Arts & Culture – Page 101

S Word changes perceptions

Craig Miller in a shot from the documentary The S Word, which screened for the first time in Western Canada on March 22 in Winnipeg. (photo from MadPix, Inc.)

Jewish Child and Family Service of Winnipeg (JCFS) partnered with the Suicide Prevention Network and the Jewish Federation of Winnipeg’s Young Adult Division to show the documentary The S Word for the first time in Western Canada. The screening took place March 22 at the JCC Berney Theatre, and the event’s aim was to help put a stop to the silence surrounding the subject of suicide.

“Suicide is widespread and affects all age groups and communities,” said Carli Rossall, JCFS addictions and mental health caseworker. “There are many ‘S words’ that reinforce the behaviour around suicide, such as silence, stigma, shame and struggle. The hope is to turn this around into S words such as support, survival, sharing and solutions.”

Rossall has taken the lead in organizing this project, along with Cheryl Hirsh Katz, JCFS manager of adult services, and Shana Menkis, JCFS director of operations.

JCFS is a member of the Suicide Prevention Network, which is a group of agencies and individuals committed to enhancing the mental wellness and quality of life of people in Winnipeg, preventing suicides and supporting those bereaved by suicide.

“I think our goal with this [event] was to begin to create a safe space within the community where topics like suicide can be freely and openly discussed,” said Rossall. “Staying silent doesn’t make an issue cease to exist. Suicide is a reality in our community as it is in all communities. Healing requires openness, acceptance and dialogue. The more we talk about these things, the more fluency we develop when it comes to hard conversations, [and] the better equipped we all are to support one another.”

“Bringing this film to our city and specifically to this community,” Hirsh Katz added, “will hopefully give a voice to this problem and put a face to the solution.”

The S Word aims to open the conversation surrounding suicide. Its director, Lisa Klein, is a survivor of both her father’s and her brother’s suicides. In the film, she wanted to show the voices of those who survived suicide attempts, as well as others, to provide an honest portrayal of the thoughts and feelings surrounding suicide. She further wanted to provide positive messaging.

“It’s an outstanding collection of stories that, unlike other films on the same subject, shines a light on hope,” said Klein. “It talks about language, relationships, relapses in mental health, and about how recovery is rarely a straight trajectory. It’s very real and raw. I consider it to be one of the best mental health documentaries I’ve ever seen … unique in its approach to an otherwise familiar topic.

“We hear about suicide epidemics, about over- and under-medicating, about the bereaved when it comes to suicide in the community, but, rarely do we hear from survivors. Frankly, I don’t know if ‘survivor of suicide’ is a concept most people even know exists.”

photo - Carli Rossall, Jewish Child and Family Service of Winnipeg addictions and mental health caseworker, at the information table on March 22 — Carli Rossall, Jewish Child and Family Service of Winnipeg addictions and mental health caseworker, at the information table on March 22. (photo from JCFS)

“Loss is never easy to talk about,” said Rossall. “But, when loss gets tied together with morality, as suicide often does, an added layer of stigma exists. Anything that challenges our definition of ‘right,’ ‘moral’ or ‘normal’ tends to make us uncomfortable – and it often makes people look to blame.

“Generally,” she said, “people who have thoughts of suicide suffer from intense psychological pain, where there is a feeling of hopelessness, isolation, and no alternative. The reasons for this can vary, from those experiencing mental health challenges or physical illness, to those who have experienced trauma, are struggling financially or have addictions. The rise in suicide rates may be due to life’s increasing pressures and complex circumstances.”

It was in her late teens that Klein lost her father and then, three months later, her brother, to suicide.

“It’s something that obviously is a huge part of my life, my existence, and it wasn’t something that right away I knew what I’d do with,” said Klein. “It affected me greatly. I really didn’t know who to talk to. That was a big part of why I did this film, because it’s so difficult to talk to people when you’ve lost people. They don’t know what to say to you.

“When I came out to L.A. and went to graduate school, I did a film prior to this one…. We started to do documentaries. We did one on bipolar personalities and, when we did that one, we had someone who was in the film who had lost their daughter to suicide. I thought, OK, I’ve dealt with this. And then, almost immediately, I realized that I actually hadn’t. I thought it was time to do something, because people weren’t, and aren’t, talking about it enough, not talking about it responsibly.”

