Skip to content
  • Home
  • Subscribe / donate
  • Events calendar
  • News
    • Local
    • National
    • Israel
    • World
    • עניין בחדשות
      A roundup of news in Canada and further afield, in Hebrew.
  • Opinion
    • From the JI
    • Op-Ed
  • Arts & Culture
    • Performing Arts
    • Music
    • Books
    • Visual Arts
    • TV & Film
  • Life
    • Celebrating the Holidays
    • Travel
    • The Daily Snooze
      Cartoons by Jacob Samuel
    • Mystery Photo
      Help the JI and JMABC fill in the gaps in our archives.
  • Community Links
    • Organizations, Etc.
    • Other News Sources & Blogs
    • Business Directory
  • FAQ
  • JI Chai Celebration
  • JI@88! video

Recent Posts

  • Legal help for students
  • Revisiting myth of Lilith
  • Wrong person rebuked
  • Canada’s mixed messages
  • Questions for museum
  • Symposium on antizionism
  • Making soccer political
  • CJPAC lauds Pulver’s impact
  • City recognizes Vrba’s legacy  
  • Organ donation saves lives
  • Theodore’s March premiere
  • A healing Shabbaton
  • Supplying healthy food
  • A chime of metal tags
  • Yellowknife seder a first
  • Ishai energizes, unifies
  • A Lag b’Omer to remember
  • Expanding the healing
  • Hannah Senesh – a unique hero
  • Community milestones … May 2026
  • Sharing her testimony
  • Fall fight takes leap forward
  • The balancing of rights
  • Multiple Tony n’ Tina roles
  • Stories of trauma, resilience
  • Celebrate our culture
  • A responsibility to help
  • What wellness means at JCC
  • Together in mourning
  • Downhill after Trump?
  • Birth control even easier now
  • Eco-Sisters mentorship
  • Unexpected discoveries
  • Study’s results hopeful
  • Bad behaviour affects us all
  • Thankful for the police

Archives

Follow @JewishIndie
image - The CJN - Visit Us Banner - 300x600 - 101625

Byline: Cynthia Ramsay

Courage’s two records

Courage’s two records

Lorne Segal, chair, Courage to Come Back Awards. (photo by Cynthia Ramsay)

In its chai year, the Courage to Come Back Awards had a record night on May 5 at the Vancouver Convention Centre, with more than 1,500 guests and more than $1.43 million raised for Coast Mental Health.

In his address, Courage to Come Back chair Lorne Segal pondered the question of why the event is so popular. “Because,” he said, “at these awards, like nowhere else, we feel the extraordinary power of the ordinary spirit and the deep humanity so often lacking in our daily lives.”

He said, “We all shed a tear tonight and, whether it was a tear of joy, of hope, of love, it was not because we wanted to, but because we needed to. You see, we need to know that, even against the worst hand we could be dealt in life, we too can triumph. Because our six heroes tonight could do it, so can we.

photo - Cynthia Ramsay, publisher of the Jewish Independent, and Shay Keil of Keil Investment Group of ScotiaMcLeod
Cynthia Ramsay, publisher of the Jewish Independent, and Shay Keil of Keil Investment Group of ScotiaMcLeod. (photo from Cynthia Ramsay)

“Each of us came into this room for a different reason, but we will all leave with our nourished souls tied together by one common thread: the unshakeable belief that, by seeing the very best in others – courage, faith, hope, endurance – we will somehow find the strength to face our own fears and achieve our greatest dreams. And for that, we need to thank our six superstars who are symbols of the possibilities which lie within us all.”

This year’s six honorees were Christy Campbell (in the physical rehabilitation category), Jemal Damtawe (addiction), Meredith Graham (social adversity), Dr. Barbara Harris, (mental health), Coltyn Liu (youth) and Tom Teranishi (medical). Since 1999, Courage to Come Back has now honored 103 individuals who have had the “courage to overcome serious adversity, change their lives for the better and move forward to help others do the same.”

Co-hosting the gala evening were Randene Neill and Kevin Evans, while Howard Blank emceed the fundraising portion of the proceedings. In his comments, Blank noted that Coast Mental Health helps an average of 12 clients a day and that its programs address three main pillars: housing, employment and support services.

The largest donation of the evening came from B.C. taxpayers, as Minister of Health Terry Lake donated $100,000 from the province on behalf of Premier Christy Clark and Minister of Finance Mike de Jong. The largest private donation came from Joseph and Rosalie Segal, who contributed $50,000. Many other individuals and companies made donations, several citing the Segal family as their example of what it means to give back to community.

There was no shortage of role models for giving that night, with the six honorees leading the way. There were many meaningful takeaways, including Liu’s statement: “Mom’s lesson: don’t feed the negative monster inside; rather, fight with a belief in yourself and for a reality you want.” And Graham’s reminder that, “sometimes, you can give what you didn’t get.”

“What part will you play,” she asked the crowd, “to change lives today?”

Format ImagePosted on May 13, 2016May 11, 2016Author Cynthia RamsayCategories LocalTags Courage to Come Back, mental health, Segal, tikkun olam
Prize winners tour Canada

Prize winners tour Canada

Filmmakers Aleeza Chanowitz, above, and Prague Benbenisty will be in Vancouver for the Sir Jack Lyons Charitable Trust Film Prize and to help the Jerusalem Foundation celebrate its 50th anniversary. (photo from Vancouver Jewish Film Centre)

Two up-and-coming Israeli filmmakers are bringing their films – and themselves – to Vancouver this month.

The Sir Jack Lyons Charitable Trust Film Prize event, being presented on May 16 at the Rothstein Theatre by the Jerusalem Foundation of Canada with the Vancouver Jewish Film Centre and Chutzpah!PLUS, will feature a screening retrospective and the 2016 winning films, followed by a question-and-answer period with the Jerusalem filmmakers, Aleeza Chanowitz (Mushkie) and Prague Benbenisty (Blessed).

The Lyons Prize is awarded annually to two students from Jerusalem film schools. There is a monetary component to the prize and the jury-selected students are also invited to present their films at the Israeli Film Festival in Montreal and other festivals in Canada. “By traveling to Canada and being introduced to established film industry professionals,” reads the prize material, “the award winners are given an important stepping stone in their creative and professional development.”

photo - Prague Benbenisty
Prague Benbenisty (photo from Vancouver Jewish Film Centre)

Chanowitz and Benbenisty have presented their films in Jerusalem, and Chanowitz’s Mushkie premièred at this year’s Berlin Film Festival. They started their time in Canada in Montreal, and also presented their work in Toronto. During their stay in Vancouver, the filmmakers will tour Emily Carr University’s 3-D film-capture and virtual reality projects, as well as visit studios.

