreams of stardom awaiting him in the jazz clubs and vaudeville stages of New York City,” writes Bohlman. “The (real life) jazz singer’s musical transition from stage to film formed at the confluence of real-life transitions for European Jews at the beginning of the 20th century – migration from rural shtetl to urban ghetto, immigration from the Old World to the New – and of allegorical transitions – from religious orthodoxy to modern secularism, from diaspora to cosmopolitanism. As the old order of European empire collapsed in the wake of World War I, the Jewish musical traditions that had metaphorically represented its political and ideological boundaries … gathered new metaphors: those of modernity and modernism, ripe for the tales that would move
from the skits of the cabaret stage to the scenes filling the frames of sound film.”
As Dreams Fall Apart features the work of numerous composers, including Hermann Leopoldi, Hanns Eisler and Friedrich Holländer. The melodies and lyrics range from lively and humorous to sombre and serious. The songs take listeners from a traditional world to dreams of a better future through the tragedy of the Holocaust and, finally, to a more tempered hope in the aftermath of the war.
“Yiddish film musicals were the product of musicians and music on the move, a process of triangulation that witnessed the journeys of actors and directors from the United States, and musicians from Vienna and Berlin, all of whom would gather in Poland for the filming and production of films in the Yiddish studios of Warsaw and elsewhere in Poland and Lithuania,” writes Bohlman. And this movement is reflected in the CD, which starts with a section called On the Shores of Utopia, and the song “Die Koschere Mischpoche” (“The Kosher Family”) – the “opening verse of the original street song in Viennese dialect.” Dream sections follow, with songs like “Wir Ladies aus Amerika / We Ladies from America” and “Composers’ Revolution in Heaven” (which has Chopin, Wagner, Beethoven and Bizet in heaven, angry about all the people on earth making money from their music), before dystopia sets in (“Theresienstadt Potpourri – Aus der Familie der Sträusse / From the Strauss Family”), to be replaced by dreams of Hollywood that quickly fade, to the 10th and final section, From the Ruins of Dystopia, which features three songs by Holländer – and famously sung by Marlene Dietrich – in the Billy Wilder film A Foreign Affair (1948), which was set in Berlin.
Mezzo soprano Julia Bentley and baritone Stewart Figa deliver solid performances on As Dreams Fall Apart, capturing the cabaret style. They are skilfully accompanied by Danny Howard (percussion), Iordanka Kissiova (violin), Ilya Levinson (music director/arranger/piano), Mark Sonksen (bass) and Don Stille (accordion).
Community and faith can both comfort and oppress. A well-defined environment with clear expectations and rules can allow one to flourish, knowing one’s proper place and purpose in the world, or it can stifle one’s individuality, creativity and spirit, knowing that what is and what is to come is more determined by others than oneself. Self-realization and other universal themes, such as family, love and loss, are explored with a sensitive heart and a deft hand by Eve Harris in The Marrying of Chani Kaufman (Anansi Press Inc., 2014).
Since the Jewish Independent received its advance reading copy of Harris’ debut novel, which was first published in England by Sandstone Press Ltd. in 2013, The Marrying of Chani Kaufman was long-listed for the Man Booker Prize. It has received many positive reviews, and this one will be no different in that respect. The novels characters are likeable and relatable; even the most intransigent of them has their understandable reasons for their views and actions. There are no malevolent people in this non-specific Charedi community living in Hendon and Golders Green, in the northwest part of London, England – although some do push moral boundaries in their efforts to get what they want, what they feel is right.
To write a novel that is simultaneously critical of and sympathetic to a community takes skill. Harris writes about religious people, not a religion per se, and she writes about these people with respect and knowledge, humor and pathos. She succeeds in telling a story about people living in a world that will be foreign to most readers and explaining it without becoming stilted or lecturing.
