Arts & Culture – Page 100

Going beyond clothing

Donna Karan’s Urban Zen includes pieces to be worn year-round. But the project is grander than a fashion line – it is a broader approach to life that she hopes will speak to many people. (photo from fashionmodeldirectory.com)

With the sun finally out for days running, spring has truly sprung. We can now satisfy the urge to take out our colours from the back of our closets. That bright pink silk blouse in its garment bag is once more seeing the light. Whatever the current look may be, nothing compares to feeling at home in our classics; those pieces that are, at least to us, forever “in.”

In 1985, Donna Karan introduced to the world of fashion the “Essential Line.” In her first private collection, there were seven simple pieces that continue to be timeless. These include the oversize sweater, a bodysuit, jersey dresses, Lycra tights (no longer just for exercise class), a white shirt, loose trousers and a tailored jacket. Over the years, she would incorporate new pieces, in her go-to favourite colour, black.

Karan, born Donna Ivy Faske, in 1948 in New York, was raised by a fashion-model mother and suit-designer stepfather – she was practically destined to have a lifelong career in fashion. The many awards she has received are but one proof of her talent for it.

At the age of 14, Karan quit school and embarked into that world, working in a boutique. At 20, she was accepted into the renowned Parsons School of Design. After graduating, she became, at 26 years old, head designer of the Anne Klein fashion house.

In 1984, Karan divorced her first husband, Mark Karan, and married Stephen Weiss. With full force, she began her own label. The line was geared to “design modern clothes for modern people.” She wanted to create clothing that she herself would wear and in which she would feel comfortable.

After dressing the likes of her best friend, Barbra Streisand, many A-list Hollywood stars and high-powered women in politics, Karan launched a new brand in 1988, DKNY, a line of less-expensive clothing. Seventeen years later, her business expanded into a men’s fashion line, fragrances, bedding. She also wrote a memoir, The Journey of a Woman: 20 Years of Donna Karan, among other accomplishments.

Karan’s Urban Zen came to fruition in 2001. While watching her beloved husband lose his battle to lung cancer and experiencing the sale of her empire to the multinational LVMH (where she stayed on as head designer until 2015), Karan learned that everyone must “find their calm in the chaos around the world.”

Urban Zen includes pieces to be worn year-round. But the project is grander than a fashion line – it is a broader approach to life that she hopes speaks to many people.

Karan believes it is fundamental to blend Eastern healing together with Western science. While watching her husband undergo chemotherapy, Karan found mediation, yoga, acupuncture and other holistic remedies essential for healing, and for acquiring some sense of inner peace. She built a harmonious sanctuary in the hospital where her husband was being treated, Beth Israel Medical Centre in New York. The sanctuary is a place for patients, loved ones and staff to go to recover from broken spirits and find solace. Its philosophy and practices have helped ease suffering to such a degree that, now, many hospitals and hospices have adopted its methods. The concepts are taught to doctors and nurses through Karan’s foundation, UZIT, Urban Zen Integrative Therapy Program.

On a personal level, this fashionista-writer, who has always loved and appreciated the fun of fashion, also experienced an “aha” moment while researching this article. Being a cancer survivor and having overcome some unwanted surprises life has thrown my way, this spring, I am determined to embrace perfecting my downward dog as much as finding my new bag – devoting time to practising gratitude and investing in my most important asset, me. My tranquility and health are more important than any blouse.

Ariella Stein is a mother, wife and fashion maven. A Vancouverite, she has lived in both Turkey and Israel for the past 25 years.

Big dreams, challenges

Eden Lyons as Emory (seated) and Nathan Cottell as Linda in Awkward Stage Production’s MilkMilkLemonade, which runs May 23-26 at CBC Studio 700. (photo by Javier Sotres)

True to form, Awkward Stage Production’s upcoming show, MilkMilkLemonade by Joshua Conkel, will challenge and entertain audiences.

“Eleven-year-old Emory dreams of two things – leaving his farm for Mall Town, U.S.A., and going on Star Search. His grandmother wants him to be a normal boy and be friends with Elliott, the tough boy from down the road. Meanwhile, Linda, his depressed best friend, dreams of surviving to the next dawn,” reads the synopsis, noting that Linda is a giant chicken who does stand-up comedy and that the show includes the music of Brittany Spears, Spice Girls and Nina Simone.

Jewish community member Eden Lyons plays Emory. With Arts Umbrella Pre-Professional Troupe, she played Mrs. Tottendale in The Drowsy Chaperone in 2016 and Hope Cladwell in Urinetown last year. Her resumé includes stilt walking as a special skill.

“I’ve been interested in acting and musical theatre for as long as I can remember, I was a very attention-hungry child,” Lyons told the Independent. Nevertheless, it wasn’t until her role in Urinetown that she knew she wanted to make a career of performing.

Born in Hamilton, Bermuda, Lyons has lived in Vancouver since she was 3 years old. She attended Vancouver Talmud Torah from preschool to Grade 7 and graduated from Point Grey Secondary School last June. When she left VTT, she said, “I felt somewhat disconnected to the idea of the Jewish community. Maybe because I didn’t feel I belonged from a gay perspective, because I always saw Judaism as more of a conservative traditional thing, as opposed to the ever-changing and loving thing I see it as now. In lots of ways, I feel my safest in the Jewish community.”

A sense of safety is particularly relevant to MilkMilkLemonade, which contains sensitive and explicit material. Producer and choreographer Erika Babins – also a member of the Jewish community – said the play “walks a fine line of comedy and heavy subject matter. Emory is subject to bullying at school because of his effeminate nature. Elliot attempts, and often fails, to reconcile his friendship and attraction to Emory with the internalized homophobia and misogyny that he was raised with. There are both scenes of intimacy and violence in the piece.

“We began rehearsing this play,” she said, “in the wake of controversy in the Canadian theatre community regarding directors and companies crossing professional boundaries in their rehearsal halls in the name of creating art. It brought to light a lot of practices that many theatre artists take for granted as part of the industry and certainly needn’t be. At the beginning of our rehearsal process, we outlined specifically what was deemed appropriate behaviour in rehearsal and what would not be tolerated, in order to create a safe environment for everyone. Actors have to be extremely vulnerable to create situations with physical intimacy and it is the job of the theatre company and the creative team to create and enforce that environment.”