As Klein began researching the topic, she found a large community of people dealing with suicide – so great a number that they were holding conventions in the United States about it. Klein found this resource helpful when it came to finding specific stories to include in her film.

While The S Word is not yet widely available, Klein has worked to get the message across through teachers, mental health professionals and survivors. And she created a toolkit that is on the movie’s website that anyone can access to find ways to bring the message to their communities.

“We’ve signed with an educational distributor and eventually it will be available – probably in the late fall…. We want to help open the conversation, for sure,” said Klein. “We want people to feel less alone, like they’re not the only ones going through this. And we want people to know that they can be there for somebody else, too. Also, to know that, if you, yourself, are struggling, there are people to talk to.

“A lot of times, what can really kill people, what can drive people to this is the silence or the hopeless feeling of being alone – feeling that they have nobody to talk to, and the stigma and shame keep people from talking about it.

“We see this also in the rape culture and the whole #MeToo movement,” she added. “People who were so afraid to talk are now coming forward. And it’s so important to be able to do this. We want to be part of that conversation.”

Klein invited everyone to visit the film’s website – theswordmovie.com – for more information and to watch the many interviews conducted with suicide survivors that did not make it into the film (click on the “#SWordStories” link). She further encouraged people to send in written stories about their own experiences to the website.

In Winnipeg, JCFS is ready to help anyone in need, via their active mental health services program for the Jewish community and counseling services that are open to the general public. In Vancouver, Jewish Family Services is also ready to help.

“Through these supports, there are opportunities for individuals and families to address their concerns, feelings related to suicide, and other issues on a proactive basis,” said JCFS’s Hirsh Katz. “There are also several other community-based agencies in Winnipeg that provide both crisis and non-crisis work with suicide. The Canadian Association for Suicide Prevention is a nationwide organization dedicated to offering support. Livingworks Education Inc. is a leading provider of suicide intervention training through various workshops – the training is focused on identifying, speaking and intervening with people who have thoughts of suicide, and it is invaluable for individuals ages 15 and over who want to help people be safer from suicide.”

Rebeca Kuropatwa is a Winnipeg freelance writer.

Success in comedy biz

Mark Breslin (photo from Temple Sholom)

Yuk Yuk’s co-founder Mark Breslin is excited to be entertaining Jewish Vancouverites at Temple Sholom’s annual spring fundraiser May 6.

“I can’t get enough Jews in my life,” he told the Independent. “I’m married to a Catholic woman but I’m a Jew through and through. Any time I can talk about Jews and Jewishness, and my unique views on that, I jump at the opportunity because comedy is the jazz of our people. That’s how I express my Jewishness in the biggest way, not by keeping kosher or going to Israel each year, but through comedy.”

Breslin opened his first Yuk Yuk’s location in 1976. Today, he has 15 Yuk Yuk’s franchises across the country, has published four books, produced programs for television and radio, and appeared in theatrical productions. He’s a sought-after public speaker and, in December 2017, he was awarded the Order of Canada.

“Comedy is not usually something people respect, so it’s gratifying that some bureaucrats in Ottawa see what I’ve done with my life and think it has value,” he said. “But all the people I’d like to lord this over are dead now.”

Those people include a high school principal who informed Breslin he was a menace to society, as well as his aunts and uncles, who refused to attend his shows “because they thought I was wasting my life.”

Back when he started Yuk Yuk’s, Breslin said he received no support or encouragement from the people closest to him. “My mother was a child actress in the Yiddish stage in 1920, so you’d think she would be thrilled about what I was trying to build in comedy, but instead she was appalled by it right to the grave. My father was more ambivalent. He respected Yuk Yuk’s as a business and was proud of me, though he didn’t find the comedy funny. Even my friends thought I was nuts.”

When he began the first Yuk Yuk’s location, in Toronto, Breslin said his main goal was to avoid law school. “I thought I’d do comedy for a couple of years and find something else to do when it ran out of steam,” he admitted. “I never thought it would become my life!”

Initially, the Toronto Yuk Yuk’s was known as “that Jewish club,” because the names of the performing comedians were all Jewish. “When standup started, it was a very Jewish thing to do,” explained Breslin. “A lot of the comedians at that time were my friends from high school or university, and they gravitated to Yuk Yuk’s because they knew me.”