The Marrying of Chani Kaufman centres on four people: the bride and the groom, Chani and Baruch; the rebbetzin; and the rebbetzin’s son, Avromi, who is good friends with Baruch. It starts at Chani and Baruch’s wedding in November 2008 and goes back in time – several months for Chani and Baruch, when he first sees her; to 1981 for the rebbetzin, when she met her husband and began her journey to orthodoxy; and to 2007 for Avromi, when he met and fell in love with Shola, a non-Jewish fellow student at university. When the novel begins, Chani and Baruch are about to start their “real life,” as Chani describes it, the rebbetzin is well into her crisis of faith and Avromi’s double life is becoming difficult to maintain.
By the time the matchmaker arranges for Chani, 19, and Baruch, 20, to meet, at his insistence to his mother – who does not approve of the match for a few reasons, most notably the Kaufmans’ lower economic status – both had been on several arranged dates with other potential mates, to no avail. They both don’t quite fit the mold of the perceived ideal Charedi wife or husband, and both are unwilling to settle.
At school, when she was 15, Chani’s “garrulousness had got her into trouble,” she “was considered audacious but gifted,” “everything interested her – the little she could get her hands on.” She “had learned to walk and not run…. She had longed for freedom of movement but had been taught to restrict her gait.” In agreeing to be married to Baruch, “She hoped that the bell jar might finally be lifted. Or at least she would have someone to share it with.”
That latter hope, at least, does seem possible, as Baruch, too, thought his “life felt narrow: the pressure to succeed, to be a rabbi, to please his father. His quick analytical mind was to be harnessed to the Talmud. The English degree he longed to study remained a blasphemous secret buried in his heart.” As did Chani, he acted out in small ways, listening to rock music or reading novels that were not permitted. So, perhaps together they will be able to negotiate a Jewish life that feeds more of their being and soul. Perhaps there will be a happily ever after for them. Their parents seem reasonably content, albeit with their respective – and not insignificant – problems.
The future well-being of the rebbetzin and her family is also left to readers’ imaginations, the rebbetzin’s questioning seeming to have more far-reaching implications than her son’s transgression. Sparked by a miscarriage – a devastatingly described incident in which the emotional distance between her and her husband becomes apparent – the rebbetzin begins to deal with long-latent grief from a much-earlier tragedy. This process, at least initially, separates her from her family, her community, her faith. Where it takes her is not revealed.
As much as The Marrying of Chani Kaufman offers readers a glimpse into the lives of others, it offers the possibility of finding out more about ourselves and our own place in the world.
Paula Shoyer’s eggplant parmesan, featured in her latest cookbook, The New Passover Menu. (photo by Michael Bennett Kress)
The New Passover Menu by Paula Shoyer (Sterling, 2014) emboldened me. It was the whole package: the full-color photos, the clear text (blue for tools and ingredients; black for instructions), the organization by menus, the exotic-sounding nature of some of the offerings (gratin dauphinois, anyone?) and Shoyer’s dedication of the book:
“For all the kosher baker fans who asked me to write a cookbook of savory recipes. But, as my friend Suzin Glickman believes, you should still eat dessert first.”
Shoyer, of course, is famous for her baking. Bestselling The New Passover Menu joins her dessert bestsellers The Kosher Baker: Over 160 Dairy-Free Recipes from Traditional to Trendy and The Holiday Kosher Baker. She is a contributing editor to several kosher websites and cookbooks, as well as magazines, and is also a consultant for kosher bakeries and companies. She is no stranger to the Jewish Independent, as an internet search will show, and so it was with excitement that we received her latest cookbook.
In the press material accompanying The New Passover Menu, Shoyer says, “These recipes have been inside my head for years. As a book of 65 recipes, it offers not every possible Passover recipe but rather the best possible versions of food and desserts adapted for the Passover holiday.”
It lays out full menus for the two seders, as well as a Shabbat and Yom Tov menu, and menus for the holiday week, including lunch suggestions. There are several breakfast options and, of course, a lengthy list of dessert choices.
There is a chart of Passover cooking and baking substitutes, and a brief discussion of the holiday and its preparations (removing chametz and kashering the kitchen). Shoyer shares some memories of her seders past, and this leads into a description of the Passover table, the seder plate and its symbolic items, matza, salt water and wine.
Each recipe includes the preparation time, cook time, what items can be prepared in advance (and how long in advance) and all the equipment that will be needed. A brief paragraph accompanies each recipe, either a personal story about it or advice on cooking with some of its ingredients.