Co-starring with Lyons are Demi Pedersen (Elliot), Stefanie Michaud (Lady in a Leotard), Sachi Nisbet (Nana) and Nathan Cottell (Linda). The producer is Sarah Harrison and the rest of the team is stage manager Laura Reynolds, light/sound designer Andie Lloyd, costume/prop/set designer Alaia Hamer, graphic designer Julia Lank and promotional photographer Javier Sotres.

“The age range of the cast is between 18-27,” said Babins. “All the cast members and creative team on this project are emerging artists.”

Winning the role of Emory came as a surprise to Lyons.

“When I went in for the MilkMilkLemonade auditions, I didn’t even think I would get cast at all, as I hadn’t yet been in a professional show and all I had gotten until then was a string of rejection emails,” she said. “When I got my email for MML, I was at work and I cried in the bathroom and called my parents saying, ‘Maybe I’m not a terrible actress after all!’ This is my first show with Awkward Stage, and I am really thankful that they are the first company I’m working with in my professional career.”

When asked what were the most challenging and fun aspects of playing Emory, Lyons said, “It was a challenge for me to get past my fear of being the youngest in a cast, especially since all of them have already graduated theatre school and worked professionally for years. It was also difficult to find the physicality for acting like a kid, and the balance between me being a woman, who’s playing a little boy, who is actually a little girl. Lots to unpack there. Emory is a really fun role because I get to play around and throw little tantrums and scream, and basically just be a kid. It offers me a lot of freedom to try new things.”

And Lyons is working on many new things in addition to this production.

“I’m currently assistant directing Oklahoma! with the Arts Umbrella Pre-Professional Musical Theatre troupe, which is playing at the Waterfront Theatre from May 18th to 26th, and I am assistant directing and associate producing Jasper in Deadland with Awkward Stage for the Vancouver Fringe Festival in September,” she said. “In the fall, I am moving to Toronto to attend Randolph Academy for Musical Theatre.”

While there is no specific target audience for MilkMilkLemonade – “There are pieces for all ages and walks of life in it,” said Babins – due to the subject matter, she said, “we do advise parental discretion for children under the age of 12.”

MilkMilkLemonade is at CBC Studio 700 May 23-26, 8 p.m., with a 2 p.m. matinée on May 26. Tickets ($20) are available at awkwardstageproductions.com/milkmilklemonade.

The power of music and love

Ted Littlemore, in Orfeo ed Euridice, the research for which will be presented by Idan Cohen and Ne. Sans on May 13 at the Dance Centre. (photo by Ted Littlemore)

A relatively recent arrival in Vancouver, Israeli choreographer and opera director Idan Cohen is already making his mark. On May 13 – with the support of the Dance Centre, Arts Umbrella and Vancouver Academy of Music – Cohen and Ne. Sans will present Orfeo ed Euridice, a glimpse into Cohen’s reenvisioning of Christoph Willibald Gluck’s opera.

The myth of Orpheus is a story of love. Poet and musician Orfeo mourns the death of his wife, Euridice, and he determines to get her back from Hades. With the intervention of Amor (Cupid), the god of love, Orfeo heads into the Underworld, gaining entry by winning over the Furies with his music, and he is reunited with his wife. However, Amor has set a condition – Orfeo must not look at Euridice, or explain why he is not doing so, until the two are back on earth. It’s a condition Orfeo breaks when Euridice begins to doubt his love and begs for a glance to assure her. When he gives in, Euridice dies again and Orfeo, grief-stricken, resolves to kill himself so that he can be with her. In the face of such love, Amor intervenes once more, to save both Euridice and Orfeo, and return them to earth.

“This opera was created in 1762 and, for me, a significant part of directing a classic opera is the studying of the values that originally inspired the music and the performance,” Cohen told the Independent. “Looking at concepts of novelty and tradition and respecting those as the DNA of this creation was quite valuable in my creative process. At the same time, those are values that are violent, discriminative and often quite outdated. One clear example that I personally find fascinating is the fact that Orfeo ed Euridice was originally written to be performed by a male castrato. Nowadays, it is often performed by a female mezzo-soprano or a male singer singing in a falsetto technique, but, for me, the history of the castrato and the violence that history entails against the human body is an example of difficult questions and issues that are a part of the time this opera was created in.

“It is even more fascinating and relevant,” Cohen added, “since the mythological story of Orpheus presents to us a musician and a poet who had the ability to enchant all living creatures through his musical gift. Orpheus’s strength was art and, hence, he is the ultimate representation of art and the artist. So, in Orfeo, these values can be represented in the most honest, vulnerable way, exposing their inner human truth and the limits through which we define and accept artistic beauty.”

Cohen grew up in Kibbutz Mizra in the north of Israel, but lived in Tel Aviv for 10 years before coming to Vancouver with his partner about a year ago. “When we got here, I completely fell in love with the city, the nature, the people,” said Cohen.

“Besides the personal reasons that brought me here,” he said, “I’m finding Vancouver’s arts scene most inspiring, and the city was very welcoming to me. I’ve received this wonderful DanceLab residency at the Dance Centre, I have been creating for Arts Umbrella’s pre-professional program, led by Lesley Telford, and with Modus Operandi, directed by David Raymond and Tiffany Tregarthen. These great artists invited me to teach and create when I just got here, and I immediately felt at home.

“Also, for the past years, I have been interested in directing opera through dance and movement … [and] there is so much going on in the city both in opera and in dance – I feel I have something to contribute to this city’s rich arts scene by fusing the two. Historically, they do belong together.”

As well, said Cohen, “living in Vancouver makes traveling so much easier and, when you travel often, this can be very convenient and helpful. This June, I will present at the Seattle International Dance Festival with Ne. Sans, my new Vancouver-based society, and, on the following day, will catch a flight to go to Sydney to present work in Sydney and Newcastle.”

According to Cohen’s website, Ne. Sans “is a home for the research and creation of work that seeks to deepen and reconnect opera and dance.” And this melding “opens a whole new world of collaborative opportunities: a space that involves working with singers, dancers, musicians, visual artists and designers.”

“Directing an opera like Orfeo ed Euridice through dance is a huge task that requires a tremendous amount of preparation,” said Cohen. “This opera was created 256 years ago, but has kept its immortality through its beautiful music and a story so rich, layered and full of depth.”

