Tova Kornfeld

Musical to warm heart

In Newfoundland, if you’re not from the island, you’ve “come from away.” On Sept. 11, 2001, after the terrorist attacks in New York, the United States shut down its airspace. As a result, 38 planes – carrying 7,000 passengers – were diverted to Gander, Nfld., population 9,000 or so. The local community quickly mobilized to provide their unique maritime hospitality to the unexpected guests from around the globe, welcoming them to their home, “the Rock,” for five days.

This is the premise for the aptly named musical written by Jewish-Canadian husband-and-wife songwriting team David Hein and Irene Sankoff, that took Broadway by storm in 2017. Now, this made-in-Canada opus comes to the Arts Club’s Stanley Stage, in partnership with Edmonton’s Citadel Theatre.

photo - Andrew Wheeler, left, and Vance Avery in Come From Away, which is at the Stanley until Aug. 16 — Andrew Wheeler, left, and Vance Avery in Come From Away, which is at the Stanley until Aug. 16. *(photo from Moonrider Productions)*

The essence of the show is quite simple, with 12 actors playing 20 characters on a minimalist set, courtesy of designer Lorenzo Savioni. It consists of 12 mismatched chairs – a metaphor for the eclectic mix of strangers that descended upon the island. The chairs are constantly being reconfigured, morphing from an airplane interior to a bus to a Tim Hortons to a school gymnasium to a pub. These transitions provide the background for the dozens of vignettes that make up the heartwarming story.

The actors move smoothly between their various roles with most costume changes done right on stage. While this is truly an ensemble production, every one of these performers has stand-out moments.

It all starts with veteran actor Andrew Wheeler as avuncular Mayor Claude, who introduces the audience to Gander, its inhabitants and their idiosyncrasies. Jacelyn Gauthier is outstanding as American Airlines pilot Beverley (America’s first civilian female captain) – and, boy, can she sing. Vance Avery and Kamyar Pazandeh play the two Kevins, a gay couple navigating their rocky relationship. Pazandeh also plays Ali, a Paris-trained Muslim chef, who endures the suspicions of his fellow passengers.

Then there is Englishman Nick (Garett Ross) and Texan divorcee Diane (Janet Gigliotti), who find love amid the chaos; take-charge Beulah (Stephanie Wolfe), the quintessential organizer, who bonds with Hannah (Lisa Michelle), a worried mother awaiting the news of her New York City firefighting son; SPCA worker Bonnie (Catriona Murphy), who goes out of her way to care for all the stranded pets; local cub reporter Janice (Daphne Charrois), who gets to break the news to the world; and Bob (Tenaj Williams), who worries about the cost of it all.

Finally, Charlie Gallant plays Oz, the quirky constable, but his real strength comes in his portrayal of the Orthodox rabbi who must cope with both the challenge of keeping kashrut in Gander and taking care of the spiritual needs of a Holocaust survivor’s relative, who is looking to make meaning out of the events of the day. Gallant does an admirable job as the rabbi and delivers a poignant rendition of Oseh Shalom during the multi-faith prayer scene. Community member Josh Epstein is the Hebrew/Jewish consultant for the production.

As their island sojourn comes to a close, the passengers are treated to an East Coast kitchen party replete with Celtic-infused, foot-stomping songs and the chance to become an honorary islander, which is a three-step process that culminates in the kissing of a cod fish (you will have to see the show to find out about the first two steps).

Savioni’s back wall of seven rotating panels/doors frames the actors’ entrances and exits and features Sophie Tang’s impressive lighting design, which often resembles airport runway lights. Ken Cormier’s seven-piece band and Gianna Vacirca’s energetic choreography complete the effect. Kudos to director Ashlie Corcoran for bringing this production to Vancouver.

These salt-of-the-earth islanders give a master class in what it means to be Canadian. It makes you feel proud to be one.

For tickets to the show, which runs to Aug. 16, go to artsclub.com or call 604-687-1644.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

***

Come From Away’s rabbi

As are many of the vignettes in the musical Come From Away, the rabbi’s story is based on that of British Rabbi Leivi Sudak. Prior to the High Holidays, he was on his way to New York to pray at the Lubavitcher Rebbe’s grave, when his plane was part of the redirected fleet. Under his direction, the islanders scavenged the grounded planes to find kosher meals to feed the 30 or so Jewish passengers among the stranded. A kosher kitchen was set up in one of the schools housing the group and efforts were made for Shabbat to be observed and for the passengers to reach their destinations before Rosh Hashanah.

– TK

Hannah Senesh – a unique hero

Douglas Century signs copies of his book Crash of the Heavens at the JCC Jewish Book Festival earlier this year. (photo by Tova Kornfeld)

Douglas Century’s Crash of the Heavens: The Remarkable Story of Hannah Senesh and the Only Military Mission to Rescue Europe’s Jews During World War II is a meticulously researched and spell-binding narrative of Senesh’s life, and pre- and postwar Europe and Palestine.

Senesh, born in 1921, grew up in a middle-class family in Budapest until the Nazis came to power in the 1930s. The rise of antisemitism drove her to join a Zionist youth group and she became obsessed with emigrating to British Palestine. In 1938, she made aliyah to a northern kibbutz, and part of her metamorphosis was to Hebraize her identity, changing her name from Aniko Szenes.

As word of the atrocities perpetrated by the Nazis started to leak out, Jews in Palestine (numbering about 600,000) sought ways to rescue their European brethren. British Intelligence MI9, tasked with assisting the escape of thousands of Allied POWs, needed people with local language skills and area knowledge. In 1943, Senesh was recruited, one of three Jewish women in a cohort of 37, to be trained as a paratrooper and radio operator. She made her first jump – into Yugoslavia – in March 1944, where she liaised with Partisan groups to carry out sabotage missions. Her hope was to cross into Hungary to save her family and others, but she was captured by Hungarian gendarmes, imprisoned, tortured, tried for treason and executed by firing squad on Nov. 7, 1944.

Sharing details from her diary, which Senesh kept from the age of 13, Century takes readers into her pains, her joys. Her poetry is part of her legacy: “A Walk to Caesarea” is almost a second national anthem in Israel, where many streets, parks and schools bear her name. Ironically, Hungarians know little about her.

The Independent interviewed Century by email.

JI: How did you first become interested in Senesh?

DC: I first learned about Hannah when I was about 8 years old at the I.L. Peretz Shul in Calgary. Our principal was a Holocaust survivor – he’d lived through the Shoah as a boy in Poland. He told us the story of Hannah’s courage, her refusal to give up her secret British radio codes despite months of horrific physical and psychological torture at the hands of the Gestapo.

At that age, I’m sure it was just the broad strokes of the story: she wouldn’t betray her people, she was sentenced to execution by firing squad when she was 23 years old.

Who could understand the concept of martyrdom at the age of 8? Certainly not me. But I did understand that this was a brave young woman who went to her death and wouldn’t beg for mercy “from hangmen and murderers” – those were her exact words.