“I’ve had a couple of face-to-face meetings, a ton of phone calls and emails with Nomi Yeshua since mid-November 2015,” said VJFC executive director Robert Albanese about planning the event. Yeshua, who grew up in Vancouver and made aliyah about 25 years ago, heads the Canada Desk of the Jerusalem Foundation. The May 16 event will also celebrate the foundation’s 50th anniversary.

“Nomi had the plan to bring the winning filmmakers to Canada and I was totally on board to make this happen,” said Albanese.

As for Chutzpah!PLUS, Mary-Louise Albert, who runs the annual Jewish performing arts festival, and Albanese have been running a cooperative series of films for the past two years, so she, too, was on board to co-present, he said.

“We’re looking forward to engaging the whole community, especially young adults,” said Albanese. There is no charge to attend the event. At the reception, Yeshua will make a brief introduction, and then attendees will move into the Rothstein.

“I’ll be making a selection of past year’s winning short films and screening those,” said Albanese, “then bringing up this year’s winners to the stage and, after some brief words, screening both of their films and bringing them back up to the stage for a talkback.”

Both Chanowitz and Benbenisty began their studies at the Sam Spiegel Film and Television School in 2012, and wrote and directed their respective films in their third year of study. Chanowitz, who was born in Brooklyn, made aliyah a couple of months after receiving her bachelor’s degree; Benbenisty was born in Tel Aviv. Their films are very different, in part because of their differing geographies.

Chanowitz’s Mushkie, which runs just over 12-and-a-half minutes, is a day (or two) in the life of two recent olim (immigrants) from the United States, best friends Mushkie and Sari. Chanowitz plays the title character, who is secretly exploring life outside of the boundaries of her religious upbringing, and gets into a little trouble while doing so. Chanowitz’s sense of humor shows not only in the film, but in the credits, where she thanks, among many others, her parents, who, she writes, “… I hope will continue to support me, but never see my work.” Given Mushkie’s sexual explicitness, the sentiment is understandable.

Benbenisty’s 15-minute Blessed offers viewers a glimpse into Sephardi – specifically Moroccan – culture in Israel. While in the biblical story, it is the younger Jacob who steals older brother Esau’s blessing from their father, in Blessed, it is the older, overlooked and unmarried sister, Zohara, who steals – at least initially – from her soon-to-be married younger sister the blessing that is given to all brides before their wedding day. The blessing gives Zohara the ability to see the love that has always been around her, and changes not only her relationship with her sister, but herself.

And there is more to this short film. In attempting to catch Zohara’s attentions, a shy but determined suitor recites to her a poem, “Zohra Al Fassiya,” by Erez Biton. Al Fassiya (1905-1994) was a well-known and popular Jewish Moroccan singer who, when she had to leave her home country, emigrated to Israel in 1962. She fell into anonymity and represents the negation of Sephardi culture by the Ashkenazi majority in Israel until recent years. That Blessed’s Zohara hears and is affected by this poem adds significant meaning to this short film.

The Sir Jack Lyons Charitable Trust Film Prize event starts at 7 p.m. on May 16 in the Zack Gallery.

Format ImagePosted on May 6, 2016May 5, 2016Author Cynthia RamsayCategories TV & FilmTags Benbenisty, Chanowitz, Chutzpah!Plus, Israel, Jerusalem Foundation, Vancouver Jewish Film Centre
Comic book radio show

Comic book radio show

The Intergalactic Nemesis: Target Earth comes to York Theatre April 30 and May 1. (photo from Jason Neulander)

The story takes place in 1933. And, were it not the full-color cartoon panels being projected onto a large screen, you might feel as if you were also back in 1933 while watching the live performance of The Intergalactic Nemesis: Target Earth at York Theatre April 30 and May 1.

Target Earth is the first instalment of a trilogy that follows “Pulitzer Prize-winning reporter Molly Sloan and her intrepid research assistant Timmy Mendez,” as they “team up with a mysterious librarian … named Ben Wilcott. Together, they travel from Romania to Scotland to the Alps to Tunis to the Robot Planet and finally to Imperial Zygon to defeat a terrible threat to the very future of humanity: an invading force of sludge-monsters from the planet Zygon!”

The dozens of characters are voiced on stage by three actors. They are joined by a Foley artist, who creates all of the sound effects, and a pianist/organist who provides the music soundtrack. The full-color comic book is projected onto a movie screen. In Vancouver, the actors will be Rachel Landon, Brock England and Jeff Mills, with Kelly Matthews in charge of the sound effects and Harlan Hodges on piano and organ.

The series – comprised of Target Earth, Robot Planet and Twin Infinity – is produced and directed by Jason Neulander.

photo - Jason Neulander
Jason Neulander (photo from Jason Neulander)

Neulander grew up in New Jersey and went to college at Brown University in Providence, R.I., where he majored in theatre.

“Right out of school, I founded a company called Salvage Vanguard Theatre in Austin, Tex., where we developed and produced new plays. The Intergalactic Nemesis came out of that company, originally as a radio play,” he told the Independent.

“I ran Salvage from 1994 to 2008 and built the company up to a point where it’s now something of a local institution. They’re still going strong without me. In 2008, I decided to focus entirely on The Intergalactic Nemesis and got invited to bring the show to the Long Centre for the Performing Arts [in Austin]. The venue there was 2,400 seats and I felt like that was too big to house my little radio play. So, I came up with the idea of projecting comic book artwork to create a visual spectacle to fill the room. That version of the show premièred in 2010 and we’ve been on the road with it ever since.”

Based on an original idea by Ray Patrick Colgan, the touring show was adapted from the radio drama by Colgan, Neulander, Jessica Reisman, Julia Edwards and Lisa D’Amour. The comic-book artwork for Target Earth is by Tim Doyle with Paul Hanley and Lee Duhig; the sound effects were created by Buzz Moran; and Graham Reynolds was the composer. Others, of course, helped bring the whole production to fruition.

For his part, Neulander said his biggest inspiration for The Intergalactic Nemesis was his kids. “I wanted to make something that I could enjoy with them,” he said. “That’s actually worked out pretty well! Artistically, this show is all about pushing my own inner-kid buttons. I was 7 when Star Wars came out (the first one) and 12 when Raiders of the Lost Ark came out and I love that kind of storytelling.

“One of my favorite memories as a kid was watching the old Flash Gordon serials and the old Ray Harryhausen movies on TV with my dad on Saturday mornings. When I was a little older, I got really into golden-age sci-fi short fiction, like Bradbury and Asimov and those guys. When I was a young adult, I discovered golden-age Hollywood movies for myself – His Girl Friday hugely influenced our script. I kind of backed into both radio drama and comic books, so maybe those are actually a little less influential on the show than those other things.”