As he enjoys exploring operas with dancers in the studio – “It’s a great way to get intimate with the music, through the body” – Cohen said, “I’ve started this process by creating a 20-minute duet that was inspired by Orfeo ed Euridice, using parts of Gluck’s music and the main ideas behind the story, and translating those to pure dance. The dramaturgy of that dance piece was inspired by the opera and its libretto [by Ranieri De’ Calzabigi]…. But, looking at it closely and breaking it apart in the studio presented an opportunity to create a more abstract version of the story, in dance form. Fortunately, it was very well-received and won an award from the Be’er Sheva Fringe Festival, in Israel’s Negev.”

The presentation at the Dance Centre “will be performed by 18 singers from VAM [Vancouver Academy of Music] Schola Cantorum chorus, conducted by Kathleen Allan; six dancers from Arts Umbrella’s pre-professional program; two amazing dancers/musicians, Ted Littlemore and Jeremy O’Neil; and mezzo Debi Wong [director of re:Naissance opera company]. It’s a rather big cast for what I’m hoping will be an honest, pretty direct sharing of the research and ideas that will then be transformed into the ‘real deal,’ the full opera production.”

The Orfeo ed Euridice presentation is open to the public and is free of charge. It takes place in the Dance Centre’s Faris Family Studio May 13, 3 p.m. RSVP to ne.sansopera@gmail.com to reserve a seat.

JCC Book Fest awards given

Western Canada Jewish Book Award 2018 winners, left to right: Roger Frie, Deborah Willis, Kathryn Shoemaker and Irene Watts. Missing: Tilar Mazzeo. (photo by Cynthia Ramsay)

Deborah Willis became a writer, in part, because it is a way “to learn about the things that you’re curious about.” Irene N. Watts and Kathryn E. Shoemaker were motivated to reimagine a decade’s-old story in light of its relevance to pressing issues of today. And, in his latest work, Roger Frie found a way to discuss a past for which, previously, “the words were missing for how to speak about it.”

The Western Canada Jewish Book Awards, presented by the Cherie Smith JCC Jewish Book Festival, took place on April 26. Self-proclaimed book lover Daniella Givon, who is part of the JBF committee and was chair of the awards committee, introduced the evening.

“As I looked for ways to enhance the Jewish Book Festival,” she said, “I had a vision that book awards would marry the goals of the festival with the celebration of, and support the achievements of, local Jewish writers from Western Canada and showcase the winning authors. Since then, we’ve already gone through the process of bringing the ideas to fruition with the help of a subcommittee and the first round of awards … a beautiful ceremony was held here two years ago, recognizing five best-deserving authors.”

This year, four awards were presented, as chosen by the selection committee of former librarian Linda Bonder (Victoria); author and librarian Elisabeth Kushner (Vancouver); author and poet Dave Margoshes (near Saskatoon); writer, teacher and critic Norman Ravvin (Montreal); and Judith Saltman, professor emerita at the University of British Columbia School of Library, Archival and Information Studies. The winners were Calgary-based Willis for The Dark and Other Love Stories (Diamond Foundation Prize for fiction); Tilar J. Mazzeo, who divides her time between Maine, New York and Vancouver Island, for Irena’s Children (Pinsky Givon Family Prize for non-fiction); Vancouver’s Watts and Shoemaker for Seeking Refuge (Jonathan and Heather Berkowitz Prize for children and youth literature); and Frie, professor of education at Simon Fraser University and affiliate professor of psychiatry at UBC, for Not in My Family: German Memory and Responsibility after the Holocaust (Kahn Family Foundation Prize for writing on the Holocaust).

At the awards ceremony, each of the donors, or their representative, announced the winner of their sponsored award, which included a cash component. The winners – except for Mazzeo, who could not attend – read excerpts from their books and were interviewed briefly by Marsha Lederman, Western arts correspondent for the Globe and Mail.

Frie, who seven years ago discovered his maternal grandfather’s involvement with the Nazis, told Lederman, “This was a past no one had spoken about and, as I soon learned to understand, I think the words were missing for how to speak about it.” About the war in general, he said, his parents – who immigrated in the 1950s to Canada (Frie was born here) – talked about Germany’s responsibility for the Holocaust, however they did not speak about what his grandparents believed or what their involvement was in the war. He has found, in his research, that this “is a common dynamic amongst Germans in the postwar period.” He said that, while Germany has faced its past, “the emphasis on collective memory and collective understanding and collective responsibility has, in some way, allowed individual families to avoid confronting the past, and this book [Not in My Family] is very much a representation of that.”

Lederman described Mazzeo’s book as “astonishing.”

“I knew nothing about Irena Sendler before I picked up this book, so this has been a gift,” she said. “Irena Sendler was a Polish woman who saved … thousands of Jewish children during the Holocaust with amazing feats of courage, often in the Warsaw Ghetto. Her story is incredible, this book is incredible, and I can only hope that Steven Spielberg gets his hands on a copy.”

Shoemaker gave a brief presentation on the creative process she and Watts went through to create the graphic novel Seeking Refuge, which is based on Watts’ book Remember Me (first published in 2000). And Watts spoke of the challenge of cutting 27 chapters down to nine. “What I had to keep in mind,” said Watts, “is you can get so carried away by cutting and changing the language to make it more dynamic that you lose the story a little bit, and I had to watch that I didn’t diminish the characters.”

About the cover of the graphic novel, which features a girl sitting on a suitcase looking forlorn, Watts said Shoemaker “told the story in that one image.” Later, in response to a question from Lederman, Watts said the current refugee crisis was “the major reason to bring this book back in a different format.”

As for Willis, she spoke with Lederman about her winning collection of short fiction. “I was writing the stories for about five years, and I actually started noticing that the word ‘love’ was coming up over and over again. I was at first a little dismayed by that because I was thinking, oh, love stories, that’s been done. But then I embraced it and I wanted to try and explore that theme in a way that was true to my esthetic, or my goals as a story writer. I set it almost as a challenge.”

After an open Q&A with the authors, JCC Jewish Book Festival director Dana Camil Hewitt wound up the event with thanks to the sponsors, judges, awards committee and audience.

For an interview with Watts and Shoemaker, visit jewishindependent.ca/meet-award-winning-artists and, for a review of Not in My Family, visit jewishindependent.ca/a-grandfathers-sins.