She refused to wear a blindfold as she faced the firing squad, daring the Hungarian soldiers with rifles to look her in the eyes as shot.

To hear that story age 8 – well, it was amazing. It was also terrifying. Clearly, it’s haunted me since childhood.

JI: This is the first time you are writing about a woman. Was that decision purposeful?

DC: I never thought about it that way. I’ve tended to write books with male protagonists. Technically, though, the first book I ever published – when I was in my mid-20s – was a young adult biography of the Nobel-laureate novelist Toni Morrison.

I conceptualized this book as a military rescue mission – most of the action takes place between late 1943 and late 1944, with a “ticking-clock” thriller pacing – and, yes, in the book proposal, I consciously chose to focus on the three women Palmach commandos and parachutists: Hannah Senesh, Haviva Reik and Surika Braverman.

As I was writing … it became clear that the central storyline needed to be Hannah’s. To a lesser extent, I write about the other parachutists’ missions in Slovakia, Romania and Yugoslavia.

JI: What research did you do for the book?

DC: There are so many primary source documents available. All of Hannah’s poetry, diaries, letters and photographs are in the National Library of Israel archive. There are also many memoirs – most of them out of print – by the various parachutists. There are invaluable oral histories in the U.S. Holocaust Museum and at Yad Vashem. For four years, I felt like I was basically living in archives and military libraries, but I knew that I’d never do this story justice solely on previously published research.

I flew to Tel Aviv in the summer of 2023 to do what we used to call “shoe-leather reporting.” I spent weeks in Israel, retracing the footsteps of Hannah Senesh and the other parachutists. That summer of 2023, I met David Senesh – Hannah’s nephew – a renowned psychotherapist specializing in treating trauma. David was himself a POW and tortured by the Egyptians in the 1973 Yom Kippur War.

I’ve become close friends with David and his wife…. They really gave me some valuable personal insights into the family dynamic – and I learned things that have never been in other books.

JI: Was there a particular demographic you were trying to capture?

DC: I set out to write this book for one reader – my daughter, Lena. She’s studying English and wants to be an author. My daughter was 22 when I finished the book; Hannah was 22 when she embarked on her paratrooper mission in March of 1944. My daughter said, “Thank God you’re not writing about another complex, sociopathic antihero! Hannah is a courageous and talented woman who the reader can actually admire.”

JI: How did you arrive at the book’s title?

DC: When I was pitching the idea to my literary agent, I was already writing about Hannah, but it was about to be the centenary of her birth in July 2021 and 150 IDF paratroopers were recreating her jump in a mission called Operation Crash of the Heavens. The title comes from Hannah’s most famous poem, “A Walk to Caesarea,” better known by its musical adaptation, “Eli, Eli.” It’s a very short poem, and Hannah’s next-to-last line in Hebrew is “barak hashamayim.” The literal translation is “the lightning in the sky,” but, to me, the most artful translation is, “the crash of the heavens.”

JI: What has the reception to the book been like?

DC: It’s been wonderful, warm and very appreciative. Even people who know about Hannah Senesh – especially people from Israel – tell me that I introduced stories and things they never knew before.

I’ve spoken at a few schools: the Hannah Senesh Community Day School in Brooklyn, King David High School in Vancouver, Yeshiva University in New York. When I’m talking to teenagers, I try to contextualize the story by stressing how assimilated the Jews of Hungary were, especially in Budapest. They felt fully Hungarian. But then the series of so-called “Jewish Bills” came into effect, limiting the number of Jews in the professions, setting quotas for university – Hannah had wanted to study education and become a schoolteacher but that became impossible. Ultimately, Jews couldn’t own property, couldn’t have a telephone. They were stripped of all civil rights – by the Kingdom of Hungary, of course, not by Nazi Germany.

I ask high school kids and university students: Do you guys feel Canadian? You’re proud of Canada? Cheer for Canada in the Olympics? What if, overnight, the government said: “You’re not Canadian. Turn in your passport. You can’t go to university. You need to move out of your house – you can only live on certain streets in houses marked with a yellow star. You can’t be out in public past noon.” Why? Because Parliament passed a new law that says you’re no longer a Canadian – you’re a Jew. That means you’re an alien living among Canadians without the rights or privileges of a citizen. How would you feel? What would you do?

JI: You started this book before Oct. 7, 2023. Did that tragic event and its aftermath affect the way you wrote the narrative?

DC: Absolutely. I was deep into the writing process before Oct. 7, 2023. I knew that words like Zionism, Israel and Palestine were hot buttons when I started writing the book, but after Oct. 7, they became third rails.

I tried not to let it affect the way I was writing the book. Of course, seeing all the anti-Israel protests exploding on campuses and in city streets the past couple of years, hearing all the outright distortion of history, it affects a writer’s psyche. As we were designing maps for the book, for example, I insisted that they said, “British Mandate for Palestine” as well as “Eretz Israel.”… While writing the first draft, I had non-Jewish friends asking me, “Doug, what is Zionism?” and I realized that, in the post-Oct. 7 world, it was a critical question. I felt I should let Hannah define what Zionism meant to her. On Oct. 27, 1938, she writes in her diary: “I don’t know if I’ve already mentioned that I’ve become a Zionist. This word stands for a tremendous number of things. To me, it means, in short, that I now consciously and strongly feel I am a Jew, and am proud of it.” Full stop.

JI: If you would have been able to interview Senesh, what would you have asked?

DC: I have so many questions. I don’t want to give any plot spoilers, but there’s one story which hasn’t been told before in previous books. In the summer of 1944, Hannah helped a young Slovakian-Jewish woman named Matilda Glattstein to escape from the Gestapo prison in Budapest. Hannah learned that Matilda was pregnant and devised a complicated escape plan, which means she knew exactly how to break out of the prison and yet she herself didn’t. She saved another woman’s life – but not her own. I’d ask Hannah this question: “If you could rescue Matilda Glattstein, a pregnant woman with no military training, why didn’t you rescue yourself?” I’ve got my own theories, but I would love to ask Hannah.

JI: Why should people read your book?

DC: On the most basic level, I hope they want to read a compelling, exciting and emotional story of heroism during the darkest days of World War II. In hindsight, I didn’t write the book just for my daughter, or just for young Jewish women, or for anyone who aspires to do what Hannah did – become a poet or author and leave her mark on the world. Within the story, I’m asking some more universal questions: What do we mean by courage? Where does moral conviction come from?

We’re living in a crazy era, and it’s worth remembering that there are some causes for which it might be necessary to make the ultimate sacrifice….

JI: Tell me about your collaboration with Kosha Dillz?

DC: Kosha Dillz is someone I’ve known for years and years. His real name is Rami Even-Esh. [He’s] an Israeli-American rapper, filmmaker, social media personality and influencer. I sent him an ARC [advance reading copy] of Crash of the Heavens last October and we just started bouncing around ideas.