While there is no overt Jewish aspect to the story, Neulander said his sense of Jewish heritage played a role in its creation.

“This show is all about the heroes defeating the bad guys more through smarts than through violence,” he explained. “The main male character is a librarian, so I feel like there’s got to be some Talmud in there somewhere. But, more than that, I think my upbringing taught me that if you work hard, you can succeed against all odds. I’m not sure if that’s solely a Jewish thing, but it’s definitely what the story of this show is all about.”

And Target Earth won’t just take you to another time, but place.

“It’s so much fun!” said Neulander. “It’s like getting to watch an animated movie and seeing how they do it all at the same time. The visual images are just beautiful to look at and then you have three voice actors playing so many characters, often in the same scene, you have one person using all these unusual objects to make sounds you never thought they could make (my favorite is a trail from a box of mac and cheese), and the music just soars. You really do get taken to another world.”

While Neulander is taking a creative break from the Intergalactic world – “I’m just wrapping up a script for a thriller, which will be my film directing debut” – the series’ shows keep touring. This summer, said Neulander, “we are taking Twin Infinity to the fringe festival in Edinburgh in what we think will be a very splashy U.K. première.”

But first, Target Earth and target Vancouver.

“We’ve been itching to get to Vancouver for a few years now,” said Neulander. “I think that your city really is one of the ideal places for this show. I just think audiences are going to eat it up! Can’t wait to get there!”

Shows are April 30, 4 and 7 p.m., and May 1, 2 p.m. Tickets start at $25 from tickets.thecultch.com or 604-251-1363.

Format ImagePosted on April 22, 2016April 20, 2016Author Cynthia RamsayCategories Performing ArtsTags comics, Cultch, Intergalactic, Neulander, sci-fi
Ballet BC dances Bill

Ballet BC dances Bill

Ballet BC dancer Gilbert Small is among those who will perform Program 3. (photo by Michael Slobodian)

Ballet BC finishes this season with Program 3, which features the remount of artistic director Emily Molnar’s 16+ a room and of Finnish-born choreographer Jorma Elo’s I and I am You – as well as the Canadian première of Israeli choreographer Sharon Eyal’s Bill.

Already in Vancouver setting Eyal’s work for Ballet BC is Osnat Kelner, who has been choreographing since 2001. In addition to her own creations, Kelner is an assistant choreographer for Eyal and American-Israel choreographer Barak Marshall.

“I met both Sharon and Barak for the first time when I was dancing in the ensemble Batsheva in 2000 and they created pieces for the company,” Kelner told the Independent.

“I started setting Sharon’s pieces in 2005 after working with her again, this time as the rehearsal director of ensemble Batsheva, where she created another piece.

“I started working with Barak as his assistant in 2008. A year earlier, I met him in Israel, after his long absence. He discussed the option of coming to create a new piece, said he still remembered how great it was to work with me, and that he’d like me on his team.”

Eyal, who is based in Tel Aviv, is former resident choreographer of the Batsheva Dance Company. She currently is artistic director of L-E-V, a company she and Gai Behar formed. For Bill, she again collaborated with Behar and musician, drummer and DJ Ori Lichtik. In the work, notes Ballet BC, “Eyal combines dance, music and design into an instantly recognizable whole of raw, unexpected beauty created with equal parts ebb and flow. Premièred by Batsheva Dance Company, Bill showcases Eyal’s trademark shifts from large group to smaller ensemble, which, in turn, morph into breathtaking solos.”

“In order to set another choreographer’s pieces,” explained Kelner about her role in the production, “you firstly need their trust, you need a really good memory, the ability to see the big picture and the smallest details, and a way with people. It means you are responsible for passing information to dancers who have never worked with this choreographer before, and you try to stay as honest to that person’s vision as you understand it.”

Kelner also has her creative vision, which she focuses on more than one artistic endeavor.

“As a freelancer,” she said, “I do many different things. I choreograph, I stage other choreographers’ pieces, I work as rehearsal director for independent projects, I make costumes for dance and theatre, I sometimes perform myself and I’m the mother of a 19-month-old boy. I can’t imagine it any other way. I love being involved in many different projects, in different roles, and sometimes at the same time. I only grow and learn from it, as an artist and a person.”

Audiences at Program 3 will also see Molnar’s 16+ a room, set to music by Dirk Haubrich and inspired by the work of writers Jeanette Winterson and Emily Dickinson. According to the press material, it “displays Molnar’s unique choreographic language through a complex study of time, transition and stillness, where the space between is as important as the space occupied, where one is left with the feeling of both liberty and disappearance.”

Finally, Elo’s I and I am You, first performed by Ballet BC in 2013, features “Elo’s signature virtuosic vocabulary and lightning-fast musicality interspersed with moments of enormous intimacy and tenderness.”

Program 3 is at Queen Elizabeth Theatre May 12-14, 8 p.m. Tickets, which range from $30 to $90, can be purchased at 1-855-985-2787 or ticketmaster.ca.

Format ImagePosted on April 22, 2016April 20, 2016Author Cynthia RamsayCategories Performing ArtsTags Ballet BC, Israel, Kelner, Sharon Eyal
Vilna, the place, its people

Vilna, the place, its people

It is a master storyteller who can make you feel like you’ve met someone you never knew, visited a city to which you’ve never been, make you long for a people, place and culture you’ve never experienced but from a generation, location and language once, twice or thrice removed. Abraham Karpinowitz (1913-2004) is such a writer. And, thanks to local master storyteller and translator Helen Mintz, more of us can now visit Karpinowitz’s Vilna – a city full of colorful characters, both real and not, and share in a small part of their lives.

Vilna My Vilna (Syracuse University Press, 2016) is a collection of 13 short stories and two brief memoirs by Karpinowitz, translated from Yiddish into English by Mintz. For context and a better understanding of Karpinowitz and his work – notably one of the main “characters” in his writing, Vilna – there is a foreword by Justin Cammy, an associate professor of Jewish studies and comparative literature at Smith College in Massachusetts, and an introduction by Mintz. These two scholarly essays are invaluable, but if you’re completely unfamiliar with Karpinowitz, perhaps jump ahead and read a few of the stories before heading back to these parts of the book. It’s kind of a Catch-22, in that their insight enhances the enjoyment of the stories, but the stories enhance the understanding of the analysis and history.

book cover - Vilna My VilnaRomantics will appreciate most the linked stories of “The Folklorist” and “Chana-Merka the Fishwife.” In the first tale, Rubinshteyn heads to the Vilna fish market to collect material for YIVO (the Yiddish Scientific Institute) because he knows that, if the “genuine language of the people” is not documented, “it would be a great loss for the culture.” Dedicated to his work, and a dedicated bachelor, he fails to notice that Chana-Merka has fallen in love with him and, once his research is complete, he stops visiting the fish market, much to her – and his – sadness. In the second tale, Chana-Merka heads to YIVO herself to make sure that Max Weinreich, its director, knows from whom all of Rubinshteyn’s material came: she makes lists of curses for Weinreich, such as “May you speak so beautifully that only cats understand you,” and “May you be lucky and go crazy in a more important city than Vilna.”