It was hard to narrow the selection of which recipes I would try. Since one of my taste testers is vegetarian, I shied away from such tempting creations as Seared Tuna with Olives and Capers with Kale Caesar Salad, and Moroccan Spiced Short Ribs. I opted instead for one main dish – eggplant parmesan – and something unique (and easy to make and transport) that I could bring to my host’s seder – banana charoset.
The New Passover Menu emboldened me in a couple of ways. First, I felt confident to adapt right from the beginning. So, for example, while Shoyer did not call for the eggplant slices to be sprinkled with salt and let sit for awhile to reduce their potential bitterness and bring some of their moisture to the surface (which I dabbed away with paper towel), I did it just in case. The recipe lists tomato sauce but, not wanting to buy or make any – as so many bought brands contain a lot of sodium and to make my own sauce would have been one more thing to do – I used a can of crushed tomatoes and added garlic powder, oregano and pepper to it, ingredients already included in the recipe. Finally, Shoyer offers a frying and a baking method for the eggplant slices, and I picked a middle version: I coated the slices as if for frying but then baked them, drizzling a little olive oil over them once they were laid out in the pan.
As for the banana charoset, I kept to the recipe for the most part, only adding more wine than recommended to brighten it up. I think the banana I selected for the mixture was on the too-ripe side. One thing to note with the charoset is that it tasted even better the next day, so I’d make it in advance if possible. The bold part of this recipe is that I pretty much insisted on bringing it to a seder once I’d tasted it.
The following recipes are reprinted from the cookbook, so the “I” and “my” from here on refers to Shoyer. Enjoy!
EGGPLANT PARMESAN
Serves: 12–15. Prep time: 10 minutes. Cook time: 20 minutes to fry eggplant; 35-40 minutes to bake. Advance prep: may be assembled one day in advance, fully baked three days in advance, or frozen; thaw completely before reheating. Equipment: cutting board, knives, measuring cups and spoons, two shallow bowls, large frying pan, nine-by-13-inch baking pan, silicone spatula.
Eggplant parmesan is one of my favorite Italian dishes. It is best made by my brother Adam Marcus, who has paid his rent for occasionally living with us by lovingly making his master version of this dish with a homemade sauce. Although I try to avoid frying foods (except for doughnuts and chicken once a year), I find that eggplant parmesan tastes better made with breaded and fried eggplant slices. If desired, you can grill the slices in the oven until fork-tender and then layer and bake as described below. If you go the healthier route, sprinkle the oven-roasted slices with some garlic powder, salt and black pepper. Depending on the size of the eggplants, you will end up with two or three layers in the pan.
1/3-1/2 cup oil for frying
3 large eggs, beaten
1 1/2 cups Passover breadcrumbs or matza meal
1/2 tsp garlic powder
1 1/2 tsp dried oregano
salt and black pepper
2 medium eggplants, not peeled, sliced into 3/4-inch-thick rounds
1 1/2–2 cups tomato sauce
2 cups shredded mozzarella cheese, or more as needed
1/3 cup freshly grated parmesan cheese
Preheat oven to 350°F.
Place a large frying pan on the stovetop and add 1/3 cup oil. Pour the beaten eggs into a shallow bowl. In another bowl, stir together the breadcrumbs, garlic powder and oregano and season with salt and pepper to taste. Heat the oil over medium-high heat. When the oil is hot, fry the eggplant slices in batches, browning both sides, until fork-tender, about 10 minutes per batch. Transfer to a plate covered with paper towels. Add more oil to the pan between batches if the pan gets dry.
Using a silicone spatula, spread about 3/4 cup of the tomato sauce in the bottom of a nine-by-13-inch baking pan. Place one layer of eggplant slices on top. Sprinkle with one cup of the shredded cheese. Cover with a second layer of eggplant. Pour another 3/4 cup sauce on top and use the spatula to spread the sauce on top of the eggplant pieces. Sprinkle with one cup of the shredded cheese. If you have more eggplant slices, place them on top, then add some tomato sauce and more shredded cheese. Sprinkle the parmesan all over the top.