We agreed that, with this terrifying rise in antisemitism, it’s the perfect time to make the name Hannah Senesh – poet, paratrooper, Palmach commando – known to all the millions of people in their teens, 20s and 30s who are too busy “doom scrolling” to read the book. I figured, what better way to reach them than to have a gifted modern-day poet like Kosha Dillz breathe fresh energy and inspiration into her story? He wrote some amazing lyrics based on my book and we shot a video on the streets of New York for his song called “Hannah Senesh.”… You can find it on all the streaming platforms like Spotify and Apple Music.

JI: Are there any plans to use your book as the basis for a film or play?

DC: Yes, people have been talking about an adaptation, but the world of TV and film adaptations is so mercurial. Right now, we’re working on an adaptation of my previous book, The Last Boss of Brighton, about the life and times of a Soviet-born Jewish mobster – the aforementioned “complex, sociopathic antihero.”… At the same time, one of my earlier books – also about the Mafia in New York City – is being developed for a series…. But we’ll see what happens. Stay tuned.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Musical with heart and soul

Left to right: Josh Epstein, Lisa Horner, Steffanie Davis and Madeleine Suddaby in the Arts Club Theatre Company’s production of Kimberly Akimbo, now at the Stanley until May 3. (photo by Moonrider Productions for Arts Club)

High school is a time of often-volatile highs and lows, joys and sorrows. Now, imagine you are 16 years old but look 72 because you have a disease that ages you faster than normal – a disease that limits your life expectancy to your teens. How do you cope with the stresses of having to pack a lifetime into a few short years while dealing with an über-dysfunctional family?

This is the premise of the quirky Tony Award-winning musical Kimberly Akimbo (best musical, 2023) now at the Stanley Theatre to May 3, presented by the Arts Club. This is not your traditional big-cast musical with toe-tapping songs you sing on the way out of the theatre. With a cast of only nine, Kimberly Akimbo is a layered and nuanced look at who and what we are as humans. Although it takes time to get into the story, the reward comes at the end.

Kimberly Levaco’s family has just moved to small-town New Jersey and she is starting in a new school. The curtain rises on Skater’s Planet, where four Breakfast Club-type misfits (with assorted gender identification and unrequited love issues) are planning ways to raise money to buy school choir costumes. Tuba-playing, nerdy Seth (Jason Sakaki) works behind the counter and is obsessed with anagrams. Enter new-kid-on-the-block Kimberly (Lisa Horner) and cue the teenage politics and romantic possibilities.

Kimberly’s blue-collar family is made up of alcoholic father Buddy (Jewish community member Josh Epstein); narcissist, hypochondriac mother Pattie (Steffanie Davis); and bombastic in-your-face Aunt Debra (Madeleine Suddaby), an ex-con on parole who devises a mail fraud scheme into which she ropes her niece and her niece’s chums.

Horner, who’s in her 50s, has the daunting task of playing Kimberly, an angst-ridden teen in an adult in body – though, when with her family, Kimberly is the only adult in the room. Horner does a terrific job in this role reversal, and she can sing too! At the end of the day, the characters, as flawed as they are – and they are flawed – are likeable, as they grapple with their trials and tribulations. The message: life is finite, so seize the day.

While the songs are not that memorable, Suddaby and Davis can really belt them out. Epstein pleases with two solos and demonstrates some nifty moves in the skating scenes, as do the rest of the cast – kudos to choreographer Shelley Stewart Hunt.

On the design end, the curtain opens on a stark set featuring steel girders and battered school lockers, yet transitions easily from the skating rink to the Levaco home to the school library to the colourful Sweet 16 party and ultimate road trip, the latter backed by large-scale projections. Jewish community member Itai Erdal’s lighting design runs the spectrum to complement each of the changes. To complete the 1990s atmosphere, costumer Stephanie Kong has the teens decked out in grunge and the adults in Value Village-type garb.

Epstein shared his feelings on the show in an email interview.

JI: What drew you to audition?

JE: It’s really an acting role that just happens to live inside a musical, which is my sweet spot. I’ve also loved David Lindsay-Abaire’s writing forever. He has this stream-of-consciousness, offbeat style that I’m really drawn to.

JI: How would you describe your role?

JE: I see him as a deeply loving dad who just doesn’t have the tools or capacity to show up the way he should. He’s overwhelmed, a bit lost in his own fear and vices, and trying to hold onto joy while knowing time isn’t on his side.

JI: What is the message for audiences?

JE: We’re all on a clock, whether we think about it or not, and this show gently forces you to face that. It’s about how beautiful life becomes when you really understand how limited and rare it is.

JI: As far as musicals go, and you have been in many, how would you rank this one in terms of the music, lyrics and choreography?

JE: It’s incredibly smart. Everything has to be precise for it to land and, when it does, it’s kind of genius. The writing, music and movement all support these beautifully strange, nuanced characters in a way you don’t see very often.

JI: What is the energy like with your fellow cast members?

JE: We genuinely love each other and it shows. We’re having a blast even when the material gets dark. There’s a real sense of trust and play, which you need for a show this zany and heartfelt.

JI: Why should people come and see the production?

JE: It’s one of those weird, wonderful shows that only works because it’s so specific and honest, it’ll surprise you, make you laugh, and hit you harder than you expect. Plus, it’s a Tony-winning piece that doesn’t feel like anything else out there, brought to life by an incredible local cast.

For tickets, go to artsclub.com or call 604-687-1644.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Dialing up the perfect thriller

Tyrell Crews and Emily Dallas in Dial M For Murder, mounted by Theatre Calgary in 2025. Crews and Dallas reprise their roles in the Arts Club Theatre Company and Theatre Calgary co-production now playing at the Stanley until March 8. (photo by Trudie Lee for Theatre Calgary)

What do a latch key, a handbag, a compromising letter, two blackmail notes and an unexpected telephone call have in common? They are the primary clues in what is supposed to be the perfect murder – you know, the one you get away with. This is the premise for the Arts Club Theatre Company and Theatre Calgary co-production of Dial M for Murder, now playing at the Stanley.

Frederick Knott’s 1952 play was adapted for cinema early on, with the 1954 thriller starring Grace Kelly and Ray Milland directed by the master of suspense himself, Alfred Hitchcock. About six ago, playwright Jeffrey Hatcher updated the story to add a contemporary and surprising twist. While the 1950s London setting has been preserved, giving it that quintessential British vibe, the cheating wife’s lover is now a woman – definitely a taboo to audiences of that era. Hatcher has also injected comedic moments and witty bon mots into the script, in contrast to the more noirish original.

This is not a murder mystery where the sleuthing detective ultimately exposes the culprit. In this iteration, we know from the beginning what the plan is, how it is to be executed and by whom – the only question is whether the perpetrator will get away with it.

It all starts when Tony Wendice (Tyrell Crews) discovers that his heiress wife, Margot (Emily Dallas), is having an affair with murder mystery writer Maxine Hadley (Olivia Hutt). Since he married Margot for her money, not love, he has no qualms about doing away with her to inherit her fortune. However, he does not want to do the dirty deed himself, so he blackmails a distant acquaintance from his past, Lesgate (Stafford Perry), to carry out the hit. Unfortunately, the plan backfires. Enter Chief Inspector Hubbard (Shekhar Paleja) of Scotland Yard, who, with Maxine’s assistance, attempts to recreate the murder scene to ferret out the mastermind behind the plot. But will they succeed?