Weinreich is one of the real people who appear in this collection where fiction and non-fiction meld. Yoysef Giligitsh, a teacher at the Re’al Gymnasium, is another. Most readers will not be able to identify all of these people and, while there will be added realism for those who can, the characters stand on their own. Besides, these people are secondary to the protagonists, who are the fishwives, the prostitutes, the criminals, the poor.

Despite that everyone is trying to eke out an existence, even the criminals follow a moral code. For example, Karpinowitz notes, in “Vilna, Vilna, Our Native City” that the Golden Flag criminal organization’s constitution includes the admonition, “Our members should behave properly and not forget that even though we are who we are, we are still Jews,” and that “[t]here was a directive for the general treasury to provide dowries for poor brides.”

Karpinowitz pokes fun at communism, capitalism, politics in general. His descriptions put readers right into the scene, almost as if they’re standing on the opposite street corner watching events unfold. And he has some wonderful turns of phrase. In “Shibele’s Lottery Ticket,” for example, Sheyndel’s husband goes off to fill the water bucket and never returns: “Sheyndel missed her husband, the shiksa chaser, less than the bucket.”

Or, in one of the two memoirs, “The Tree Beside the Theatre,” Karpinowitz writes about his father’s choice to sell his print shop to run a theatre, “If he’d stayed in the print shop, he’d be a rich man. My mother reminded him of this every time she couldn’t cover expenses. But everything in the print shop, including the machines and the letters, was black, and everything in the theatre was colorful, even the poverty.”

Karpinowitz’s characters have self-dignity and hope. They are not passive, for the most part, but are actively trying to change their situation for the better or to help someone else. Not surprisingly, many of the stories have bleak endings, with the narratives going from charming and/or humorous to horrific, illustrating just how abruptly and brutally this world came to an end.

These stories that turn on a dime are so moving. They emphasize just how little people at the time understood that most of them would soon be murdered. As Karpinowitz writes in “Vilna, Vilna, Our Native City”: “For years, a Jew with blue spectacles stood on Daytshe Street begging, ‘Take me across to the other side.’ His plea was so heartrending that, rather than asking to be taken across the few cobblestones separating Gitke Toybe’s Lane from Yiddishe Street, he sounded like he needed to cross a deep and dangerous abyss. Maybe he was the first Jew in Vilna with a premonition about the Holocaust. Just the name of the street, Daytshe Gas, German Street, drove him from one side to the other. We could all see the little water pump and Yoshe’s kvass stall on the other side of the street, but through his dark spectacles, that Jew saw farther. Fate didn’t take him to the safer side. He ended up in the abyss at Ponar with everyone else.”

Karpinowitz survived the Holocaust in the Soviet Union, having left Vilna in 1937. He briefly returned in 1944 and then, after two years in a displaced persons camp in Cyprus, moved to Israel. Mintz notes that he wrote seven works of fiction, two biographies, a play and five short story collections. He was awarded the Manger Prize (1981), among several other honors.

In the stories of Vilna My Vilna, the geography of the city is integral, and the maps included are useful in situating the action. The glossary is also an essential part of the book: kvass, for example, is a “fermented beverage made from black or regular rye bread.”

Adding even more value to this collection are three illustrations by Yosl Bergner that were in the original 1967 Yiddish publication of Karpinowitz’s Baym Vilner durkhhoyf and the painting “Soutine Street” by Samuel Bak is the cover of Vilna My Vilna. Both artists (and the Pucker Gallery, in the case of Bak’s painting) gave permission for their work to be used at no charge, which is an indication of the translation’s import beyond entertainment.

Mintz’s acknowledgements are many, and that she accepted so much input into the book speaks volumes about her integrity and the quality of her work. “Translating these stories brought me great joy,” she writes. “While never swerving from the truth, Abraham Karpinowitz answered genocide with love: love for his characters and love for his craft as a writer.” With Vilna My Vilna, Mintz adds her love, and that of many others, to ensure that Vilna, its people and its stories will not be forgotten.

Format ImagePosted on April 15, 2016April 13, 2016Author Cynthia RamsayCategories BooksTags Holocaust, Karpinowitz, translation, Vilna, Yiddish, YIVO
Restoring ritual of tea

Restoring ritual of tea

“The mini cube is our modern interpretation of the traditional ceremonies of ancient cultures,” say Cérémonie Tea’s Elli and Efrat Schorr. (photo from Cérémonie Tea)

From the professions of law and psychology, Elli and Efrat Schorr turned to tea. And, from the Israeli market, they are expanding worldwide. Cérémonie Tea can be bought in several locations in the Lower Mainland, for instance, but the Schorrs’ connections to Vancouver are deeper.

“Efrat’s enduring memory of Vancouver is of the hospitality and openness that she and her family experienced in their time in B.C.,” Elli told the Independent. “For me, Cérémonie Tea is an opportunity to return the warmth to the

Vancouver community, sending the best flavors that Israel has to offer back home, along with our friendship.”

Elli was born in Washington, D.C., and Efrat was born in New York. She lived out east for her earliest years, but then the family moved to the West Coast, living in Vancouver for two years and then in Richmond for another two years. Her father, Rabbi William Altshul, was the principal of Vancouver Talmud Torah from 1979-83 and Efrat worked at VTT, with kindergarteners through Grade 3s. Her father helped found Richmond’s Eitz Chaim Congregation.

From Vancouver, Efrat’s family moved to D.C., which is where she met Elli. They were high school sweethearts, marrying in 1995. Raised in strong Zionist homes and inspired by their experiences in post-high school yeshivah programs in Israel, they made aliyah in 2005 after they completed their graduate studies.

Elli was a lawyer, graduating from Georgetown University, and Efrat has a PhD in developmental psychology from the University of Maryland, College Park. After working in their respective fields for several years, they decided to go into business in 2012.