Cover the pan tightly with aluminum foil and bake for 35 to 40 minutes, or until the eggplant layers are heated through and the cheese is melted. If you assembled the dish in advance and stored it in the fridge but did not bake it, bake for an extra 20 minutes.
BANANA CHAROSET
Makes three cups (serves 25 for seder). Prep time: 10 minutes. Advance prep: may be made three days in advance. Equipment: cutting board, knives, measuring cups and spoons, food processor, box grater, silicone spatula, small serving bowl.
Charoset is the element on the seder plate that represents the mortar used by the Israelite slaves to build bricks. Growing up, I had seders almost exclusively at my parents’ house or a handful of other relatives’ homes, and everyone made the same charoset: walnuts, apples and sweet wine all smooshed together. It was only when I began hosting my own seders that I discovered a wide variety of charoset recipes from every corner of the world where Jews have ever resided. This recipe comes from my friend Melissa Arking, who is a fabulous cook. I added chopped walnuts at the end for some texture.
You can buy nuts already ground, with the skin or without. I have a coffee grinder dedicated to grinding nuts. You can also use a food processor, as long as it can reduce the nuts to a fine grind, almost like a powder, when you need almond flour for baking. If you grind nuts for too long, you will end up with nut butter.
3 large ripe bananas
2 cups ground walnuts
2 tbsp sugar
1/2 tsp ground cinnamon
2 tbsp sweet kosher wine
2 apples, shredded on the large holes of a box grater
1 cup walnut halves, chopped into 1/3-inch pieces
In the bowl of a food processor fitted with a metal blade [a hand blender also works], place the bananas, ground walnuts, sugar, cinnamon and wine. Process until the mixture comes together. Transfer to a small bowl, add the apples and chopped walnuts, and stir to combine.
The illustration on this year’s Passover cover, “Miriam Dances,” was created by artist Carol Racklin-Siegel for the book Let My People Go (EKS Publishing, 2011). In this hand-painted silk art, Racklin-Siegel depicts the joy of Miriam the Prophetess leading the women in song and dance after reaching dry land: “Miriam the prophetess, the sister of Aaron, took her drum in her hand and all the women went forth after her with drums and with dances.” (Exodus 15:20)
Racklin-Siegel is an award-winning textile artist and illustrator focusing on custom hand-painted textiles, Judaic textiles, paintings and illustrations. She expresses the spirituality of Judaism by incorporating her textile designs and fabric painting techniques to Judaic and biblical themes. She has illustrated a series of books for children, based on the stories in Genesis, for EKS Publishing Co. in Oakland, Calif. She resides with her family in Israel. Her work can be viewed at pomegranatestudios.com.
Serge Bennathan with Erin Drumheller in Monsieur Auburtin, which is at the Dance Centre March 26-28. (photo by Michael Slobodian)
Serge Bennathan’s Monsieur Auburtin is an autobiographical work, which promises to offer “audiences a keyhole through which to rediscover their own childhood dreams, splendidly realized or forgotten through the passage of time.”
Co-presented by the Scotiabank Dance Centre and Chutzpah!Plus March 26-28, Monsieur Auburtin spans Bennathan’s decades-long career, from France to Canada, from student to company artistic director. In addition to being a dancer and choreographer, Bennathan is also a writer and artist. He is known for his collaborations with opera companies, and the projects of the company he founded in Vancouver, Les Productions Figlio, “encompass dance, theatre, music, multi-media, visual art and literary works.”
Among multiple other honors, Bennathan was awarded the 2014 Canada Council Jacqueline Lemieux Prize because of his innumerable “contributions to Canadian dance through his creation work, his performance, his work as a mentor, [and] for his leadership within and beyond his company work. He inspires creativity among those he works with and his impact has been felt in multiple geographical centres and multiple generations.”
JI: Throughout your career, you’ve created personal works, why an autobiographical one at this point?