Tony is front and centre of the narrative. At the beginning, he is in full control of the situation, callously planning the murder with painstaking attention to the details. He takes the art of manipulation to new heights. As his plan starts to unravel, we see the layers of his confidence peel away.

Crews commands the role of Tony and Perry ably portrays Lesgate’s nervousness and angst in confronting Margot with the news that he is about to kill her. Dallas, who portrays Margot in a rather subdued fashion initially, is sublime in her portrayal of the hunted housewife, taking the audience on a melodramatic roller-coaster ride of emotions. Flamboyant Hutt infuses the character of Maxine with intelligence, charm and sleek sophistication, and comes across as the smartest person in the room.

It is a testament to the abilities of these actors that such a small cast can pull off the highs and lows of this psychological thriller. They are assisted in this feat by a talented design team, including Jewish community members Itai Erdal, whose pinpoint lighting directs the audience’s attention to significant clues during scene breaks, and Anton Lipovetsky, whose sound design increases the suspense.

Then there is set designer Anton deGroot’s revolving turntable stage. All the action takes place in the Wendices’ sparsely furnished drawing room, which slowly and imperceptibly moves back and forth, providing the audience with different perspectives of the action and emphasizing the fluidity of the story. Even the walls and windows move, providing additional layers to the puzzle.

Jolane Houle’s costumes capture the essence of the stylish 1950s, elegant frocks for the ladies and tailored suits for the gents, all with colour palettes ranging from brown to blue to green that change with Erdal’s lighting. The ladies are perfectly coiffed and made-up à la that glamorous era. Jillian Keily directs her crew well.

This dialogue-dense production requires the audience to pay attention and focus on the various subtle clues that are dropped to determine if indeed Tony gets away with his deception and betrayal. It’s a cat and mouse game at its finest.

Dial M for Murder runs to March 8. For tickets, go to artsclub.com or call 604 687-1644.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Annie will warm your heart

Azaleah Korn plays the title role in Gateway Theatre’s production of Annie, which runs to Jan. 3. Neko is one of three dogs that plays Sandy. (photo by David Cooper)

If you want a warm and fuzzy holiday treat, see Gateway Theatre’s production of Annie. Set in Depression-era New York City, Orphan Annie and Sandy, a rescued dog, embark on a search for Annie’s real parents only to be caught up in a world full of mystery, lovable waifs, a kind-hearted billionaire bachelor, dastardly villains and a nasty headmistress who hates children. Even President Franklin Roosevelt makes an appearance, getting the FBI and Elliot Ness involved in Annie’s quest. All of this plays out against a backdrop of great songs and fancy footwork.

Azaleah Korn (highlighted in the JI last issue, jewishindependent.ca/see-annie-at-gateway) plays the plucky, wide-eyed, optimistic, red-headed 12-year-old Annie with panache and has a voice mature beyond her years. Her rendition of “Tomorrow” brought tears to my eyes.

You could not pick a better actor than dashing Charlie Gallant to play billionaire Daddy Warbucks. He exudes charm and sophistication but with a sense of vulnerability. Sarah Cantuba, as Warbucks’ personal secretary, Grace, and ultimate love interest (surprise, surprise), plays the role with calm confidence.

Jennifer Copping as Miss Hannigan, the orphanage’s flask-swigging, whistle-blowing matron, plays it big and in your face. Josh Graetz does a marvelous job as her brother, Rooster, as he conspires with her and his moll, floozy Lily St. Regis (Manuela Palmieri) to win the reward offered for information leading to Annie’s parents. Their “Easy Street” number is a showstopper.

The six supporting orphans span the spectrum from sweetly shy to tough as nails. Special mention goes to Elle Hanson, who plays the youngest, Molly, a mischievous little imp if ever there was one.

Even with a 19-person cast, most of the supporting actors have to take on multiple roles and do so admirably.

And, of course, the dogs. Three different dogs will play Sandy over the course of the run, all cute as heck. Opening night showcased Neko, who had the audience oohing and aahing every time he scampered on stage.

Ryan Cormack’s set starts out in the bleak orphans’ bunk room and transitions seamlessly (thanks to the nimble work of the cast) into the orphanage office, the streets of NYC, the Roxy theatre and the Fifth Avenue mansion of Warbucks. Each transition is accompanied by a lighting change courtesy of designer Sophie Tang, from the dark opening scene to the bright and festive final Christmas scene, a metaphor for the optimism that grounds the production and grows as the story unfolds. Nicol Spinola’s choreography is the icing on the cake.

The six-piece orchestra, under Sean Bayntun’s leadership, provides the upbeat and lively sound that drives this production, although sometimes the volume drowns out the actors’ words. Donnie Tejani’s costumes are bang on for the era: simple dresses, pinafores and pantaloons for the orphans, three-piece suits and fedoras for the gents, fancy frocks for the ladies and Shantytown chic for the hobos.

Although there were a few hiccups on opening night, they should work themselves out. Perhaps the best measure of the show’s success is the response of the audience, who leapt to their feet even before the closing notes of the finale.

Director Josh Epstein (also highlighted in the Dec. 5 JI ) is to be congratulated for bringing all the elements together in this heartwarming story of love.

Running until Jan. 3, tickets for Annie can be purchased at gatewaytheatre.com or by calling 604-270-1812.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

The Dark Lady enlightens

Arghavan Jenati as Emilia Bassano and Nathan Kay as William Shakespeare in Jessica B. Hill’s The Dark Lady, now playing at Bard on the Beach. (photo by Tim Matheson)

There has always been a controversy over whether William Shakespeare was the sole author of all his works. He penned 37 plays and 154 sonnets, with 25 of the sonnets referencing a “Dark Lady,” with raven black brows and wiry hair. Perhaps she contributed to his writing in more tangible ways?

Current thinking is that the Dark Lady was Emilia Bassano, a Jewish woman whose father was Italian and mother Moroccan. She was headstrong and wanted to find success in her own right – something unheard of in Elizabethan England. She was the first woman there to have a work published, her Salve Deus, Rexum Judaeum (Hail G-d, King of the Jews).

In The Dark Lady, playwright Jessica B. Hill invites audiences to imagine what could have happened if Bassano and Shakespeare had met, particularly early on in his career, around 1589. At that time, Bassano was also starting on her quest to be a published poet. Hill postulates that Bassano enchanted Shakespeare and became his muse, collaborator and lover – and bore his child.