“After sharing 20 years of marriage and five children,” reads Cérémonie’s website, “these childhood sweethearts decided to look for their next adventure together.” They bought Cérémonie Tea from the founders in February 2013.

“We were looking for a business opportunity and explored coffee, even visiting Ethiopia, the birthplace of coffee,” Elli told the Independent. “Along the way, we encountered Cérémonie Tea, with its striking design and delicious products and fell in love. We worked in partnership with the founders for about a year and then purchased the company from them, undertaking management of the company since then.”

The company is based in Migdal Haemek in the northern part of Israel. The Schorrs live in Gush Etzion, in the town of Alon Shevut, which is about a two-hour commute. “We are enjoying the learning experience of working in a different environment, far away from our English-speaking bubble!” said Elli.

Established in 2003, the Schorrs have expanded the company’s reach internationally since taking over, beginning in Italy in 2014 and the Netherlands in 2015. The ingredients – whole tea leaves, along with spices, herbs and flowers – come from around the world, and the tea bag material is imported from Japan. “Presently,” said Elli, “we are not using compostable materials, but are exploring such options for the future.”

Cérémonie Tea offers a range of products, including mini cubes, pyramid tea bags and loose tea blends.

Bringing “their American style of customer service and entrepreneurial spirit to the traditional world of tea,” the Schorrs are trying to return people to the “ritual of serving tea.”

“The mini cube is our modern interpretation of the traditional ceremonies of ancient cultures,” explains their website, “innovative in our style of serving but classic and timeless in our taste.”

Currently, Cérémonie Tea can be found in Richmond at Save-On-Foods at Ironwood Plaza, Loblaws City Market and Superstore, as well as at Superstore in Vancouver on Marine Drive and Save-On-Foods South Point in Surrey. There is always the option of buying online, of course, at ceremonietea.com.

Format ImagePosted on April 15, 2016April 13, 2016Author Cynthia RamsayCategories IsraelTags Cérémonie, Israel, Schorr, tea
From nonsense, knowledge

From nonsense, knowledge

To help readers remember what they learn, Hilarious Hebrew uses silly sentences and illustrations. (all images from Hilarious Hebrew)

“The poor monkey has a cough.” “If you’re feeling sleepy, let the lights dim, yawn and let your imagination run free.”

Through such silly sentences, readers of Hilarious Hebrew: The Fun and Fast Way to Learn the Language (Pitango Publishing) learn that, in Hebrew, the word for monkey is kof (pronounced similarly to cough) and that imagination is dim’yon (pronounced dim, yawn). If the context of the sentences isn’t enough, the illustrations should ensure you remember.

book cover - Hilarious Hebrew“The method in Hilarious Hebrew is aimed at teaching vocabulary rather than whole sentences because the whole point of it is to teach a Hebrew word in the context of a sentence in English that would convey the pronunciation and the meaning of the new word (in Hebrew) through a familiar, easy context (in English),” explained Hebrew teacher Yael Breuer, who co-authored the book with musician Eyal Shavit.

The writing duo is continually coming up with new teaching phrases, which they often post on the book’s Facebook page, Instagram and Twitter accounts, said Breuer.

“I’ve used the method over the years with my Hebrew students and classes and knew that the method worked well – the words stuck in the students’ minds! – and that it added an element of fun to the lessons.”

And her testing ground has been extensive. The longtime teacher has worked with a wide variety of students: “people with family members in Israel, people who planned to visit Israel, partners of Israelis who want to learn some Hebrew, people converting to Judaism, a vicar, nuns – a real interesting mix,” she said.

About the book’s origins, Breuer said she shared a list of 20 to 30 sentences that she used regularly in teaching with Shavit, who is also an Israeli expat living in Brighton, England.

“Eyal loved the idea so much and started making up new sentences and texting them to me to make me laugh. I started reciprocating with new sentences that I would make up and, for awhile, we were just making up sentences for our own amusement. A few months down the line, however, when I realized that there were about 300 sentences that taught a variety of Hebrew words from various fields and at all levels, I suggested to Eyal that we share the resource – and that’s how the idea of the book came about.

“It took us about a year from conception to publication,” she continued. “We did not approach a publisher, as we knew how we wanted the book to look and feel. It was a long and rather hard process at times, and we would regularly spend hours rewriting one sentence so that it taught the Hebrew word in the best possible way. We also had to liaise with designers, find the right illustrator, choose the right printers and make many decisions, but we completed the process, are getting fantastic feedback and are very pleased with the result!”

An important part of the book’s appeal is the drawings by cartoonist, writer and illustrator Aubrey Smith, who has contributed his art to several books and also has written How to Build a Robot with Your Dad and Screw It, both published by Michael O’Mara Books.

image - from Hilarious HebrewIn addition to teaching Modern Hebrew, Breuer writes for the Jewish Chronicle; she also has had her articles on British culture published in Israeli newspapers Haaretz and Maariv. From Rehovot, Breuer moved to Brighton 27 years ago, she said. “My husband, David, is English and, although he is originally from London, he already lived in Brighton when I met him.”

Shavit, who is from Kibbutz Kfar Szold in northern Israel, has been in Brighton for nine years. “He was working elsewhere in the U.K. but someone recommended Brighton as a vibrant and arty place where he could pursue his music career, so he came here and stayed,” said Breuer. “He studied music in Brighton and has been making a living as a musician (plays the guitar and sings) ever since.”

The two friends met fellow Brightoner Smith, who is English, “by pure chance through my neighbor, Dave,” explained Breuer. “As soon as we saw his wonderful, humorous style, we knew that he was the one. Aubrey has never had a connection to Judaism or Hebrew but, through illustrating the book, he himself learned some Hebrew words and would sometimes use them in his emails to us, which was another proof that the method works!”

The Jewish community in Brighton is a few thousand strong, said Breuer, with “four active synagogues – two Orthodox, a Reform and a Progressive, and a Chabad branch, too. There is a small community of a few dozen Israelis but it is a vibrant one – we meet regularly in a pub in Brighton, celebrate festivals together and keep in touch. Many of the Israelis here and their English-speaking partners or children have been our ‘guinea pigs’ when writing the book and their feedback helped us tremendously.”

Hilarious Hebrew is available at hilarioushebrew.com, some bookshops and gift stores and also on Amazon.

Format ImagePosted on April 15, 2016April 13, 2016Author Cynthia RamsayCategories BooksTags Breuer, Brighton, Hebrew, Shavit

Life legacies in writing

“I am now face to face with dying, but I am not finished with living,” writes Oliver Sacks as the dedication to Gratitude (Knopf Canada, 2015), a collection of four essays that were written in the two years preceding his death last August.