SB: It came quite organically as a response to a cancer that I was fighting. It made me think about what I love in my life, what made me, the gratitude to be an artist in this world. And how there are a lot of dance works but how we speak rarely about dance with the audience. So, I decided to be a storyteller and talk about how I came to dance and use my life as an artist in dance to talk about other artists that I love and admired. For this, on stage in Monsieur Auburtin, there are with me two dancers, Erin Drumheller and Kim Stevenson, and the composer playing live, Bertrand Chénier.
JI: The last time we spoke was in 2003, about The Invisible Life of Joseph Finch. There, you described your creative process as including up to a year and a half of research before starting to work with the dancers and creative team. How does your process differ, if at all, for a work such as Monsieur Auburtin?
SB: It does not really. It is the same process. I spent a year writing the text for the piece, then another working with the composer Bertrand Chénier. Just talking about life in dance, not talking about choreography but about the essence of dance. Now, here we are, in the studio with two dancers, me and the composer that will be live on stage. The time before is important to create enough stratum, subtext and be able to let go.
JI: From where do you garner the strength/courage to share so much of yourself in your choreography? Does the vulnerability ever scare you? If so, how do you overcome that fear?
SB: We live only once. It is important for me right now to talk to people, and even more important to me in the world we live in, to talk poetically to the audience, through words, movement and music. We all have in us fear, but we also have courage and strength. Doubts are not there to stop us, they are here to make us think deeper. We have to embrace fear to say our truth. And even more when we know that this life is not a dress rehearsal.
JI: [From 1990-2006], you were with Dancemakers in Toronto. What brought you to Vancouver, and how did Les Productions Figlio come to be created?
SB: In 2006, when I stepped down as artistic director of Dancemakers, it was very natural for me to come back to Vancouver. The time that I lived in Vancouver the first time, 1987, ’88, ’89, ’90, defined me as an artist. The people I met at that time became longtime collaborators that continued to work with me through my time at Dancemakers. I loved passionately this community. It is my home in Canada. I created Les Productions Figlio, a production company, to help me create the work I want to create, that is not always dance. I had just come out of 16 years with a dance company and wanted to be lighter as a structure. I create dance, but also theatre and maybe more.
JI: You are also a writer, painter and illustrator. Have you always been interested in these pursuits? What does a typical day or week look like for you, or is there such a thing?
SB: Dance introduced me to these other artistic expressions very organically and I love it. Everything feeds everything. I get up, meditate, write for two hours, paint, continue the day in the studio or the work that I have to do for a creation. Might come back to painting, read, cook, think, dream.
***
Monsieur Auburtin is at the Dance Centre, 677 Davie St., March 26-28, 8 p.m. For tickets ($29/$25/$20), visit thedancecentre.ca or chutzpahfestival.com, or call 604-257-5145.
Gustavo Perednik, right, with Alberto Nisman in Jerusalem. Nisman’s work inspired Perednik’s novel. (photo from Gustavo Perednik)
The day before he was to present to Argentina’s parliament allegations that the government tried to cover up Iran’s involvement in the 1994 terror attack against the AMIA (Asociación Mutual Israelita Argentina) Jewish community centre, federal prosecutor Alberto Nisman was found shot dead in his home on Jan. 18.
Led by another prosecutor, Nisman’s AMIA case was dismissed last week by a federal judge on the basis of insufficient evidence. An appeal will likely follow (as at press time, it had not), and the case will continue. No one has been found responsible for the bombing of the AMIA, nor that of the Israeli embassy in 1992. Nisman’s suspicious death is under investigation.
It is within this context that Argentina-born Israeli writer Gustavo Perednik visits Vancouver (and elsewhere) to discuss his novel To Kill Without a Trace: A Prequel to 9/11. Originally published in Spanish in 2009 by Planeta, the English edition was published by Ontario-based Mantua Books Ltd. on Sept. 11, 2004. It was translated by Dennis Burton, and Vancouverite Elena Feder wrote the foreword.
Written as an historical novel, writes Feder, To Kill Without a Trace “recounts the events leading up to the bombing of the AMIA and beyond, exploring the social and political implications both for Argentina and the world. Never losing sight of the human dimension of the tragedy, Perednik’s lightly veiled fiction is accurately based on reported facts and original legal documents, put at the author’s disposal by none other than the chief investigator of the case, Argentina’s prosecutor, Alberto Nisman.