Today, standup is a mainstream phenomenon and Yuk Yuk’s is no longer known as a Jewish club. One thing that’s remained unchanged from the get-go, however, is Breslin’s insistence that his clubs be uncensored. “I’ve never censored an act in the 42 years I’ve been in business,” he said. “Being uncensored is important because the clubs are small enough that no one can control them. We have an obligation to be the official opposition and, these days, it’s more important than ever.” While he conceded that most comics exercise their right of free speech to talk about sex, not politics, he said, “Still, the opportunity is there.”

Yuk Yuk’s has two locations in British Columbia: Abbotsford and Vancouver. The Vancouver club opened in 1988 and is located on Cambie Street, near City Hall. It’s always been a success, said Breslin. “I measure success by some level of profitability, but also by how impactful our product is on the wider community and on comedy in general,” he said.

Among the comedians who got their start at Yuk Yuk’s are Russell Peters, Jim Carrey, Howie Mandel, Mike Bullard and Gerry Dee.

Breslin said that, on May 6, at the Temple Sholom event, he plans to talk about how each Jew has their own unique form of Jewishness and how we treat our culture as a Chinese buffet, picking what we want from it.

“I’m going to talk about the golden age of Judaism, 1950 to 1975, when it was cool and sexy to be a Jew,” he said. “I’ll try to figure out what happened between then and now, and why we’re a people in need of a good PR person. I’ll also reveal a lot of fun stuff about my life, my family and things I’ve done, relating that to comedy in general and what it means as a Jewish art form.”

For event details, visit templesholom.ca/inspired. The evening at Performance Works on Granville Island is titled Inspired to Act and includes comedy, music by Adrienne Robles and Liel Amdour, and the 2018 Tikkun Olam Youth Awards.

Lauren Kramer, an award-winning writer and editor, lives in Richmond. To read her work online, visit laurenkramer.net.

Music from around the world

Local group MNGWA helps open the World Music Festival on April 26. (photo from Vancouver World Music Festival)

The Vancouver World Music Festival celebrates cultural diversity through music, and world-class musicians from Mexico, Brazil, Africa, Spain, the United States and Canada are participating in this year’s festival, which runs April 26-29. Among them is local group MNGWA (pronounced Ming-Wah).

The festival was founded in 2014 by Tom Landa and Robin Layne, both friends and members of the band Locarno. Their belief is that music can help heal, educate and transform society, leading to better cultural understanding.

Rooted in Afro-Latin and cumbia rhythms, MNGWA mixes elements of psych rock, surf, salsa, reggae and hip-hop into one polyrhythmic pot.

“We started the band about five years ago,” band member Anton Ayzikovsky told the Independent. “Today, we have eight core members: five from the former USSR, two originally from Mexico, and one born Canadian. At first, we were nameless. Then we chose the name MNGWA. It is not an acronym. Mngwa is a mythical African cat from Tanzanian legends. Nobody ever saw it, but everyone was afraid of it.”

Descriptions on the internet compare a mngwa to a leopard, although the former is apparently much larger, the size of a donkey, with brindled grey fur and a ferocious temperament.

“Our music has African, as well as Latin rhythms, so we wanted to find a name that would emphasize that connection,” fellow band member Boris Mandlis explained. “One of our players, our music director Nick Lagasse, is a radio host on CJSF radio. Once a week, he goes on air with his program, Wandering Rhythms, selects a country and plays the native bands from that country. He suggested the name MNGWA, and we all loved it.”

The ensemble draws inspiration for their music from many and varied folk traditions. They are well known on the local festival circuit.

“We play at festivals and venues all around British Columbia,” said Ayzikovsky. “Usually, it is only during spring, summer and fall. We could have played more often, every week, if we wanted to, but, for all of us, the band and the music is a hobby, not a profession. We do it for fun. We like to see people dancing to our music.”

Professionally, Ayzikovsky is an engineer, while Mandlis is a web designer. Besides their university educations and high-tech jobs, there are other similarities between the two musicians. Both of them immigrated to Canada from Russia via Israel: Mandlis, 10 years ago; Ayzikovsky, 15. Both play percussion instruments.

“I play congas, a Latin American percussion,” Mandlis said. “I started learning it about 10 years ago, when I still lived in Israel. I played drums as a kid in Russia. As an adult, I liked listening to Latin music, especially when congas played. Finally I thought, why not learn to play it?”