“I have given much of my life to the Jewish world, and I wish I had many more years to serve this noble calling,” writes Edgar Bronfman in concluding his book Why Be Jewish? A Testament (Signal, 2016), which he completed mere weeks before his death in December 2013.

Bronfman continues, “But everything has its natural end, and so now, as my time on earth draws to a close, I would thank my stars even more if you would choose to stand at Sinai; if you would choose, as I did so many years ago, to join this remarkable people who generation after generation held fast to the dream that through our individual and collective efforts we could transform the troubled world we share into a more perfect, more humane, more civilized place.”

Even though he became intrigued with Judaism late in life, Bronfman still defined himself as secular, “not comfortable” calling himself an atheist “in the face of the complexity of the universe.” He had a connection to Judaism through his grandfather, but it was weak. “My parents,” he writes, “for whatever reason, failed to instil much-needed Jewish pride in their children.”

Sacks was a self-described atheist. For him, it was his mother’s strongly negative reaction to the news of his homosexuality that pushed him away from belief: “The matter was never mentioned again, but her harsh words made me hate religion’s capacity for bigotry and cruelty,” he writes.

book cover - GratitudeHowever, the final essay in Sacks’ Gratitude is called “Sabbath.” In it, he recalls his parents’ observance of Shabbat, a day that “was entirely different from the rest of the week.” He recalls how the family would mark the day, how he became bar mitzvah, his break with his family and community in England after he qualified as a doctor and moved to Los Angeles, his “near-suicidal addiction to amphetamines,” his recovery and how he “became a storyteller at a time when medical narrative was almost extinct.” In addition to being a neurologist, most readers know, Sacks was an author – he wrote more than a dozen books, including Awakenings, The Man Who Mistook His Wife for a Hat and other Clinical Tales and An Anthropologist on Mars.

Sacks comes to appreciate Shabbat: “And now, weak, short of breath, my once-firm muscles melted away by cancer, I find my thoughts, increasingly, not on the supernatural or spiritual but on what is meant by living a good and worthwhile life – achieving a sense of peace within oneself. I find my thoughts drifting to the Sabbath, the day of rest, the seventh day of the week, and perhaps the seventh day of one’s life as well, when one can feel that one’s work is done, and one may, in good conscience, rest.”

Gratitude is a short but powerful collection. It is masterfully written and nearly impossible to get through without crying. All of the essays have been published before, but having them together for re-reading, rethinking and re-feeling is more than worthwhile. Every read will be a cathartic experience.

The first essay, “Mercury,” was written just before Sacks’ 80th birthday in July 2013. In it, he talks about what it feels like to be turning 80, some of his regrets, but mostly how much he has left to do, “freed from the factitious urgencies of earlier days, free to explore whatever I wish, and to bind the thoughts and feelings of a lifetime together.”

“My Own Life” is named after the autobiography of one of Sacks’ favorite philosophers, David Hume. Sacks shares a couple of paragraphs from that 1776 work, using it to lead into a discussion of his own state of mind. “My generation is on the way out, and each death I have felt as an abruption, a tearing away of part of myself.” While not without fear, he writes, “my predominant feeling is one of gratitude. I have loved and been loved; I have been given much and I have given something in return; I have read and traveled and thought and written.”

In the third of the four essays, “My Periodic Table,” Sacks talks of his love of the physical sciences and how, since “death is no longer an abstract concept, but a presence,” he is surrounding himself again, as he did when he was a boy, “with metals and minerals, little emblems of eternity.” On his writing table is a gift from friends for his 81st birthday, thallium, as well as lead, for his recently celebrated 82nd birthday. After discussing the treatment of his cancer, he expresses his skepticism about reaching 83, his bismuth birthday. He did, indeed, pass away at 82.

book cover - Why Be Jewish?Bronfman died at 84. It is particularly fitting to be discussing his book Why Be Jewish? as Passover nears. Two of the nine chapters are directly related to the holiday: Chapter 8 is about its rituals, the story, the symbolic aspects, its importance, while Chapter 9 presents the principles and practices of leadership as demonstrated by Moses – not Moses the manager, but rather, “Moses the man who, as flawed as he was, executed brilliant strategies that ultimately transformed much of the world. These principles are also relevant to everyday leadership, from parenting to day-to-day responsibilities at work.”

There are many lessons Bronfman derives from Moses and the Exodus story. Good leadership involves standing up for something, perseverance, vision, pragmatism, courage, celebration of accomplishment, allowing opinions (even complaints, perhaps especially complaints), awareness of one’s strengths and shortcomings, adherence to a moral code, the duty to pass the mantle. He doesn’t believe that Moses’ non-admittance into the Promised Land was a punishment – instead, from Mount Nebo, Moses is permitted to see the entire Promised Land, “God is showing Moses the future that is really what most leaders want: they want to know that their dreams and vision will live on.”

Bronfman notes about the Torah’s last word, Israel: “It seems to me that we are being told that the commitment to Israel – the people – must be the focus, not Moses. And since ‘Israel’ means wrestling with God, the Torah also seems to charge the Jewish people with the task of ‘wrestling,’ a term I take to mean a commitment to struggling with that which we find difficult to embrace and not letting go until we find the truths we seek.”

In another chapter – on the rest of the Jewish holidays – Bronfman writes that he “would like to see the institution of Yom Ha’atzmaut Circles in synagogues and communities where Jews of multiple views could come together to discuss books that put forth different ideas on Israel’s situation, from Alan Dershowitz’s The Case for Israel to David Grossman’s novel To the End of the Land.”

He also talks of Shabbat, referring to the group Reboot, “a network of young, creative Jews who have sought ways to grapple with questions of Jewish identity and community in terms that will be meaningful to their generation….” He gives examples of other youth who are engaged in a meaningful Jewish life and the book’s foreword is written by Angela Warnick Buchdahl, who was a Bronfman Fellow in Israel in 1989. The program for high school juniors was founded by Bronfman, former chief executive officer of Seagram Co. Ltd., who also was chair of the board of governors of Hillel International and president of World Jewish Congress. Bronfman has written other books, including The Bronfman Haggadah with his wife, artist Jan Aronson.

The goal of Why Be Jewish? is to encourage nonreligious Jews – especially the younger generation – to practise the elements of Judaism that speak to them, and it is written to that audience. He touches upon all the basics of Judaism from the perspective that, “Judaism does not demand belief. Instead, it asks us to practise intense behaviors whose purpose is to perfect ourselves and the world.”

Bronfman’s approach is appealing in many ways, and he offers practical advice for the non-observant on how to connect with Judaism’s tenets and traditions. Even for the somewhat-observant Jew, many of his ideas will be interesting. His outlook is positive and well conceived. It is also inclusive.