Bard on the Beach brings this Canadian work to the Douglas Campbell Stage under the steady hand of director Moya O’Connell. With only two characters and 90 minutes long with no intermission, it is an opportunity for the audience to invest in the all-consuming tension, both intellectual and sexual, between the protagonists.

photo - Arghavan Jenati as Emilia Bassano and Nathan Kay as Shakespeare. The opening scene of Jessica B. Hill’s The Dark Lady, with the couple’s Elizabethan pas de deux is a precursor to their complex relationship dance — Arghavan Jenati as Emilia Bassano and Nathan Kay as Shakespeare. The opening scene of Jessica B. Hill’s The Dark Lady, with the couple’s Elizabethan pas de deux is a precursor to their complex relationship dance. *(photo by Tim Matheson)*

Bassano is an intelligent match for Shakespeare and has no difficulty exchanging witty repartee with him. She challenges him to portray his female characters in a stronger light. At one point, he tells her, “Collaborate with me, I need your mind.” And she willingly gives him the benefit of it. However, despite her contributions, she watches his career flourish while her work remains unrecognized. Ironically, her influence becomes apparent in Shakespeare’s later works, where he does pen female characters who defy traditional stereotypes.

After Shakespeare’s death in 1616, Bassano comes across his folio of published works and is surprised to find that many of his female characters are named Emilia – clearly a tribute to her – which surprisingly appears to satisfy her thirst for recognition.

Arghavan Jenati plays Bassano with passion and fury, while Nathan Kay infuses the Bard with the right mix of angst and joy. The opening scene with their Elizabethan pas de deux is a precursor to their complex relationship dance and its inherent power struggle. One memorable scene is their experiment with cross-dressing, as trousered Jenati becomes an aggressive alpha male and Kay an innocent maiden.

While I enjoyed both performances, Jenati was more one-dimensional in her presentation, while Kay provided a more varied interpretation. The dialogue, while mostly classical, is peppered with modern jargon. Throughout, there are references to Bassano’s Judaism, including her grandfather’s forced conversion to Catholicism, his translation of the New Testament into Hebrew, the persecution of her people and her placing of a stone on Shakespeare’s grave in the final scene.

Ryan Cormack’s sparse set is simple, a series of stacked crates containing various props and costumes. Flowing red silks become bed sheets for the lovers while a cape morphs from a picnic blanket to a shawl to a baby’s coverlet to a shroud. The lighting plays dark or light as needed. Bespoke music by composer and sound designer Anju Singh becomes the third actor in the play, as it accompanies the couple through their 30-year relationship. Alaia Hamer, the costumer, outfits Bassano in a whimsical white frock covered with a suede drawstring bodice while Kay is given a period look for a gentleman of his time.

This is a production well worth seeing. As artistic director Christopher Gaze notes in the press release, “The Dark Lady invites us to consider how stories are shaped and who gets to shape them.” Director O’Connell sees the play as “an opportunity to shine a light on Bassano and spend time in her orbit.”

Running on alternate nights with The Dark Lady on the small stage is the fast-paced, slapstick romp through all of Shakespeare’s plays and sonnets, The Complete Works of William Shakespeare (abridged) [revised][again]. Jenati and Kay, along with Craig Erickson and Tess Degenstein, share duties with a different combination of three of them taking the stage each night. Director Mark Chavez is at the helm of this irreverent take on the Bard’s repertoire.

On opening night, Kay, Erickson and Degenstein were on stage and were hilarious in their efforts to cover all of the Bard’s works in 90 minutes to avoid a penalty (an offstage voice counts down the minutes). Rife with contemporary references to all things Vancouver and Bard, the audience was in nonstop laugh mode from the start. The second act is all Hamlet, done forwards, backwards and upside down – a credit to the talented, energetic thespian trio. Warning: audience participation is part of the shtick, so you may not want to sit in the front rows.

Cormack’s set is lined with shelves of props from past Bard productions and Hamer brings back statement pieces from the past for the show. Jewish community member Anton Lipovetsky provides the sound design.

This show is probably the most fun you will have at Bard this season. And, if you’ve hated Shakespeare since your high school English classes, it might just change your mind.

For tickets to all the Bard shows, which run to Sept. 19/20, go to bardonthebeach.org or call 604-739-0559.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

The Mousetrap run extended

Beatrice Zeilinger, Zander Eke, Charlie Gallant, Anthony Santiago and Melissa Oei in The Mousetrap, which runs to Aug. 24 at Arts Club Theatre’s Granville Island Stage. (photo from Moonrider Productions)

You would be hard-pressed to find someone who did not know who Agatha Christie was, the most prolific mystery writer of all time. She gave the world those iconic detectives Hercule Poirot and Miss Marple. She also gave us The Mousetrap, the longest-running play, having been presented at St. Martin’s in London’s West End for 73 years (with only a brief hiatus during the pandemic) with 30,000 performances and more than 10 million tickets sold.

The Mousetrap is the quintessential 1950s British whodunit, and Arts Club Theatre Company has brought the production to its Granville Island Stage so Vancouver audiences can be part of its legacy – which includes an audience promise to keep the identity of the murderer a secret.

The action takes place in a remote, snowbound English guest house, Monkswell Manor, run by newlyweds Mollie (Ming Hudson) and Giles Ralston (Jay Clift). Five guests arrive to stay for a weekend amid the news of a woman strangled 30 miles away in London. When Detective Sergeant Trotter (Charlie Gallant) arrives on skis to advise the vacationers that the murder is somehow connected to them and one of them could be next, suspicions and accusations abound.

The guests are a cross-section of eccentric characters, starting with the verbose but vulnerable Christopher Wren (Zander Eke), a young wannabe architect; demanding former magistrate, middle-aged Mrs. Boyle (Beatrice Zeilinger), for whom nothing is good enough; Miss Casewell (Melissa Oei), a diehard feminist; and the retired Major Metcalf (Anthony Santiago). Add to the mix the unexpected guest, foreigner Mr. Paravicini (Andrew McNee), whose Rolls Royce just happens to break down on the road leading to the manor, and the drama begins. Staircases are tramped, doors slammed, curtains yanked, phones go dead and, as the stage darkens, one of the guests is murdered in the parlour.

Trotter starts the usual questioning of all suspects – including the now cliché, “Where were you when the lights went out?” – and sets out to reconstruct the crime in the hope of trapping the murderer. Dribs and drabs of information trickle out regarding each of the guests’ pasts, confirming that any one of them could have “dunit” but who did do it? And it’s possible there could be a third murder – cue the children’s nursery tune “Three Blind Mice,” which hauntingly reverberates throughout the play.

This is a real ensemble cast and all the actors are terrific in their roles; all have mastered their English accents, which provides added authenticity to the production. However, special mention must be made of Gallant, as well as Eke, with his quirky mannerisms; McNee, with his Italian accent, whose witty comments inject light-hearted levity into what appears to be an ominous situation; and Hudson, with her quiet but determined demeanour as she strives to be the perfect hostess amid the chaos.

The set by Patrick Rizzotti is spot on as a posh country house, with its rich, brown wall paneling; large, curtained windows; an ornate chandelier; potted ferns; brick fireplace, with the obligatory roaring fire; and plush brocade furniture.