Ayzikovsky started playing drums as a child in Russia. “My mom is a piano teacher, but I never wanted to play piano,” he said. “I fell in love with percussions at school and have been playing drums as an amateur with many bands over the years.”

Ayzikovsky and Mandlis met through their individual music, and the beginning of MNGWA was sparked by a strange coincidence.

“We had played together only once before that time,” Mandlis recalled. “On that day, we played for awhile, then took a break. There were seven of us and, for some reason, we decided to play this children’s game, Rock-Paper-Scissors. And we all threw scissors simultaneously. All seven of us. I’d say that showed some kindred spirits.”

The group has been together ever since, and most of their projects – new music and lyrics – are collaborations.

“Someone comes up with an idea or a tune,” Ayzikovsky explained. “Often it is Nick Lagasse. Then we jam together. Nick also writes lyrics, he or Blanca [Escobar] or some of the others.”

One of their songs on YouTube, “La Rumba de Kingsway,” is a wonderful and funny tribute to the historic Vancouver thoroughfare. It is also indicative of the group’s style, a blend of cultural influences from all over the world. “We call it cumbia, Vancouver-style,” said Mandlis.

Their unique and eclectic blend is well suited to the ideals of the World Music Festival.

“This year will be the first time we’ll participate in this festival,” said Mandlis, “but we know all the bands playing in it. We listened to them before and liked what they’re doing.”

Ayzikovsky and Mandlis also said the group believes, as do the festival organizers, that music has the power, in a small way, to bring about peaceful, needed change.

The World Music Festival takes place at different venues around Vancouver. MNGWA helps launch the event on April 26, 7 p.m., at Guilt & Co. For the full schedule and tickets, visit worldmusicfest.ca. MNGWA’s website is mngwa.ca.

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

Festival fêtes Russian music

A scene from Vancouver Opera’s production of Eugene Onegin. (photo by Trudie Lee)

“I’ve sung a lot of Russian, and I love it,” Jewish community member and opera singer Leah Giselle Field told the Jewish Independent. Field will have a lot to love at this year’s Vancouver Opera Festival, which starts next weekend.

Russian White Nights, the second annual Vancouver Opera Festival, celebrates Russia’s luminous midsummer nights. Among the festival offerings is Eugene Onegin, based on the classic of Russian literature by Alexander Pushkin, which was turned into a lyric opera with a libretto co-written by Pyotr Ilyich Tchaikovsky with K.S. Shilovsky. The festival will also feature the première of The Overcoat, an opera based on Nikolai Gogol’s famous short story, as well as Requiem for a Lost Girl, an original chamber musical collaboration that explores themes around homelessness and violence towards women.

According to the press material, Eugene Onegin – which plays April 29 in the afternoon, and the evenings of May 3 and May 5 – promises “breathtaking music [and] choreography, lavish orchestrations and compelling arias.” Field will be playing the role of Larina, the mother of the two main female protagonists of the story, Olga and Tatyana.

“The libretto includes portions of the original verses of Pushkin,” Field said, noting that the score is one of her favourites. “Tchaikovsky originally thought it would be blasphemy to make Pushkin’s poem into an opera, but eventually he agreed. I love the Pushkin poem the opera is based on as well – it’s so environmentally evocative, it is so Russian, and it takes you into right into that environment.”

A number of Russians feature in the cast, including baritone Konstantin Shushakov (Onegin), soprano Svetlana Aksenova (Tatiana) and tenor Alexey Dolgov (Lensky). This new production has been created in collaboration with Calgary Opera and is directed by Tom Diamond and conducted by Jonathan Darlington. Eugene Onegin will be sung in Russian with English surtitles projected on a screen.

In addition to Eugene Onegin, Field will participate in a chamber music performance of Dmitri Shostakovich’s From Jewish Folk-Poetry Op. 70 on May 4, 5 p.m., at CBC Studio 700. This song cycle was written in 1948 by the Soviet composer, who initially wrote eight songs that were meant to reflect the hardships of being Jewish in the Soviet Union. In order to disguise this sensitive material, Shostakovich added three more songs depicting the “great life” Jews had under the Soviet regime. Despite these efforts, the censors were not fooled and refused to approve the work – it could not be performed until after Stalin’s death in March 1953.