Long-enduring trauma

I approached Imprint: A Memoir of Trauma in the Third Generation (Caitlin Press, 2017) with reluctance. But Claire Sicherman’s account of her murdered family members, of her grandparents who were the sole survivors of the Holocaust and of her own intimate life as granddaughter, woman, wife and mother is profoundly moving and tender. Her accounts of her relatives’ lives and deaths under the Nazi regime are brutal and shocking. The proximity of these emotions makes the book challenging to read but hard to put down.

Sicherman’s choice of the title Imprint helped me understand just how stubborn and long-lasting the impression of anxiety, grief and horror can be to the human psyche. My mind went to the reality of fossils. According to one source online, sometimes an animal “is buried before it is destroyed. And when that happens and conditions are just right, the remains of the animal are preserved as fossils…. Fossils are the naturally preserved remains or traces of ancient life that lived in the geologic past…. Fossils represent the remains or traces of once-living organisms.”

For Sicherman, the emotions related to the destruction of her family are permanently imprinted in her body and in her genetic makeup. She must now bring them to conscious awareness.

The juxtaposition of cold, hard accounts of death – as in the chapter “My Family” at the beginning of the book – immediately followed by the first letter to her 9-year-old son Ben, signed “Love Always,” warns the reader that what follows is not for the faint-at-heart. She alternates between three essential narratives: the telling of the destruction and deaths of her relatives in Poland; the survival of her grandmother and grandfather, which leads to the intimate story of her mother and Sicherman’s youth; and the traumatic birth of her son Ben, which acts as a catalyst, breaking through lifelong barriers of ignorance, denial and grief.

In gazing at the cover of the book, the three images of caterpillar, cocoon and butterfly began to make sense. This metamorphosis becomes the symbol of Sicherman’s lifecycle; the lack of awareness of her family’s history, the birth of her son, and her desperate search for knowledge and understanding of why she suffers from chronic health conditions, anxiety and depression.

Sicherman’s answer to the question “why” lies within the concept of epigenetics, the study of heritable changes in gene expression. Traumatic events cause changes in gene expression that can then be inherited. For Sicherman, her task is to explore, through various forms of therapy, the intergenerational transmission of trauma – the genetic imprinting of the horrors that befell her great-grandparents, her great-aunts and great-uncles and their progeny. Despite the distance of being a third-generation Holocaust survivor, her writing captures the beauty and intimacy of family affection (“My Babi,” “My Deda”). Hope of healing and surviving trauma permeate the pages of this creative book, offering acceptance and guidance to others of her – and the next – generation.

Dolores Luber, a retired psychotherapist and psychology teacher, is editor of Jewish Seniors Alliance’s Senior Line magazine and website (jsalliance.org). She blogs for yossilinks.com and writes movie reviews for the Isaac Waldman Jewish Public Library website.

Ballet BC brings back Bill

Ballet BC artists perform Bill, by Israeli choreographers Sharon Eyal and Gai Behar, with musician Ori Lichtik. The company premièred the work in Vancouver 2016 and is bringing it back as part of Program 3 May 10-12 at Queen Elizabeth Theatre. (photo by Chris Randle)

What’s coming out of Israel is some of the “most exciting” dance, Ballet BC artistic director Emily Molnar told the Independent in a phone interview last week about the company’s upcoming program May 10-12, which includes the return of Bill, by Israeli choreographers Sharon Eyal and Gai Behar, with musician Ori Lichtik.

“It’s moved around the world in different generations, where the leading focus is coming from in dance,” said Molnar, “and I think that Israel is, right now, very much one of the major centres…. There is something about the way that the body is being spoken through the dance that’s coming out of Israel that is very relevant right now … it’s exploring more the sophistication and the rawness and the curiosity and the aliveness of using the body in dance.”

Ballet BC performed the Canadian première of Bill in 2016 and have since toured nationally and internationally with it, as part of an evening of female choreographers, along with Crystal Pite’s Solo Echo and Molnar’s 16 + a room. Given the response to Bill after its première here, Molnar said, “It was just one of those things that, to me, was obvious – this needed to come back to Vancouver audiences.”

And it will be a somewhat different performance than it was two years ago. “It’s more in the skin of the performers,” said Molnar. She explained that, having toured with it, the piece is “more familiar” to the dancers, “so they can take different forms of risk than they did before, when they first learnt it. And, each year, we’ve been bringing someone who is familiar with the work and close to Sharon’s work to come and work with us on it, so we keep tuning it each time we do it.”

Ballet BC has only recently returned from six weeks in Europe. The company toured the United Kingdom with the Dance Consortium, which works with their network of presenters to put together a touring circuit for international companies. “They only do two a year, and we were one of them,” said Molnar. “Then we attached that to two weeks in Germany.” In Germany, Ballet BC was the first Canadian company to be invited to perform in Wolfsburg, for the Movimentos Festival, she said.

“There are really a few festivals in Europe that really are landmarks or venues,” she explained, saying that Sadler’s Wells in London, England, where Ballet BC also performed, and Wolfsburg were two of them. “And, next year, we’re going to Luxembourg, so that’s another big one. And then we’re going to Madrid, and also to Tel Aviv, hopefully. More and more touring is coming up for the company, which is really great for us. We love being here at home, for sure, but to be able to have more shows and to diversify audiences, we get more information about what works … we learn more about what we’re trying to do.”

Touring is a relatively new phenomenon, said Molnar. When she danced with the company, they may have toured a week and, when she started as artistic director almost 10 years ago, they weren’t touring at all, she said. “Then we started touring maybe two weeks of the year, and now, this year, we’re out about six or seven, and next year could be even more. There will be a limit, because we have to build a certain amount of work in order to do each season, so we’re not going to be a company that’s constantly on tour because we have a subscription series and we love being three times a year here in Vancouver.”

In many Ballet BC programs, audiences can expect to see a piece choreographed by Molnar.

“I work very closely with the dancers, with the company,” she said of her creative process. “I will often start with proposing ideas or text or ‘what if you tried this’ … and then we start to build some vocabulary. From that vocabulary, I start to compound it and build a dictionary and, from that, I start to place it into some form of a world…. I’m not someone who goes in and shows every step; I definitely cultivate a conversation or way of thinking about a theme or a topic … and then we start to see what comes out of it. I work a lot with improvisation before I get to things that are often scored. But, when I do score something – in other words, when I set it choreographically – I do often still try to keep some things that might be improvisational, but that’s not always the case.”