“As it did for its Spanish readers when it was first released,” Feder continues, “this translation of Perednik’s account will make the AMIA bombing and its aftermath more accessible to its English readers. It will help them unravel the complex threads surrounding the facts and events leading up to and following the bombing, and will steer them through the arcane legal and political intricacies of this decades-long case.”
“I was motivated to write the book when I knew the fantastic work done by Alberto Nisman for justice in Argentina,” Perednik told the Independent in an email interview. “Here you have a man fighting by himself against all odds, inspired by the ideal of pursuing truth by all means. Moreover, I was encouraged by the fact that I was able to get plenty of information on Iranian terrorism thanks to my friendship with Alberto.”
Perednik has published novels, essays and countless articles in anthologies and academic journals. He said he chose the fictional form for To Kill Without a Trace “to make it more readable and compelling. The life of Alberto combines many aspects that are appropriate for a fictionalized chronicle: perseverance, idealistic youth and the metamorphosis of a personality due to the sense of a mission he felt about one specific case – the investigation of the AMIA terror attack.”
Perednik and Nisman met about 10 years ago, “when he read an article I wrote and emailed me that he agreed with me and that we should meet. Once we met, he told me that when he was a teenager he had heard me speak several times at the Jewish institution that I headed in Argentina.”
For the novel, Nisman provided “reports, opinions and projects,” explained Perednik. “Sometimes he also gave me pictures, and he often provided me the names of people who could help me in my research for the book.”
Perednik and Feder have been friends for about 15 years. “She translated my book Judeophobia into English – it is still unpublished,” he said, referring to the English edition. The book, which examines the origins and development of hatred towards Jews and various theories explaining it, has already been published in Spanish, Portuguese and Hebrew.
“It all started when she wrote to me about my article ‘Europe the Aggressor,’” he said. “She was on her way to a conference on Jew-hatred in Paris. She was the Canadian representative. Elena put me in contact with the publisher – Mantua Books – and she was kind enough to write the excellent foreword that helps to understand the case.”
Feder has volunteered many hours to the publication. “I do it out of conviction,” she wrote in an email. “I do it to honor the memory of my parents and the decimated family I never met, courtesy of the Nazis, who serve as models and heroes to the current instigators of hatred against the Jewish people.
“I stand on the side of those who consider Iran’s extensive, long-term and long-ranging aim to take over and cleanse the planet of all ‘infidels,’ instrumental in the resurgence and spread of Jew-hatred worldwide. Like my ancestors, I feel personally at risk, not for what I do or what I may or may not believe in, or where I may choose to live, but for who I am in the distorted lens of those who consider both my life, and this life as a whole, worthless.”
“I think Alberto Nisman’s devotion for the cause of justice should be valued everywhere,” said Perednik, “especially during these times in which the terrorist state of Iran seems to get away with its murderous campaign without anyone having the courage to confront it. Alberto had the courage and paid for it with his life. He was a true hero.”
Perednik will appear on CBS’s 60 Minutes on March 8, at 7 p.m. He will be at the Isaac Waldman Jewish Public Library on March 23, 7 p.m., with Feder. An RSVP is required to 604-257-5111, ext. 248, or [email protected] by March 19.
Caitlin McCarthy and Amitai Marmorstein co-star in What You’re Missing by Tamara Micner, which is at Chutzpah! March 10-15. (photo by Tim Matheson)
Playwright Tamara Micner returns to Vancouver in March for the North American première at Chutzpah! of What You’re Missing, a play based on her family’s stories, but in which we will all, no doubt, see aspects of our own experience.
Micner left Vancouver in 2003 for Yale, where she earned her bachelor of arts in English literature. She worked with Google for a few years, which took her to San Francisco and Toronto, then studied at Cambridge, receiving her master’s of philosophy in 2011. When she last spoke with the Independent, she was on her way to London, England, because, as she told the JI, “for plays, London is the best city in the world.” There, she has continued learning and working, not only in theatre, but also as a journalist and copywriter. The JI caught up with Micner earlier this month.