On the lighter side, Field will also appear in a family-oriented original adaptation of Maurice Sendak’s Where the Wild Things Are, a student performance co-produced by Vancouver Opera and Delta School of Music on May 5, 1 p.m., also at CBC Studio 700. The production is one of four offerings aimed at children and/or teens on the festival’s Family Day.

Vancouver Opera general director Kim Gaynor, also a member of the Jewish community, is in her second season at the organization, which she came to after years working the festival circuit in Europe. Gaynor told the Independent that she has modified the Vancouver festival quite a bit from its first year, trying to take a more “out of the box” approach. This includes a more diverse and daring program with a mixture of classical and contemporary works, and the inclusion of chamber music. The festival will also include three films: the silent film Man With A Movie Camera on April 28, the 2001 CBC production of The Overcoat on April 29 and 1965’s Dr. Zhivago on May 1.

The festival starts on April 28 with an outdoor celebration at Queen Elizabeth Theatre Plaza that features Russian cultural performers, food trucks, market vendors, a circus presentation, a movie screening and a patio bar. Festivities that day will get underway at 2 p.m., and a highlight will be the re-creation of the pinnacle of white nights celebrations in Russia that evening. A 40-foot schooner with scarlet sails will serve as the stage for acrobatics, music and custom-designed projections on the 22-foot-high sails in a performance suitable for all ages. Scarlet Sails will also be offered April 29 and May 3 and 5.

The Vancouver Opera Festival runs to May 6. The full program and more information can be found at vancouveropera.ca.

Matthew Gindin is a freelance journalist, writer and lecturer. He is Pacific correspondent for the CJN, writes regularly for the Forward, Tricycle and the Wisdom Daily, and has been published in Sojourners, Religion Dispatches and elsewhere. He can be found on Medium and Twitter.

The magic of laughter

Magician Stephen Kaplan entertains at last month’s Empowerment session. (photo from Jewish Seniors Alliance)

On March 21, the Jewish Seniors Alliance, in partnership with Temple Sholom Seniors, once again brought the community a magical program of laughter.

In the program, which was the second in the 2017/18 JSA Snider Foundation Empowerment

Series with the theme Laughter and Music: Feeding the Soul, magician Stephen Kaplan delighted the audience of more than 100 people with his energy, sense of humour and enthusiasm.

Kaplan introduced himself as “the Maestro of Magic” and, as such, he said he conducts the magic that is within us all. Combining interactive entertainment with jokes and surprises is what he loves to do – and he does it so well.

The audience was shrieking with laughter and wonder. How did he guess that Heather’s first boyfriend’s name was Peter? How did he guess that Lila was thinking of the city Winnipeg? And how did he guess that the card that Bonny picked was a seven of diamonds? Did he really guess all that? It doesn’t matter. As a finale, he took a section of the Vancouver Sun, tore it into pieces and, within seconds, put it back together.

Gyda Chud, his preschool teacher, introduced him beautifully. Was she the one who instilled the charm and magic in him? Kaplan made sure that every one of the attendees left the program with a big smile.

The afternoon began with greetings from Bill Gruenthal, Arthur Gutman told some jokes and led the audience in Passover songs, and Ken Levitt, JSA president, encouraged people to join the JSA, if they hadn’t already.

Two more Empowerment sessions on the theme Laughter and Music are coming up: Perla’s Music Workshop on April 17 with Congregation Beth Israel, in conjunction with the Jewish Family Services’ Seniors Lunch program; and Music for Our Hearts and Songs We Love on June 25, with the Kehila Society in Richmond. For more information, visit jsalliance.org or call 604-732-1555.

Tamara Frankel is a board member of Jewish Seniors Alliance.

Cabaret a timely show

Michael Wilkinson, left, and Kurtis D’Aoust in Royal City Musical Theatre’s Cabaret, which plays at Massey Theatre until April 29. (photo by Emily Cooper)

The musical Cabaret is a classic in the English-speaking world. Since its Broadway première in 1966, it’s been staged multiple times in many countries, and its acclaimed movie version of 1972 won eight Oscars. This April, Royal City Musical Theatre (RCMT) brings the show to New Westminster’s Massey Theatre.

“I saw the Cabaret movie many years ago, but it’s quite different from the stage musical, which I saw for the first time on Broadway in New York, starring Alan Cumming, in 2015,” actor Michael Wilkinson told the Independent. “The Broadway production was spectacular; not only is the show filled with great songs and dance numbers, but the various storylines were, and are, timely to current events that we’re seeing around the world today.”