She said, “It’s more about finding unusual timings, unusual possibilities in the movement. I think that, although I’m very attracted to the expression of the body … there is usually always a concept for me of what I’m working with in the way that I grid, the way that I compose.”

Where the music comes in depends on the work. Sometimes it comes first, and that is the case with the work she has created for this season’s Program 3 with Graeme Langager, conductor of the Phoenix Chamber Choir.

Molnar said that she and Langager had been looking for awhile at how they could bring Ballet BC and the choir together in a performance. “We have a lot of shared philosophy,” said Molnar, so it was a case of “when can we make this happen, and this program seemed like the right one.”

Langager proposed a few compositions, and Molnar was drawn to one by Peteris Vasks called Plainscapes. But it’s a short piece, so that has been part of the challenge of choreographing it – “it’s only 15 minutes,” she said, “and I’m working with the full company, as opposed to a duet or something like that.”

As well, she said, there are 30 voices in the choir, a cello and a violin. “It’s this very beautiful, very intimate, but driving piece of music that has a mysterious urgency to it and I took it as a reflection of a landscape of memory, this desire to want to hold on to remembering something…. The more we lose memory of something, the more we want it to exist.” In her choreography, she tries to communicate that feeling – the desire to hold on to life, on to our memories.

When putting together a triple bill, Molnar said she looks first for diversity “that will take the audience, as a full evening, on a certain type of journey, as opposed to the same tone.

“It is always a risk when we’re doing new work,” she said, “but we don’t always have new work on the program. So, for instance, in this program, I knew mine would be new, so that’s an unknown, but I knew what Bill was and I knew what Beginning After was, which is the first work of the evening, which is a piece by our resident choreographer Cayetano Soto … to the music of [George Frideric] Handel, a beautiful aria. So, all of the pieces have a certain vocal aspect to them…. That wasn’t what drew me to say, oh, this evening is about the voice, but there is a certain type of humanity because the voice is involved in the musical aspect of the show. But there are things that are very different within each of the pieces, and then there is this real attention to the individual but also to the collective throughout each of the pieces.”

Next year will be Molnar’s 10th as artistic director of Ballet BC. Even before she got the job, she said, she had hoped that “its presence as a contemporary dance company, which was very clear before I ever joined as a dancer or as artistic director, would get, not just recognition but that it would have life outside of its own city and be an ambassador for all the new work” it was creating.

“It was not as known within the community as I thought it could be,” she said, noting that, for it to become known, some barriers had to be broken down about “what it meant to walk into a theatre under the banner of a ballet company.

“There are so many ways that can be,” she said, “and I’ve been really trying to work on that, that it’s really about having a conversation and it’s about sharing and it’s about understanding what dance can be, and it’s not about ballet, it’s about dance, it’s about art, it’s about community – and these are not meant to be catchphrases. Seriously, when you bring people together in a live performance and you have a conversation that’s been meaningful for a group of artists and you try to meaningfully extend that over to an audience and they care about it, then there are a lot of really exciting things that can happen.”

And one such exciting thing will be announced at Program 3. Ballet BC will be one of the first companies to commission the work of an emerging female Israeli choreographer so that, next season, Ballet BC will be performing three Israeli works. “We have Ohad [Naharin] coming back,” said Molnar. “We have another work of Sharon’s, a new work for us, and then….” (The JI is not one to ruin a surprise.)

Program 3 runs May 10-12, 8 p.m., at Queen Elizabeth Theatre. Tickets run from $35 to $100 and can be purchased from ticketmaster.ca or 1-855-985-2787.

Talmud as film study prep

Filmmaker Jake Pascoe (photo from POV28)

The study methods of Jewish school have served Jake Pascoe well in his study of film at the University of British Columbia. His works will be among those featured in the Persistence of Vision Film Festival 28 (POV28) April 28 and 29.

The festival showcases the work of fourth- and third-year students in the film production program at UBC Theatre and Film, which is what brought Pascoe – born and raised in Toronto – to Vancouver in 2014. Now in the final year of his bachelor of fine art in film production, Pascoe is involved in many of the 21 short films being screened at POV28. He directed Genesis, was the producer of Snoop! and first assistant director on three films, With Love From God, It’s a Boy! and How Long?, as well as being key grip on two others and gaffer on yet another. Pascoe said that, for a student to be involved in so many productions is “completely usual.”

“In fact,” he told the Independent, “I have some currently exhausted friends who have been in several more roles this year than I have. The program really emphasizes getting as much exposure to the different departments as possible, which makes the production season of the school year a lot of fun; you and your friends working several long days in a row and having to figure out how equipment works on the fly since – hey, you’re suddenly our sound mixer now!”

Pascoe’s bio notes that, in addition to “a background in directing theatre, he’s won fiction and stage play awards and has had stories published in magazines.”

“Before I was ever interested in filmmaking, I loved writing, so that stage of the process will always feel a little sacred to me,” he said. “This year, I got my first opportunity to direct a large and legitimate set with a big, scary camera and lots of equipment. Directing a movie like Genesis has been an opportunity that’s sort of eluded me, so I didn’t know what to expect coming up to the shoot. My favourite directors, like David Fincher or Wim Wenders, have been almost holy figures to me but I haven’t had the chance to take on that role with any of the resources remotely similar to the movies I grew up watching. Just feeling part of that tradition was pretty special.

“It also just gave me a creative buzz I hadn’t really ever experienced before. There was a moment I had with my actors getting ready before a big scene and I listened as they were getting into character, talking about their fears and emotions and I got so caught up with them. It was really surreal sharing a creative process with so many people since writing is so solitary. Watching and working with them along with my producer Ayden Ross and cinematographer Sam Barringer was really inspiring.”

Pascoe said he will be taking some summer courses to complete his minor in English literature and he aims to graduate this fall. As for his plans after that, he said, “Directing is such a fun and almost addictive experience that I feel like I need to get back in the chair sometime soon, but what’s nice about writing is that you don’t need any money or equipment to do it. I’ve been writing fiction for my whole life so, immediately following graduation, I’ll be working on getting some of my writing published.”