Jewish community member Itai Erdal’s lighting design spans the spectrum, from warm light to dark voids, providing the right mood for the right moments.

Nancy Bryant’s costumes reflect the classic elegance of the 1950s, with three-piece suits, long overcoats and fedoras for the men and tailored suits, dresses or pants for the women.

In a YouTube interview, director Stephen Drover said he wanted to keep the play as authentic as possible, without any adaptations, and so was just doing it as written. His advice to the audience: don’t just watch it, solve it. At the end of the play, one of the actors exhorts the audience to keep the murderer’s identity a secret so that others can have the experience of figuring out the puzzle.

I saw The Mousetrap at St. Martin’s in London 20 years ago and I can say that this production is just as good. You don’t have to go abroad to see good theatre. You can stay right here at home. The play has had its run extended to Aug. 24. Tickets can be purchased at artsclub.com or from the box office at 604-687-1644.

Don’t miss this opportunity to be part of history and enjoy an evening of gentle entertainment – and please remember to keep the ending a secret.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

* * *

Fun facts about Mousetrap

The Mousetrap was originally written by Agatha Christie as a short radio production for Queen Mary’s 80th birthday in 1947, and titled Three Blind Mice.

Christie, when asked about The Mousetrap’s potential longevity, thought the play would only run for about six months before it closed.

Christie’s estate has a provision that no movie can be made of the play until it stops running in London. That may not happen for a very long time.

– TK

Bard mounts two comedies

Jennifer Lines as Beatrice and Sheldon Elter as Benedick in Bard on the Beach’s production of Much Ado About Nothing. (photo by Tim Matheson)

For a Vancouver summer experience, almost nothing beats an evening at Bard on the Beach. The appearance of the red and white tents in Vanier Park signals the start of the Shakespearean season. This year, two comedies – Much Ado About Nothing, done in its proper period, and Two Gentlemen of Verona, set in the 1980s – are featured alternating days on the BMO Mainstage.

There was much excitement in the air on Much Ado’s opening night. From the moment I walked into the tent and saw the stunning set (kudos to Pam Johnson), I knew I was in for a treat. The scene is 17th-century Mediterranean Messina with an elevated balcony, vined pillars, terraced gardens and a flagstone wishing well, all drenched in a cornucopia of brilliant colours.

One of the Bard’s most entertaining comedies, the story revolves around two couples, one young and naïve, for whom love is just one romantic whisper away, and one mature and skeptical of what love can bring into their lives. Jennifer Tong and Angus Yam play the young Hero and Claudio while Jennifer Lines and Sheldon Elter, the more experienced Beatrice and Benedick.

The action starts off with a trio of soldiers, Don Pedro (Matthew Ip Shaw), Benedick and Claudio, who, upon returning from battle, stop to rest at the home of Lord Leonato (David Marr), Hero’s father and the governor of Messina. There is instant chemistry between Claudio and Hero, but, while it initially appears that the younger couple will be the main protagonists, it becomes apparent that the play is really about the older two. Lines, with her mass of red hair, comes across as a fiery feminist and is sublime in her role as she exchanges witty bons mots with Elter’s Benedick, a confirmed bachelor. They both mock love and he makes it very clear that marriage is not on his agenda. However, they both “doth protest too much” and it really comes down to “will they or won’t they?”

The journey to their final epiphany is a furious romp through a masked ball (with an erotic pas de deux), mistaken identities, athletic eavesdropping, false allegations of infidelity and a faked death. The language is peppered with double entendres.

Don Pedro attempts to play cupid (“some cupids kill with arrows some with traps”) for both couples but is hindered by his dastardly half-brother Don John (deliciously played by Karthik Kadam), who tries to sabotage the Hero/Claudio nuptials. Cue a motley crew of the local watch, helmed by Bard veteran Scott Bellis as the inept Constable Dogberry, who are tasked with bringing Don John and his co-conspirators, Borachio (Tanner Zerr) and Conrad (Kristi Hansen), to justice. Steffanie Davis, as one of the watch team, entertains with priceless facial expressions and physical antics and, along with her cohorts, injects slapstick comedy into this rom-com.

A prologue precedes the first act, with the inclusion of text written by Erin Shields that is meant to provide a counterpoint to 400-year-old misogyny, including with respect to a woman’s supposed holy grail – the snaring of a husband. Lines challenges the audience with her passionate monologue while Tong mimes the actions from the balcony. As Shields notes in the program, “this additional text both gives an opportunity for a limited character to reach her heroic potential and provides a framework for this incredibly successful comedy to reach contemporary audiences in an even deeper way today.”

In addition to the gorgeous set, the show boasts fabulous costumes by designer Mara Gottler – leather doublets and earth-toned breeches for the men, corset frocks for the women, including frothy gowns and veils for the wedding scene. Jewish community member Mishelle Cuttler provides the sound design.

The production is fun – and it makes a powerful statement. But I have a problem with the script and the suggestion that virginal Hero might risk her marriage to Claudio by having a pre-wedding night tryst with someone else, and with Claudio’s readiness to believe the gossip, leading him to abandon her at the altar. Her subsequent fainting “death” and ultimate resurrection, leading to their reunion, does not account for the wrong that was so easily done to her. Even her final monologue, describing her pain and path to reconciliation, does not ease the blow.

The Much Ado cast shifts gears on alternating nights and pivots to 1980s Verona, with all the colour and decadence that entails.

photo - Matthew Ip Shaw as Valentine, Agnes Tong as Silvia, and Tanner Zerr as Turio in Bard’s production of Two Gentlemen of Verona — Matthew Ip Shaw as Valentine, Agnes Tong as Silvia, and Tanner Zerr as Turio in Bard’s production of Two Gentlemen of Verona. *(photo by Tim Matheson)*

In Two Gentlemen of Verona, best friends Proteus (Jacob Leonard) and Valentine (Ip Shaw) separate, as Valentine goes to Milan to find excitement while Proteus stays behind to be with his girlfriend Julia (Tess Degenstein). However, Proteus’s parents, Antonio (Craig Erickson) and Ursula (Jennifer Clement), think it best that he follow his friend to Milan, to stay out of trouble. So, off he goes with his manservant Launce (a terrific Bellis) in tow and Crab, Launce’s dog (Mason in real life and artistic director Christopher Gaze’s own yellow Lab). As expected, Crab steals every scene he is in, without making a sound. On opening night, he even stopped to nuzzle some front row patrons as he exited the stage.

Valentine, on arrival in Milan, is immediately smitten with Silvia (Tong), the daughter of the Duke (a mafiosi-like Elter). When Proteus arrives, he conveniently forgets about his girlfriend Julia and is equally taken with the glamorous femme. So, when Valentine tells his best bud that he intends to elope with the duchess, Proteus, to have Silvia for himself, tells the Duke. After all, as Proteus states, “in love, who respects friends?” Meanwhile, the Duke wants Silvia to marry Trurio (Zerr), although who knows why, because he comes across as a big, dumb athlete.