He writes, “My own feeling is that Judaism is a big family of individuals with a common bond that has stayed strong through a long history and much hardship. Those who want to become part of this story are Jews, too. I believe the tent should be open and welcoming to anyone who wishes to join.

“For younger Jews today, choosing a particular ethnicity or culture may seem too narrow a form of self-identification. But I do not see Judaism as a form of tribalism that divides rather than unites. The Jewish people are one of the many vibrant patches on the richly diverse quilt of humanity. Each patch has its own design and, together, they make a beautiful whole. Embracing your heritage deepens your understanding of who you are and where you come from and brings you into a more meaningful relationship with the multicultural world.”

Format ImagePosted on April 15, 2016April 13, 2016Author Cynthia RamsayCategories BooksTags Edgar Bronfman, Judaism, memoir, Moses, Oliver Saks, Passover
Jazz to benefit refugees

Jazz to benefit refugees

Maya Rae performs April 9. (photo by Robert Albanese)

Only 13 years old and already a veteran of the Vancouver International Jazz Festival. Only 13 and already dedicating her time and talents to helping others.

Maya Rae and her Rhythm Band perform an evening of jazz and soul at Temple Sholom on April 9.

“This show is a benefit concert for the settlement of two Syrian refugee families,” Rae told the Independent. “If my music can make a difference towards helping people and making the world a better place, I can’t think of anything else that I’d rather be doing. Tikkun olam is about the pursuit of social justice and I believe strongly that we need to help refugees of all parts of the world to find a safe place to settle.”

She added, “Right now, the Syrian refugee crisis is one that is very prominent, and of epic proportions. Millions of innocent people have been displaced with nowhere to go. I felt compelled to participate and to do something meaningful at a local level. Our rabbi at Temple Sholom, Dan Moskovitz, has urged the Temple Sholom congregation to take action, and this is my way of doing so.”

Scheduled to join her at Temple Sholom are Luis Giraldo (piano), Eli Bennett (saxophone), Ayla Tesler-Mabe (guitar), Ethan Honeywell (drums), Evan Gratham (double bass) and Benjamin Millman (piano and ukulele).

The Grade 8 student at York House started taking singing lessons when she was in Grade 3. “My first official performance was for the jazz festival in 2012. I remember singing the solo part of ‘Lean On Me’ by Bill Withers, with Cecile Larochelle’s Anysing Goes choir supporting me with the beautiful chorus line. It was an extremely memorable experience for me.”

Earlier this year, she was asked by the organizers of the jazz festival – Vancouver Coastal Jazz and Blues Society – to perform in the Women in Jazz series, which took place in March. “As part of that preparation,” said Rae, “I was introduced to some wonderful young musicians who I asked to support me for those two shows. As we were preparing for those performances, I was inspired to do a benefit concert in my synagogue with the same set and the same musicians…. I’ve since decided to add another set, and a few more musical friends and surprises to expand the show. I’m really happy with the results so far and can’t wait for April 9th.”

Rae said she chooses to cover “songs that deliver meaningful messages through their lyrics. I also like to pick songs that could have impact on the listeners, and also spark awareness about the significant issues we are facing in this generation.”

She has a YouTube channel on which there are a few videos, including for the song “I’m Still Waiting for Christmas,” which was released last year and is on sale on iTunes, as well.

“I have co-written a few songs with various artists/musicians that will be released in the near future,” she said, adding that she is hoping to have more time to write this year.

“My goal is to continue to enjoy playing and making music with others,” she said. “It would certainly be a dream come true to make a living through my music.”

This summer, she’ll be busking on Granville Island, and she invited everyone to “please stop by.”

More information about Rae’s upcoming events and recordings can be found at mayaraemusic.com. For now, though, her focus is on the April 9 concert, which starts at 8 p.m., at Temple Sholom. Tickets are $18 for adults, $14 for children/students, and the proceeds will aid two refugee families. RSVP to Temple Sholom at 604-266-7190 or register at templesholom.ca.

Format ImagePosted on April 1, 2016March 31, 2016Author Cynthia RamsayCategories MusicTags jazz, Maya Rae, refugees, Temple Sholom, tikkun olam
Royal City welcomes Tevye

Royal City welcomes Tevye

Jewish community members in Royal City Musical Theatre’s production of Fiddler on the Roof, left to right: Erin Palm, Warren Kimmel and Zach Wolfman, with Michael Wilkinson in front. The show runs April 7-23 at Massey Theatre. (photo by Tim Matheson)

This year’s Royal City Musical Theatre production is Fiddler on the Roof. Playing the legendary lead character of Tevye the Milkman is Jewish community member Warren Kimmel.

Addressing the community, Kimmel acknowledged that Fiddler is “one of those pieces of art that have just become part of the culture almost by osmosis.” But, he added, “Fiddler on the Roof is an intensely Jewish musical and, although musical theatre is hugely populated by Jewish composers and performers, Fiddler is perhaps the only mainstream musical that deals directly with the Jewish experience. So, although your children might know ‘If I Were a Rich Man’ by cultural absorption, I would urge you to bring them all to see this piece. It’s a fundamental part of who we are and I think it’s going to be a great production.”

Directing and choreographing the RCMT show is Valerie Easton and the musical director is James Bryson, who will lead a full orchestra. Kimmel will be joined by three other Jewish community members on stage: Michael Wilkinson (Fiddler), Zack Wolfman (Perchik) and Erin Palm (Fruma Sarah). They and the rest of the cast have a challenge in making their iconic characters their own.

“I have made the character my own by growing a real beard!” said Kimmel, noting that it took three months to grow and has changed his life. “Seriously though, the fact that the role is iconic has been a real issue for me because I actually grew up watching that movie and I think that it is not for no reason that Topol is world-famous from only one identifiable role. I think it’s a brilliant movie and a landmark performance, so it has been quite difficult not to copy what he’s doing. At the same time, I think what would be worse would be to try and do something different just for the sake of being different. So, what I’ve tried to do, and I guess what I always try to do, is find the truth of the story for that character and play that. But they are big boots to fill, no doubt, and an even bigger beard!”

“It’s definitely hard when there is a fixed idea of how a character should be,” Wolfman said. “I am steering clear of the trap by approaching the role like I would any other. I look at the words on the page and the circumstances the character finds himself in. The show is iconic because the characters and story are well written, and it makes our jobs easier as actors because that information is all on the page for us to use…. When I say the same words in the same order, it is the character, and I suppose it will become my own when it comes out of my mouth!”