Pascoe said he attended a Jewish day school until Grade 11, “so it was a very large part of my life growing up. In terms of how it comes into play now – it’s funny, I was just giving a little spiel about this at my family’s seders this year – it struck me recently just how strangely effective Jewish school was in preparing me to study film.

“There’s something really talmudic in the analysis and criticism of cinema and the application thereof to any filmic creative pursuits I’ve had at UBC,” he said. “I remember very vividly in long Grade 7 classes being given an excerpt from the Torah and having to take the ‘story’ and methodically comb through it for all the moral quandaries it presents, all of its impacts on daily life it posits, and all the laws within its lessons to follow.

“In a very similar way, when you watch a movie, you’re really being handed a puzzle in the form of a story and are expected to totally squeeze everything out of it and methodically ask different kinds of theoretical questions.” He spoke of walking out of theatres “with the movie nerds in my program, who are just, if not more so, as trivial and hairsplitting as any of the ancient rabbinical commentators I read in middle school.”

POV28 screenings take place at UBC’s Frederic Wood Theatre, and there are morning matinées and evening programs. For tickets and the full schedule, visit povfilmfestival.org.

Intimate portraits at the Zack

The exhibit Painting Intimate, showcasing the work of penny eisenberg and Ray Ophoff, is at the Zack Gallery until May 11. (photo by Olga Livshin)

The exhibit Painting Intimate introduces Vancouver art lovers to two very different local artists: penny eisenberg and Ray Ophoff. Different in their approaches, their styles and their creative philosophies.

“I have always liked painting,” eisenberg told the Independent. “I painted as a teenager, then stopped for a few years. I resumed painting in my 20s, but I was a closet painter then. I had several jobs in those years, worked as a cook and in retail. I kept on painting as a hobby, but, when I was 30, I took a class at Emily Carr. The instructor liked my works and suggested I apply for a full-time program.” She did.

Graduating from Emily Carr in 1995, she has been a full-time artist ever since, working in various themes and in a range of sizes as she tried to find her niche. For her, there is a huge gap between the words “picture” and “painting.”

“People buy pictures and hang them on their walls,” she said. “But I’m interested in paintings, not pictures. I’m trying to learn what is painting in the 21st century, when there are so many pictures around.”

Lately, as this exhibition demonstrates, all her paintings have been small. “I like working on small canvases,” she said. “I want to figure out what I want, and the small size allows me to create more paintings, to experiment with different series and subjects. Sometimes, I even work on a few different series simultaneously.”

The current show displays several of her series. There are hazy cityscapes, pulsing with light. There are brightly textured flower bouquets. A number of the paintings are from her latest series.

“In this series, I’ve been exploring the history of women in the arts, how other artists painted their female models,” she said. From 18th-century artist Jean-Baptiste-Simon Chardin to fashion photographers of the 20th and 21st centuries, eisenberg has transformed other artists’ women through the prism of her own artistic vision. In her abstracted compositions, which follow the others’ outlines but express her own esthetic, eisenberg had made all the portraits small and intimate – and faceless.

“There are two reasons for all my figures being faceless,” she said. “When we identify emotions, faces are what we look at. I wanted to show emotions without the faces, through paints, colours and shapes. In this series, I also examined who influenced whom in the art history, and how it reflected in their female model paintings.”

The internet age is another reason for this approach. “I view the reality of contemporary culture as a series of faceless interactions through social media,” she said. “That’s what I wanted to express. Hence, the hashtag in the title of the series, #otherartistswomen.”

photo - Ray Ophoff has 15 paintings in this show, most of them flowers and landscapes in exuberant, uplifting colours — Ray Ophoff has 15 paintings in this show, most of them flowers and landscapes in exuberant, uplifting colours. *(photo by Olga Livshin)*

When Zack Gallery director Linda Lando suggested eisenberg apply for a show, the artist embraced the opportunity. “I wanted a show at the Zack, but it is a large space,” said eisenberg. “I couldn’t handle the stress of filling it all by myself. I asked Linda if I could invite a friend artist, Ray Ophoff, to share it with me.”

Like Eisenberg, Ophoff is a long-time participant in the East Side Culture Crawl. In fact, that’s how they met.

“Many years ago, I visited her studio during the Culture Crawl,” recalled Ophoff. “I had a painting – a landscape – in my own studio at the time, and I saw that she had painted the same place, but it was much better than mine. We started talking and became friends.”

Ophoff has never studied art formally, or taken classes. He is a salesman by profession and paints in his spare time. “I’m entirely self-taught,” he said. “But I read a lot about art. My yearly spending for various art magazines runs to $900.”

Ophoff has 15 paintings in this show, most of them flowers and landscapes in exuberant, uplifting colours. Blown-up to 10 times or more of their real size, his flowers attract viewers with their deceptively simple beauty and their graceful allure. They would gladden any space, and people appreciate the optimism of his imagery.

“I sell almost everything I paint,” he said. “Mostly it is through the Culture Crawl or the First Saturday project. People come to my studio. I don’t even have a website.”

For Ophoff, his art is the only outlet where all the decisions are his alone. “I paint what I want,” he said. “When I walk through the woods or parks or gardens, I take photos. I always know: this is the image I want to paint. Not the entire photo, just a small fragment of it. My painting is not a tree or a flower. It is about that tree or that flower, my version of that tree.”

He considers himself an editor of imagery. “I edit everything unnecessary out of the image,” he explained. “When I find the perfect image, I always know. It is almost like time stops. I know: this will be a great one. Maybe not my painting of it, but the image itself.”

Ophoff’s canvases tell stories. They animate the flora around us and invite our imaginations to unfold. Despite their larger size, his works are, in their own way, as intimate as eisenberg’s much smaller compositions.

For both Ophoff and eisenberg, Painting Intimate is their first show at the Zack Gallery. The exhibit opened on April 11 and continues until May 11.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.

Try to reduce screen time

In her latest book, Be the Parent, Please (Templeton Press, 2018), author Naomi Schaefer Riley reminds parents to take back control and help their kids find healthier means of entertainment.

Originally from Massachusetts, this New York mom of three kids (ages 11, 9 and 5) is no stranger to society’s pressure to give children whatever they want, including the latest technology.

“Over the last few years, I myself struggled with the issues of how to handle screen time, and I’ve watched a lot of other parents struggle with it,” Schaefer Riley told the Independent. “As a journalist, I wanted to talk to experts and do reading, and find out what the research says … and talk to parents about strategies they were using to deal with this.