With music by John Kander and lyrics by Fred Ebb, the show is loosely based on the book Cabaret, written by Christopher Isherwood.

“Taking place in Berlin [in 1931] just before the Nazis came to power, Cabaret demonstrates how there was an increasing presence of far-right wing politics, which is not dissimilar to some of the political movements we’re seeing in the United States,” said Wilkinson, who is a member of the Jewish community. “It provides a stark reminder of how we need to stand up for those who are most vulnerable in society.”

In the RCMT production, Wilkinson plays Victor, one of the performers at the cabaret. Victor is a dancer, singer and waiter, Wilkinson explained. “As Victor, I spend most of the play singing and dancing in the ensemble numbers, as well as serving and fooling around with the patrons. It’s a fun role, and many dance numbers are very energetic.”

Unlike most members of the cast, Wilkinson doesn’t see his professional life revolving around theatre. “I actually am not studying acting,” he said. “I did study theatre for one year right after high school in New York at NYU. However, after an amazing year, I decided that theatre school was not for me, so I returned to Vancouver. I’m currently one year away from graduating with a bachelor of arts from UBC’s Institute for Gender, Race, Sexuality and Social Justice. I would love to work in arts marketing or management, but I am also very passionate about youth education.”

For him, theatre is a beloved hobby, although he did want to be an actor as a child. “I grew up taking theatre and music classes, which I loved. I went to the fine arts theatre program at Lord Byng Secondary School,” he said. “I participated in school plays. I also participated throughout high school in many community and professional theatre productions across the Lower Mainland. And I’ve continued to do so into adulthood. I love to do theatre in my spare time, and companies like RCMT provide a great opportunity for this.”

Being in a musical is ideal for the young performer.

“I started playing violin when I was 5 and I played oboe in my high school band, so music has always been a part of my life,” he said. “Musicals just seemed like a natural genre for me to fall into when I became interested in theatre. I love being in big musicals, like Cabaret. RCMT is a great company because they present big musicals every year, which is not something that every theatre company is able to do. This is my fourth show with RCMT. With them, I’ve had lots of fun in the smaller featured roles or as part of the ensemble.”

Over the past several years, Wilkinson has performed with many theatrical companies in Vancouver. In addition to RCMT, he has played in shows put on by Theatre Under the Stars, Awkward Stage Productions, Gateway Theatre, Bard on the Beach, and Footlight Theatre.

“Most of them have been non-paying [roles], which was fine growing up and going through high school,” he said. “I never expected to get paid at that age. However, this year, RCMT introduced an actor honoraria, which is very helpful to offset transportation costs. While this is certainly not the case for many other cast members, I’m not at a point where I’m looking to make a living from doing theatre. I have two other part-time jobs, my UBC classes and rehearsals, so [being in] shows that do not pay, or at least not very much, works for me.”

The timing of a show is more important to him than the financial side, because he has to juggle his schedule. This is why he doesn’t go to auditions very often. “I only audition for productions that I would really want to be in and that I know I can commit to, in terms of rehearsals and performance dates,” he said.

He enjoys everything involved in putting on a show. “I love the rehearsal process,” he said, “because it is so exciting to watch a production come to life with all its elements: music, choreography, scene work, props, costumes, sets and lights, and eventually the audience. It is also great to get to know a new group of actors as we come together to work on a production. The Vancouver theatre community is quite small, so there are usually some familiar faces, but every cast kind of becomes a family for the duration of a show – some of my best friends I’ve met through theatre. And, of course, performing the final product in front of the audience is always very exciting.”

Wilkinson is not sure yet what his future holds, or even where he will be after graduation. “I’ve lived in Vancouver my whole life, minus my one year in New York,” he said. “Vancouver is home, but if a really great job presented itself outside of Vancouver, I would never say no. I’m also interested in doing my master’s degree at some point, so that may involve a move, as well. I think it’s important to be happy in whatever we’re doing, so that’s how I try to guide my education, work and theatre to balance in my life.”

Cabaret opened at Massey Theatre April 12 and runs until April 29. For tickets and information, visit royalcitymusicaltheatre.com.

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

What is it to become Israeli?