JI: When the JI last spoke with you, Fantasmagoriana was at the Edinburgh Festival Fringe, and you also had two new plays in the works, one of which was called Highlight. Could you share some aspects of its development, from its première at Cambridge in 2011 as Highlight to its run last year as What You’re Missing at King’s Head Theatre in London, to its upcoming production at Chutzpah?
TM: What You’re Missing has been in the works for four years, and hopefully it will continue to live after Chutzpah as well.
We started developing the play during my master’s degree at Cambridge, with a rehearsed reading and a run at the main student theatre. I then left it for awhile and worked on other projects, and gave myself time to come back to it with greater distance and a clearer head.
In 2013, I did more rewrites and started submitting it to theatres in London, including the King’s Head, which accepted it for final development. By the time we performed it last year, it was pretty well “finished.”
It’s gone through many rounds of changes. It started out more purely comedic and, over time, it’s gotten more political and more serious, alongside the comedy that (hopefully) pervades the piece.
JI: You described Highlight in the 2011 JI interview as being based on the beginning of your parents’ relationship, and as “a dysfunctional family comedy.” In general, what has been the reaction of family (and friends) to the plays in which they see themselves represented? Do you have any advice for aspiring writers as to how to use family/friend elements without causing (too many) hard feelings?
TM: My sense is that my relatives who inspired the characters in What You’re Missing have enjoyed seeing versions of themselves and their experiences represented onstage. (Or they’ve just been polite.) The play is critical and truthful, but it’s also a dramatization, and it’s written from a place of love and affection, which I think comes through. I wasn’t alive in the 1970s, when this play is set, so it’s drawing from elements of my family’s stories – from a specific time, place and set of experiences – to explore broader questions about family, love, politics, religion, gender and so on.
When we debuted the play in London, people of different nationalities, religions and backgrounds said that they related to the story and characters, and saw themselves or their lives reflected in the piece in some way. That response really pleased me (and was a relief!) because that was my hope. I see theatre as, among other things, a way to bring people together and remind us of the things we share.
I think artists need to share their truths, and personal experience is where a lot of our truths come from. That might cause hard feelings. But, if we’re honest and nuanced, rather than heavy-handed, people will respond and connect to the work, and the truth in it will come through.
JI: In 2011, you said that you chose to move to London for its theatre presence and because you loved the city. Has the city lived up to your expectations? Do you plan on staying for the foreseeable future?
TM: I’m very happy living in London. I’ve found a neighborhood and communities that I feel at home in, including easy access to pita, dates and baklava, and I’m still discovering more of the city and the country. I was approved for Polish citizenship last year, so assuming the U.K. doesn’t vote to leave the EU, I plan to stay here indefinitely.
JI: Will you be coming to Vancouver for the Chutzpah shows? If so, how much input, if any, will you have into this production? Did you have any hand in casting?
TM: Yes, I will be in Vancouver for the run. I’ve met with the director, John Cooper, in person and on Skype, and we’ve talked about the origins and development of the play and his vision for the production. He oversaw the casting, and I trust his instincts and judgment. It’s exciting to see how other people interpret your work and bring it to life, sometimes in surprising ways.
JI: Are there any projects you have currently on the go, or that you’re considering undertaking, that you would like to share with JI readers?
TM: I’m developing a new show, Wink the Other Eye, with two actors and a musician. It’s about music hall, a major genre of British entertainment from the mid-19th century until about the ’20s (when ragtime and revue, and radio, started taking over). For example, if you know the song “Daisy Bell,” that’s actually from music hall.
The show is devised – collaboratively created and written – which is a new style of working for me. We plan to do some showings of the piece in the spring, working toward a production later this year. We’ve been approved for funding from Arts Council England to finish development, which is a big help and a stamp of credibility.
Our show looks at Marie Lloyd, one of the most famous performers of her day, who toured the British Empire (South Africa, Australia, North America) and sang from the age of 15 until she died aged 52. She had a story similar to Whitney Houston’s, Judy Garland’s: an insatiable entertainer who lived to perform and had a pretty awful life offstage (including domestic abuse and alcoholism). The show combines live performances of her songs with important moments from her private life, and the actor who plays her is related to her. (We’ve put some of the music and comedy from the show online: soundcloud.com/winktheothereye.)