Valentine is banished from Milan and Proteus attempts to woo Silvia, who makes it quite clear that she is not interested. Julia arrives, disguised as a man, to check up on her boyfriend and the fun/intrigue begins with swapped rings, torn love letters and a gang of Gothic outlaw rockers armed with various weapons, including a chainsaw, who intervene and provide for a surprising ending.

The production values are high and the designers have done a great job in creating a 1980s vibe, from Johnson’s multi-arched set to Gerald King’s lighting design. Costume designer Carmen Altorre highlights exercise leotards and leggings à la Jane Fonda, padded shoulders, caftans and tennis whites, as well as Miami Vice pastel-coloured suits to clothe the posh crowd. Of course, there is the hair – voluminous back-combed dos for the women and mullets for the men. A lot of the action takes place around the pool house, with props including a floating pink swan, multi-coloured beach balls, boom boxes and skateboards.

Malcolm Dow’s sound design brings back all the 1980s oldies and goldies, including theme songs from Dallas and St. Elmo’s Fire, with some funky choreography courtesy of Nicole Spinola.

Director Dean Paul Gibson has taken liberties with the script and not just a nip and tuck here and there, but major surgery, particularly with the ending. Purists may be appalled but the #MeToo generation will applaud the final scene.

Running on the smaller Douglas Campbell stage are The Complete Works of William Shakespeare (abridged) [revised] [again], a 90-minute romp through all 38 Shakespeare plays and 150-plus sonnets, including a version of Hamlet done backwards, and The Dark Lady, about Shakespeare’s supposed muse, collaborator and lover, Emilia Bassano, a Crypto-Jew.

For tickets, visit the website bardonthebeach.org or call 604-739-0559. The festival runs to Sept. 20.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

A Dickens of a musical

Anthony Santiago, at front, plays Fagin in Gateway Theatre’s production of Oliver!, which runs until Jan. 4. (photo by David Cooper)

Charles Dickens wrote Oliver Twist in 1837. His eponymous main character, an 11-year-old orphan, has the audacity to ask for more when the workhouse daily gruel is handed out, leading to a series of events that change his life forever. And local audiences will be asking for more, more, more of Gateway Theatre’s offering of Oliver!, the musical “freely adapted” from Dickens’ novel by Lionel Bart, which plays until Jan. 4.

A beloved classic, the 1968 screen adaptation of Oliver! won the Academy Award for best picture of the year. A revival of Bart’s work is currently playing in London’s West End to widespread acclaim. I predict the same for this production.

The story revolves around Oliver’s journey through the gritty underworld streets of Victorian London, from being an impoverished orphan sold to apprentice a cruel undertaker, to his secondment to a gang of street urchins under the tutelage of Fagin “the Jew” and, finally, a reunion with his well-to-do family.

Community member Josh Epstein ably directs his 24-person cast, a superb mix of professional and amateur actors (including 11 children), as they enthusiastically sing, dance and cavort their way across Ryan Cormack’s handsome set.

On the dark side of the original story is Dickens’ portrayal of Fagin as a venal, sinister, petty criminal who runs a den of adolescent thieves, teaching them to pick the pockets of London’s elite. Dickens refers to Fagin as a Jew more than 250 times, mostly in a negative way. He defended his choice by stating that he was just reflecting the reality of the time – that London underworld criminals were almost invariably Jewish. Some say he based the character on Ikey Solomon, a notorious Jewish fence. Over the years, consistently called out by Jewish community members for antisemitism, Dickens eventually apologized and edited out the negative references. Bart, who is Jewish, downplayed any stereotypes of Fagin in his rewrite.

In Gateway’s production, you would not even know that Fagin, played by Anthony Santiago, is Jewish, although, in his one solo, “Reviewing the Situation,” the klezmer-inspired clarinet accompaniment hints at a connection. Even as Fagin salivates over his cache of jewels, overall, he comes across as a lovable rogue, not the sleaze Dickens originally described. On opening night, I asked Epstein about this characterization. “I did not want to make a Jewish caricature of him,” said Epstein. “I wanted the show to be something entertaining and deep without that aspect.”

While this is truly an ensemble production, a number of actors stand out. Many of the veterans take on multiple roles, gliding effortlessly from one to the other.

Miranda MacDougall, who can really belt out a song, does double duty as Nancy, one of Fagin’s accomplices, a kind-hearted strumpet, and Mrs. Sowerberry, the undertaker’s wife. She also carries off a pretty good Cockney accent.

Tanner Zerr plays Nancy’s churlish beau Bill Sykes, whose cruelty leads to murder and his ultimate demise. One wonders what Nancy sees in this violent partner and why she stays with him. The answer comes in her poignant rendition of “As Long As He Needs Me,” which brought tears to my eyes. Zerr also doubles as Mr. Sowerberry in a very funny funeral scene and chorus line dance, including a spry corpse – Kate Malcic.

Santiago is simply fantastic as Fagin. Lucas Gregory as the Artful Dodger, the leader of Fagin’s gang, has a very physical role, as he slides down poles and climbs up and down ladders. I hope he can make it through the three-week run without an injury.

Then, of course, there is Rickie Wang as Oliver. Wang gives a sublime performance and showed his singing talent with “Where is Love?”

More minor characters, Victor Hunter, as Mr. Bumble, the beadle, and Cecilly Day, as Widow Corney, delight in a raunchy two-hander that had the audience in stitches. Daniel Curalli plays Mr. Brownlow, who turns out to be Oliver’s uncle, with the appropriate gravitas, and Suani Rincon does a nice job as Bet,

Nancy’s friend. All the gang kids, from the tallest to the smallest, are great and perform with gusto.

A musical of this scope is nothing without the behind-the-scenes work of the creative team. In this production, they really deliver.

Cormack’s industrial two-storey wrought-iron set constantly revolves, morphing from a workhouse to Fagin’s hideout to a posh London salon to London Bridge. Frenetic activity accompanies each revolution with various cast members running to and fro.

Lighting designer Sophie Tang’s rich colours infuse the various sets, providing the mood for each scene.

The costumes of Donnie Tejani authentically reflect the Victorian era – the rustling petticoats of the ladies, the tattered frocks and knickers of the children’s gang, Fagin’s patchwork overcoat, and fancy waistcoats and trousers for the gentlemen.

Against the backdrop of all of these designs, choreographer Nicol Spinola gets her young charges hoofing away to musical director Sean Bayntun’s impressive six-piece orchestra. With iconic songs like “Food, Glorious Food,” “Consider Yourself One of the Family” and “Oom Pa Pa,” what’s not to like?

My only complaint is that the hidden orchestra often overpowers the actors (although they are all wearing microphones) so that many of the lyrics are lost. Hopefully, over the course of the run, this will be corrected.

In program notes Epstein remarks: “Directing Oliver! has been an incredible opportunity to reimagine a story that has resonated for generations. While it’s a tale of resilience and hope, it also confronts the harsh realities of poverty, abandonment, and the search for belonging. For this production, we’ve worked to see the story through Oliver’s eyes, capturing the vivid and fantastical way children remember moments.