Akiva Gersh teaching a group in Israel. Gersh is the editor of, and a contributing writer to, the book Becoming Israeli: The Hysterical, Inspiring and Challenging Sides of Making Aliyah. (photo from Akiva Gersh)

If you or someone you know is considering making aliyah, there is a book that offers a glimpse of the experience. Becoming Israeli: The Hysterical, Inspiring and Challenging Sides of Making Aliyah (Rimonim Press) is a compilation of blogs and essays written by 40 olim (immigrants), including the editor, Akiva Gersh.

“The book speaks about the various sides of aliyah, from the hysterical, to the challenging, to the frustrating, to the emotional,” Gersh told the Independent.

Gersh grew up in the New York area. He and his Philadelphia-born wife, Tamar, made aliyah about 13 years ago. As they were going through the process, Gersh wrote about it in a blog. When he realized others were doing the same thing, he was spurred to collect as much information as he could for publication in book form.

“I kept thinking, someone must have done this,” said Gersh. “People had written about their own aliyah experiences, but not a broad compilation of experiences … and that is what I wanted to do, what I wanted to share. I worked on it for about two years – finding the blogs, talking to the bloggers, telling them what I’m doing, and getting permission to use their posts in the book. And, after about two years doing all this compiling and editing, the book was born.”

In Becoming Israeli, said Gersh, there are the insights of (English-speaking) Jews who have made aliyah, as well as those who have been to Israel, but haven’t yet made the move. “In the book,” he said, “you can really sense the things they love about Israel. Above and beyond that, there is the general world … and much of that includes the Christian world who loves coming to Israel.”

The feedback has been good, especially from olim who have read the book and can relate to their fellow travelers. “They went, ‘Wow! Amazing!’” said Gersh. “Every page, they’re like, ‘This is my story!’ They’re laughing, they’re crying.

“I’ve read the book multiple times and I still laugh at the jokes and cry at the same emotional places,” he added. “It’s a really powerful book and I’ve had really positive feedback from olim who say ‘thank you’ and feel it is awesome … [and] exactly what they’ve been going through and experiencing.”

Gersh is a teacher by training and works in a private English-language school in Israel. He also connects with people using music, through a program he started in 2007 called The Holy Land Spirit.

As a musician and teacher, Gersh offers groups – mainly Christians – who visit Israel an evening program of music, prayer and spirituality from a Jewish perspective. “They love it,” he said. “We pray together, dance together, speak together.”

Gersh teaches at Alexander Muss High School, a study-abroad institution near Tel Aviv. There, kids from 45 different countries come to learn for a few weeks or up to a few months at a time, about Jewish history and Israel. They spend half their time in the classroom and half their time traveling around the country.

“So, it’s academic and hands on,” said Gersh. “It’s awesome. I’ve been there about 10 years now. The language of instruction is English and, for those who want to improve their Hebrew, there are opportunities.

“We have young Israelis who are fresh out of the army. And, for those who want the Hebrew experience, they can get it from them and also from being out and about in Israel.

“The kids are inspired, enlightened, pumped up about Israel,” he continued. “We’re not a religious program. We’re not a church denomination. We’re pluralistic. We have Jews on staff, but we don’t push Judaism. We just open up a space for kids to explore connections to Judaism.”

According to Gersh, many of the students are experiencing certain aspects of Judaism for the first time. This is something especially meaningful for him, he said, noting, “I had no connection to Israel growing up at all. I never thought about it, nor talked about it. It just wasn’t a thing in my community. I heard about it a couple times in Hebrew school, but it wasn’t on the radar at all. By the time I was done with high school, going into college, I was really done with anything Jewish…. In college, I began searching for something more cultural, meaningful, spiritual in my life.

“That journey, which was a three-year journey, took me to many different places, meeting different people, reading different books. At the end of the journey,” he said, “it brought me full circle to Judaism. But, I found a new side and a new expression of Judaism that I hadn’t seen before.”

Among the places Gersh traveled after college was West Africa, where he spent two months learning more about the drumming he studied in school.

“After traveling around there,” he said, “I went to Israel for the first time. I was about 22 years old at that point. I traveled around Israel for two months, backpacking and enjoying, taking a class here, a class there, doing a Shabbat and just really getting into it. After those two months, I realized I wanted to really explore my roots and see what Judaism was about. Still, at that point, I did not want to become religious.”