What You’re Missing is at the Rothstein Theatre from March 10-15. The other theatre offering is Kafka and Son, performed by Alon Nashman, on March 2. Visit chutzpahfestival.com for more information on these and other productions.
From the moment I read Pat Johnson’s interview with Faith Jones prior to last year’s Limmud, I knew I wanted to read The Acrobat: Selected Poems of Celia Dropkin (Tebot Bach, 2014).
The title of the collection wasn’t mentioned but the topic was: “erotic Yiddish poetry.” Jones, who translated Dropkin’s work into English with Jennifer Kronovet and Samuel Solomon, gave an overview of the poet’s background, which is explained in more detail in The Acrobat. That Dropkin writes with and about such passion is notable given her life’s circumstances. Born in Belarus in 1887, she and her family had to rely on the charity of relatives after her father died. While difficult, it meant that she could receive an education, and she became a writer. In 1909, she married Shmaye Dropkin, a Bund activist whose political activities forced him to flee czarist Russia, and, in 1912, Dropkin (and their son) joined him in New York.
“There,” reads the Translators’ Note, “inspired by the foment of Yiddish culture she found, Dropkin shifted from writing in Russian to writing in Yiddish…. She became a part of the thriving Yiddish literary scene, publishing widely in Yiddish newspapers and literary journals. Yet, she was publicly criticized by her male contemporaries for the perceived extremity of her work. All this time, Dropkin raised five children; a sixth died in infancy. She occasionally wrote stories and novellas in serialization for money, especially during the Depression when her family needed the income. Although the bulk of her oeuvre dates from the 1920s and ’30s, Dropkin never stopped writing poems. She wrote almost until her death in 1956.”
The Acrobat is not a comprehensive collection, but rather, as Jones explained in an interview with Leah Falk at yivo.org, the translators “chose the ones that we thought we could make into good poems in English…. The poems, even some of her quite important poems, that we did not think we knew how to work with, or that lost something in the translation that we didn’t think would be regained, we didn’t keep…. We weren’t able to capture them in the way that we felt really did them justice.”
A page-facing translation – i.e. the Yiddish poem is on the page facing the English version – those who understand Yiddish can not only engage in discussions about a poem’s meanings, but its translation. For example, the title poem, which is generally translated as “The Circus Lady,” gives an idea of the complexity of language, and the different images that are conjured by words that basically mean the same thing.
Dropkin’s poems more than withstand the test of time. Eighty-plus years later, they retain their immediacy. As Edward Hirsch writes in the foreword, Dropkin’s “lyrics come fully loaded. They are erotically frank and emotionally unabashed, deeply engendered, relentlessly truthful. They are terse and musical, like songs, and carefully constructed to explode with maximum impact.”
More than a decade in the making, The Acrobat is, remarkably, the first collection of Dropkin’s work in English, and she could not have gotten a better group of translators. Their love of the poetry comes through, as does their skill. One could almost be forgiven for thinking that Dropkin wrote in English. The Acrobat is truly an inspiring – and sometimes challenging – read. But it is more than that.
In speaking to Johnson, Jones admitted another objective. “I would like people to think about re-envisioning our forbearers as people who were more like us,” she said. “We need to really explore the people in our past and, as a historian, this is what I hope for most: that people will explore the past, understanding that these people were not like us, but in other ways were very much like us.”
In this, she and her colleagues also succeed. This is your bubbe’s poetry, as much as it is yours. And, while thought may be a little unsettling, given some of the subject matter, it is also very cool.
***
He and She by Celia Dropkin (from The Acrobat)
He is a branch;
she – the green leaves on the branch.
From him to her flows
dark power, thick fertile sap.
She shudders with each touch of wind,
whispers and laughs,
turns the silver
of delighted eyes.
He is simple, mute.
Autumn dyes her deep
colors. The cold wind cruelly
exiles her from the branch,
while he remains the same, simple,
robust, mute.