“The pressure to hand over screens to kids starts almost immediately these days,” she said, “The iPhone came out a little more than 10 years ago, coinciding with the birth of my oldest daughter. It took a couple years but, by the time she was in preschool, a lot of parents, even to have a basic conversation with another person, would hand over their phone just in order to distract the child.”

Today, tablets and cellphones have become a source of all things entertainment for kids (let alone adults), whether that involves looking at pictures of themselves, creating videos or playing games.

“When my kids were younger, we let them watch one show every night, some half-an-hour cartoon,” said Schaefer Riley. “Then, my son was born and the fight began over what they were watching and who gets to pick each night. And it became more of a struggle to tell them you’re going to turn off the TV…. A book I read enlightened me, called The Plug-In Drug. It came out a little more than 40 years ago and was mostly about TV and videogames.

“The author noted that, when you turn off a screen, it’s almost like waking a child up from a nap. It’s a trance-like state and they’re so into it that it’s almost like a change from sleep to wakefulness when you turn it off. And they become cranky. It can be as long as a half hour before they adjust back to reality. I think I was tired of the crankiness, too, of every time I turned it off, to have this fight ensue.”

At the Schaefer Riley house, there are a lot of toys and the kids are expected to entertain themselves without the TV. “But, a lot of parents don’t make that expectation,” she said. “They assume that, unless the child has a screen, the parent has to be entertaining them at all times, that the child can never be restless or irritated.”

She went on to explain that it’s not a parent’s job to ensure that their child is 100% engaged in something at all times. Instead of screens, she suggested, “Why not give your kids some pots and pans to bang together or some cardboard boxes? These are things we know are good for building fine and gross motor skills, and [that] encourage kids to explore things.

“I think what the screens have allowed is for us to exercise more control over our kids and keep them on a tighter leash. You don’t need to go all the way to the park. You can just sit in the living room and give your kid an iPad. That way, I don’t need to worry about whether you know enough about crossing the street or whether you’ve achieved that level of independence. The phone will allow me to have this tether on you. This is not very beneficial to kids in the long run.”

Children are now finding tasks difficult to handle if they cannot immediately text their parents for advice or counsel about their lives, argued Schaefer Riley. There is constant communication, with technology serving as a crutch for helicopter parenting.

“A lot of parents have confessed to me … they know, deep down … that they don’t need studies to tell them that their kids are on screens too much,” said Schaefer Riley. “Parents know this.”

It’s time to apply basic parenting strategies to technology, she said. “I know it sounds simplistic to say, but your kid doesn’t generally ask for chocolate cake for breakfast in the morning; they know there’s none for breakfast. If you talk about screen-time limits and stick to them, your kid will not be on you constantly…. If you stick with the rules you set for a few weeks or months, your child will learn that there is no point in asking again; they already know what the answer is and will stop asking for things you consistently say ‘no’ to. The idea is to bring parents back to reality and back to a sense of where they do have control.”

According to Schaefer Riley, the life skill of asking for assistance from an adult is one that many children are missing out on, due to the reliance on tablets and phones.

“I see the kids … my daughter is on the swim team … and they all walk out of practice and everyone is texting their parents – pick me up in five or 10 minutes outside,” said Schaefer Riley. “I’m like, ‘who are you?’ These are not your chauffeurs. I think that’s how we’ve come to think of ourselves.”

Schaefer Riley said observant families, who turn off their phones on Shabbat, have an advantage, as the children come to appreciate that there is something to be gained from family time. “I think,” she said, “that more and more people, whether they are religious or not, are trying to find that ‘technology Sabbath,’ as they like to call it, to give themselves a break … either at meal times, or one day a week, or on vacation. It’s considered a luxury now, to be able to get away from your phone.”

Schaefer Riley emphasized that her book is not meant to scold anyone. She herself faces these challenges.

“There’s a lot of pressure coming from technology companies and schools, and from the culture generally, that are really pushing you to hand over these devices to your kids,” she said. “It takes some willpower to say no, that’s not for my child, or this much time is not for my child.

“There’s a point at which you need to go into your community and find allies,” she added. “Everywhere I went, every community of people I’ve spoken with, there wasn’t just one family trying to hold the line. There were several and, sometimes, they weren’t connected with each other. But, if you do a little searching, you can find people trying to take a similar tactic, and it helps to have allies.”

Rebeca Kuropatwa is a Winnipeg freelance writer.

My chat with Ed Asner

Ed Asner stars in A Man and His Prostate, which is at the Anvil Centre Theatre for two nights only: April 27-28. (photo from ACT)

I did my homework. I had read and watched interviews. I had my questions ready. I was prepared. But Ed Asner is a force of nature – a funny, caring and curious one, but a force of nature nonetheless. And nature is more powerful than the proverbial man. I learned that in high school English class – man has a chance against another man or his own internal demons, but not so much against nature.

I was calling Asner about his upcoming performances in New Westminster at the Anvil Centre Theatre April 27-28. He stars in A Man and His Prostate, written by his longtime friend Ed Weinberger, a multiple-award-winning scribe (including a Writers Guild of America Lifetime Achievement Award), who has written for countless TV series – for soooo many comedies. Both Weinberger and Asner know funny, so this show promises to be hilarious. But its purpose is also to make a point: “that point being,” Asner told me succinctly, “get examined.” Hear that, guys?

I’ve interviewed famous people before so that wasn’t the reason I got somewhat flustered in speaking with Asner. Admittedly, I loved and watched every episode of The Mary Tyler Moore Show and its spinoff drama Lou Grant. I have enjoyed Asner in various other roles over the years, including on Murdoch Mysteries (as Santa Claus, of all things) and, of course, as the voice of Carl Fredricksen, the grumpy protagonist in Up, who made me cry. Hearing such a well-known voice respond to your questions is very cool, and a little unnerving, but there was more to it.

I called Asner at the number I was given by the publicist for the local show. The woman who answered the phone simply said he’d had to leave and that I should try his cell, so I did, thinking nothing of it. The connection wasn’t great, but I reached Asner – he was in an L.A. hospital waiting to get a CT scan. When I wished him well and said we could reschedule the interview, he said, “Let’s try to talk now. It’ll help me pass the time.”