For her part, Palm said she loves “when an actor really takes risks and brings new life to the characters they play. I think I make Fruma Sarah my own by really trying to understand what she wants, in the most honest way possible.”

Fiddler on the Roof was one of the first musicals Palm ever saw. “It made a huge impact on me,” she said. So, for her, part of the fun of being in this production “comes out of years of being excited about the opportunity to do the show and then getting a chance to do it. I love the music and the story.”

Part of the challenge is to convey the time and place of the action. Based on Tevye and his Daughters and other stories by Sholem Aleichem, Fiddler is set in 1905 in Anatevka, a fictional Russian village. It centres around Tevye and his efforts to maintain Jewish traditions while trying to keep his wife and five daughters happy and safe.

“Being that we don’t live in Anatevka and it is 2016,” said Palm, “it’s relating to those social and economic differences and times that makes it a challenge … capturing the old world feeling in a way that is truthful and heartwarming, that’s what sweeps you away to Anatevka, that’s the charm of the show.”

For Wolfman, “Having the opportunity to play a character that is playing against the traditional values of the characters in the play is fun. Perchik has more modern sensibilities and, in a way, he acts as a proxy for the audience to see the differences in beliefs on stage. It is fun to play a character with a strong point of view who is willing to fight for what he believes in…. The challenge for me has been finding the balance between the Perchik who is warm and loving, and the hard-nosed revolutionary. Of course, both sides exist within the character, so it’s interesting to grapple with what comes out at what times. It’s an ongoing question for me so, as my old acting professor Stephen Heatley would say, I’m ‘keeping the questions open and active.’”

In a somewhat similar vein – trying to find balance within a character – Wilkinson said, “It’s been very fun and exciting for me to find the way the Fiddler fits in as a metaphor in Tevye’s mind but also has a personality and character of his own.”

Not only does Wilkinson have to figure that out, but he is also playing a Russian dancer in the song “To Life.” He said that Easton “has given us wonderful choreography and the Russian dancing is particularly fun, but also challenging – especially since most of us don’t have training in Russian dance!”

Kimmel described Easton as “one of the real jewels of this city’s theatre community and we have worked together enough times now that I know I can allow her to guide me in my performance and that, if I trust her, she will make it a better one. That’s meant to be the director’s job, I guess, and it’s what you always hope for as an actor, but it doesn’t happen nearly as often as you would hope.”

Last year, Kimmel worked with both Easton and Bryson on RCMT’s My Fair Lady. “Both brilliant,” he said. “Also, there are a few cast members from My Fair Lady that have reappeared in Yiddish garb and large beards and it’s always great to be on stage with people you know and trust. However, all the people I have close relationships with in the piece – my wife and five daughters – are all performers I’ve never worked with before and that’s quite exciting.”

It is also Wilkinson’s second production with Easton, Bryson and RCMT. He was in the ensemble of Annie in 2014. “The Vancouver theatre community isn’t huge, so usually there are some familiar faces when a new production starts rehearsals. I’ve met a bunch of new wonderful people in this production, as well as a few with whom I’ve worked before.”

Wolfman was at the University of British Columbia with a couple of the other leads, including Jenika Schofield, and has acted before with several members of the cast. “In fact,” he noted, “Jenika actually played my love interest in Titus: The Light and Delightful Musical Comedy and now she’s playing Hodel, who falls in love with Perchik. Crazy, right?!”

While this is his first time working with Easton and Bryson, Wolfman said, “Patrick Ray, our piano player, accompanied a show I did in the past, and maybe saved my life musically more than once.”

Palm worked with Easton right after graduating from Capilano University. It was in an Arts Club on Tour production of the musical The Thing About Men, where, she said, “I played 13 different characters, that was a highlight of my career. I just love her as a director. She’s just so present and physical in her directing skills. She’s very giving, she’s very much an actor’s director…. Also, I am a big fan of female directors. There are so few of them and so, when you get an opportunity to work with a director with such a clear vision who is a woman, I celebrate that.”

Palm also knows some of Fiddler’s cast from previous acting work, she took voice lessons for awhile with Sylvia Zaradic (Yente) and did a video with Natasha Zacher (Tzeitel) and others called Finding Face Time: A YouTube Musical!, which is online.

In the casting process, Palm was called back for two different roles: Tzeitel and Fruma. She said she is grateful to have been chosen “as part of the vision of the show and cast as Fruma Sarah.”

“I think the casting is very well put together and I couldn’t imagine the show being cast any other way,” she said. “We really have worked together as a collective, the chorus is really strong. There are a lot of talented actors and singers in this show, lots of young and up-and-coming talent, too, who really bring something special, new and exciting to the roles they play.”

Initially, Wolfman wasn’t sure for which role he would audition. During Oliver! at Theatre Under the Stars last summer, he said, “[M]any of the cast members in the show were buzzing about Fiddler on the Roof auditions during the run. A fellow cast mate, Kat Palmer, said I should go out for Perchik if I got a chance, so the show fell on my radar. When I first auditioned, I was thinking about Motel and Fyedka as possible roles, but after re-reading the script, I definitely had my heart set on Perchik and that’s what happened!”

When Wilkinson auditioned, he said, “I had to sing a song in front of the directing team and take part in the group dance call. I didn’t go in with a specific role in mind and was just hoping to be a part of the show in some capacity. It worked out well and I’m having a great time being a part of the production.”

As for the patriarch of the show, Kimmel said, “I originally auditioned for the role of Yente the Matchmaker but I lost that role, unfortunately, and had to settle for Tevye. No, in reality, I think Tevye has always been one of the roles that I felt I would have to do at some point or other, being Jewish for a start, and just loving this play since I was a child. So, I asked Val if I could audition. Honestly, I thought I was a bit young for the role and I still feel I struggle with the [emotional] weight of Tevye…. Also, there are a few performers in town that have been very successful playing the role and I was pretty sure they would be offered it, but it seems my audition – together with a large cheque made out to Val – clinched it for me.”

RCMT’s Fiddler on the Roof takes place at Massey Theatre, 735 Eighth Ave., in New Westminster, Wednesday-Sunday, April 7-23. Ticket are $47 ($38 seniors/students, $29 children 13 and under) from ticketsnw.ca and 604-521-5050.

Format ImagePosted on April 1, 2016March 31, 2016Author Cynthia RamsayCategories Performing ArtsTags Erin Palm, Fiddler, Michael Wilkinson, RCMT, Royal City, Tevye, Warren Kimmel, Zack Wolfman

Posts pagination

Previous page Page 1 … Page 69 Page 70 Page 71 … Page 85 Next page
Proudly powered by WordPress