“This isn’t a softened version of Oliver!, it’s raw, unflinching, and a true dark fairy tale. It’s a story about finding light in the darkest places and holding onto hope when it feels out of reach.”

I highly recommend this delightful musical, suitable for ages 10 and up. Tickets can be purchased at [email protected] or by calling 604-270-1812. Special performances include VocalEye audio description for guests with visual impairments (Dec. 28) and a relaxed performance (Dec. 21).

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Plays offer understanding, release

Dromio in The Comedy of Errors. Bard on the Beach runs into September. (photo by Tim Matheson)

Every day, we are bombarded with news about war, hate, crime, inflation, the list goes on. How to make sense of it all? Often, good theatre can provide deeper meaning and understanding of the world, or at least offer us a break from the world. Cue Shakespeare and his 400-year-old lens that is remarkably accurate in contemporary times…. And that takes us to Bard on the Beach.

Last issue, I reviewed Bard’s productions of Twelfth Night and Hamlet (jewishindependent.ca/bard-plays-with-tradition). This issue, I start with Measure for Measure, then move to The Comedy of Errors.

In Shakespeare’s Measure for Measure, the Duke of Vienna has enacted laws outlawing sex between unmarried couples. He then leaves the city in the control of puritanical Angelo and disguises himself as a friar to observe what happens. A young man, Claudio, is prosecuted for the crime of impregnating his girlfriend and is sentenced to death. When the condemned man’s virginal sister, Isabella, a novitiate in a local nunnery, comes to plead for his life, Angelo is smitten. He offers to save Claudio’s life if Isabella will sleep with him. What a great platform to explore the male hierarchy, corruption, sexual predators, coercion and authoritarian control.

photo - Tal Shulman as Abhorson in Measure for Measure — Tal Shulman as Abhorson in Measure for Measure. *(photo by Tim Matheson)*

In the Bard production, director Jivesh Parasram has taken the story and, in an absurdist twist, made premarital dancing the offence punishable by death. The setting: the disco-crazed 1970s and ’80s, in the glitzy Club Europa. Act 1 opens with hooded monks frenetically dancing on a neon-lit dance floor replete with a disco ball, presided over by a silver-clad, fox-head-wearing DJ (Jewish community member Tal Shulman, who later does duty as the black-hooded executioner, Abhorson). The Duke (a superb Scott Bellis) rips off his monk robes to reveal a sparkly suit as he dances his way over to Angelo (a staid, suspendered Craig Erickson) and hands him authority over the city. The edict is given – tansen verboten (dancing forbidden) – but that does not stop an erotic pas de deux between Claudio (Jeremy Lewis) and Julietta (Tess Degenstein), leading to Claudio’s arrest and imprisonment.

When Isabella (Meaghan Chenosky) is told of her brother’s fate by Lucio (Karthik Kadam), she rushes to Angelo’s office. At first, she is rebuffed but then Angelo offers her Claudio’s life in return for a dance. She grapples with the request, wanting to save her brother’s life, but refuses, threatening to expose Angelo’s hypocrisy. His response: no one will believe her. Sound familiar?

To save Claudio’s life and retain Isabella’s chastity, a plan is hatched to switch Mariana (Leslie Dos Remdios), Angelo’s previous lover, to dance with the cad. A huge panda bear head is part of the subterfuge.

Meanwhile, there is a side story of two “dance hall workers,” who are worried about the morality laws and the impact they will have on their “business.” The pair become involved in the plot to free Claudio. For how it all ends, you’ll have to see the play.

Throughout the production, the foxy DJ pops up to play the hit tunes as the cast busts out into various, often raunchy, dance moves. Kadam also plays Master Kevin Bacon and performs some impressive footwork to the theme song from the movie Footloose.

The set is fab (thanks to designer Ryan Cormack), the costumes hip (credit to Alaia Hamer), the dancing energetic (kudos to choreographer Krystal Kiran) and the oldies but goodies nostalgia-inducing. If the opening night audience reaction is any measure of its success, Bard’s take on Shakespeare’s “problem play” is destined to be the hit of the season. It certainly will bring in a younger crowd.

***

Playing on alternate nights with Measure for Measure (and with the same cast) is Shakespeare’s shortest work, The Comedy of Errors, about two sets of identical twins separated at birth in a shipwreck. Egeon (Bellis), a merchant from Syracuse and father of one of the sets of twins, has been arrested and sentenced to death in Ephesus for breaking a law that prevents people from traveling between the two cities. Seeking leniency, he tells the Duke (Degenstein) why he is there. Many years before, he had a wife and identical twin sons (both named Antipholus), who had identical twin servants (both named Dromio). During the shipwreck, he saved one son and his servant while his wife and the other son and servant were washed away. His Syracusean son, Antipholous, has taken Dromio to look for his lost brother. Now Egeon is looking for both his sons. A 24-hour reprieve is granted. Conveniently and unbeknownst to anyone, both sets of identical twins are in Ephesus. Of course, that sets the scene for confusion, mistaken identities, slapstick humour and hilarious miscues. There even is a goofy exorcism.

Director Rebecca Northan (who helmed last year’s Goblin Macbeth) has set the play in its proper period, ancient Greece. Once in the tent, you feel like you are in an open Mediterranean market with colourfully decked out vendors hawking their wares – silks, carpets, gold – mingling with the audience as they take their seats.

Northan has chosen to have one actor play both twins in a set, which can be confusing and will keep you on your toes. Lanky Antipholus (Lewis) wears a red and blue shoulder sash. When the red side is showing, he is from Syracuse; the blue, Ephesus. Meanwhile, diminutive Dromio (Shulman) also uses red/blue swatches to signal his identity. Shulman is very funny and his talent is evident as he frantically races around the stage, and in and out of the tent.

The main confusion surrounds the purchase of a gold chain that has yet to be paid for although money has been tendered. Where is the necklace? Who has the money? Who paid for what?

The second area of confusion is the relationship between Ariana (Chenosky), the wife the Ephesian Antipholus and her husband, who likes to “go out with the boys.” When she sends her servant to fetch him home and finds that he does not recognize her (wrong twin) and that he has fallen for her sister, Luciana (Cynthia Yusuf), she explodes. In all of this, Kadam, playing both a coquettish courtesan and an Urdu-speaking merchant, steals the show. I wish he had been on stage more.

As usual in any Bard comedy, all’s well that ends well and all becomes clear. Tying everything together is great behind-the-scenes work: the set (Cormack), costuming (Christine Reimer), sound design (Ben Elliott) and lighting design (Hina Nisihoka). My only complaint is that, as the actors did not have microphones, some of the dialogue is lost. And some of the shtick works and some does not, but it is in the name after all – a comedy of errors. Come early to take advantage of the artisan market set outside the performance venue.

For tickets to any of the four Bard productions, visit bardonthebeach.org or call 604-739-0559.

Tova Kornfeld is a Vancouver freelance writer and lawyer.