As I started asking him questions, he stopped me: “Are you uncomfortable doing this?”

“No,” I said, “I’m happy to keep your mind off things if that’s going to help.” I got as far as finding out that Weinberger had approached Asner about a year and a half ago to take on this role, but the line really was bad and we weren’t hearing each other – he said he’d call me back. But it was Asner’s righthand man (Nick, I think) who phoned, telling me that Asner had gone in for his CT, and they would call again once it was complete.

Next call: “Are you OK?” I asked.

“I’m fine. Well, maybe a little dizzy,” said Asner. Or, at least that’s what I think he said. After a spike of feedback came through the phone, I admitted, “I can barely hear you.”

In a louder voice, enunciating carefully and speaking slowly, he responded, “I said, maybe a little bit of syphilis.”

I might have taken a beat before saying, “Oh my. Really?! Is that the headline I can put?”

While it may not be apparent on first meeting, I can be bawdy with the best of them, and I enjoy such banter when all involved are of age and it’s in good fun. And this would turn out to be one of the most fun interviews I’ve conducted.

Laughing, I said, “So it all went well, the CT scan?”

It had indeed. He’d had a fall but was OK. I thanked him for calling me back, and he let me know, “Well, I’m reversing the charges.”

“You should!” I said. “You’re paying for this now. Oh my gosh. I was hoping to get my parents to pay for it.” (I was in Ottawa, and was calling him from my parents’ house.)

“Ah, no, no, no,” he assured me. “Anyway, you’ve got a lovely voice.”

“As do you, of course. But a little more famous than mine.”

“Well, I’ve been working at it longer.”

We eventually returned to where we had left off. “Were you involved in any of the writing process, or is there improv involved?” I asked about the show.

“Not on this,” said Asner. “I worked with him [Weinberger] on our book together, called The Grouchy Historian, which came out in October. We worked together on that, but he wrote A Man and His Prostate all by himself.”

“And you obviously liked what he wrote.”

“I love it.”

Asner said his first performance of A Man and His Prostate was in the fall of 2016, but then he stopped the interview again, leaving the phone with Nick – the two were still at the hospital, about to grab a very late lunch. Getting into a rhythm for this interview was proving impossible. Case in point, when Asner returned to the line, he started interviewing me. Why was I calling from Ottawa? I explained I was at home for Passover and asked if he had attended a seder. “No, we were on the road,” he said, going on to ask me about the weather in Ottawa, how many were in my family, whether I had grown up in Vancouver. When I let him know that I had grown up in Winnipeg, he said, “Oh, God.” And, while I fumbled to regain my role as interviewer, he continued his train of thought, “Froze your ass off didn’t you?”

“I did,” I admitted. “And that’s why I live in Vancouver now.”

After some PG-rated politically incorrect exchanges, I managed to get back to my questions.

The first shows of A Man and His Prostate were in California, he said, then they did a few in New York.

“Do you do what the show preaches? Do you get regular prostate exams?” I asked.

“Well, I’m due for one, I must tell you,” he said.

Asner called A Man and His Prostate “wonderfully funny,” and said “it stresses a very important point – that point being, get examined.”

He said the show is “very rewarding to do because the laughter is prevalent.”

At 88, he has no plans to retire. As for his beginnings in the profession, he said his desire to be an actor “didn’t achieve consciousness until I did the lead in the play at university.” He said, “I had done radio in high school, and loved it, but full-fledged stage-acting, I hadn’t thought of that.”

That doesn’t mean he didn’t like the spotlight as a kid. “I loved to get up and sing Adon Olam louder than anyone else,” he said, adding, “My bar mitzvah was a failure.”

He explained, “I spoke too fast, and angered my father. I put my hands behind my back, hovering over my ass, that angered him, as well. I was a prize student … but that bar mitzvah was not of prime quality.”

Asner grew up in an Orthodox home and, he said, “I’d say I pursued acting, probably, as part of my atonement” for his bar mitzvah. He said acting was at least a partial atonement in that it involved “pleasing the crowd, reciting or reading the script correctly and empathetically … all kinds of things.”

While no longer religious, Asner attributed his activism to “the intensity of my raising, the love of my parents, the constant identification as a Jew, [being] born in the time of Hitler.”

The actor has seven grandchildren. When I asked about whether he actively tries to engage them in the world around them, he joked, “Nope. I don’t like ’em.”

“You only hang out with them when you have to?” I asked.

“Uh huh. They don’t like me. It’s a perfect fit.”

I told him how much I enjoyed the Funny or Die video Old People Don’t Care About Climate Change, in which he took part. I mentioned it because one of his lines in it is, “My grandkids are spoiled anyway. They could use a little hardship.” The video’s message, of course, is that younger people must take action to protect the environment.

“I worship the earth,” Asner told me. “I don’t necessarily worship any god.”

Returning to the reason for the interview, I asked him whether he had anything else to say about A Man and His Prostate. “You’ll be there, and you’ll see how right I was to urge you to come,” he said.

The show is about Weinberger’s “journey to discover his inner self both literally and figuratively,” reads the press material. “This near tragedy is masterfully transformed into a poignant monologue perfectly portrayed by Asner as he visits the hospital in preparation for a surgery he needs but doesn’t want.”

“There’s mostly jokes all the way, or building up to a joke,” Asner said. “But then we get to that little section where I talk about the celebrities who have died – it’s a long list of celebrities – and I make the serious point that, every 16 minutes, a man dies of prostate cancer in the United States.”

As we wound up, he said, “You’re a wonderful interviewer, I don’t care what they say about you.”

“You should only believe half the rumours,” I returned.

A charmer to the end, he said, “I can’t wait to meet you.”

After I told him I didn’t think that was an option for me, he asked, “Why not?”

“Because you’re you!”

He told me to tell the publicist, “Well, say that I asked for you.”

“OK,” I said. “And I’ve now got it on tape, so I can actually prove that I’m not just making that up.”

“That’s right,” he agreed. “That’s absolutely right.”

He said, I “could even bring Momma” – my mother had answered the phone when he called back.

“Momma might even fly to Vancouver for that,” I responded before handing the phone over to my mom so she could say goodbye.

For tickets ($75) to A Man and His Prostate at the Anvil Centre Theatre April 27-28, 7:30 p.m., visit ticketsnw.ca or call 604-521-5050.