Eventually, Gersh did become religious. He spent some time in a yeshivah, both in Israel and in the United States, before making aliyah with his wife in 2004.

The foreword of Becoming Israeli was written by Yossi Klein Halevi, an Israeli author Gersh looks up to as a Jew, as someone who made aliyah and as a writer.

“We had a book launch at the beginning of the summer and we had a panel of me and a bunch of other bloggers from the book, and he was one of the panelists,” said Gersh. “It was amazing to have his voice and his perspective.”

Becoming Israeli is available on Amazon, and Gersh also has a website, becomingisraeli.com.

Rebeca Kuropatwa is a Winnipeg freelance writer.

Power of human spirit

Disarmed: Unconventional Lessons from the World’s Only One-Armed Special Forces Sharpshooter by Izzy Ezagui (Prometheus Books) is confusing, puerile, uneven, exaggerated, chutzpadik and strident – I loved it. I enjoyed every blessed moment involved in reading this extraordinary Proust-like jumble of words and ideas by an Israeli soldier who lost his left arm in a Hamas mortar shelling a decade ago when he was on duty near Gaza.

The unlikely protagonist of this memorable saga is a Sephardi Jew raised in Florida and Crown Heights (New York), and educated first in the public school system and, afterward, in a Lubavitch yeshivah, before making aliyah. His father and mother, whom he idolizes in this book, were complex parents who decided, while Ezagui was still very young, to become more serious about their Judaism.

This autobiography is among the few books available on the intricacies of the Israeli army’s training procedures for inductees into elite units – which Ezagui experienced not once but twice – and, as such, it provides an introduction to what it really means to become a member of Zahal, the Israel Defence Forces. The rigours of IDF training are equal or superior to American, British and Canadian special forces cadres.

When Ezagui’s tent was destroyed by the mortar blast that hit his unit bivouacked near Gaza, the young soldier did not at first realize what had happened to him, so great was the shock to his nervous system. The graphic description he provides of the wreckage to his left arm is not easy reading because it lies outside our normal anatomical parameters but Ezagui conveys quite adequately the physical and psychic damage he endured. It took hours before the extent of his personal catastrophe was fully known.

Ezagui’s comrades were able, once the dust had cleared, to transport him to an Israeli medical facility, where doctors stabilized the young soldier, along with others who had been injured by enemy fire. One of the most poignant parts of this journal is Ezagui’s attempt to speak to his mother on the telephone to impart the news about the loss of his left arm without provoking hysteria on her part.

Part of the treatment the author received from Israel’s medical cadres were heavy doses of very powerful drugs, including fentanyl, a narcotic, he notes, which is a hundred times more potent than morphine; it was the first drug administered to him when the severity of his injury was recognized. This is a relevant observation because, when Ezagui began to recover his sensibilities, he immediately declared that he intended to return to his combat unit. But he soon realized that he would have to go “cold turkey” before he could even think of rejoining his comrades. This he did by dint of unbelievable discipline in the face of incredible suffering from withdrawal.

During this crisis period in his slow recovery, Ezagui was confronted with the negative responses of army doctors, one of whom bluntly told him that his condition precluded the kind of camaraderie and fraternity among soldiers who depend on their peers to help them. That kind of subtle yet direct rejection ironically made Ezagui more determined in his pursuit of his former status as a soldier-sharpshooter. It did not help that he was continually hounded by his “phantom,” the curious physiological phenomenon when a severed limb asserts its presence despite its absence.

In his narrative, Ezagui gives us all the excruciating details of his retraining in the army – this time, with a limb missing. One of the greatest obstacles he encountered was mounting a wall with a rope anchored to it. In his previous incarnation, he had no problem, but one arm wasn’t enough to execute the onerous task. He finally realized that a contortionist’s skill was required to perform the feat and, through the use of his legs and other body parts, he was able to get over the wall.

Ezagui encountered a similar problem with his rifle. It jammed regularly when he tried to insert the shells into it. He overcame his frustration only when he realized that he had to dig his weapon into the ground, anchor it solidly and, then, with his one arm, load the instrument.

Ezagui passed all his retraining requirements and it was the doctor who had initially rejected his attempt to rejoin his unit who certified his reentry into the army.

Disarmed is a testimony to the resilience of one human being who beat the odds and conquered a disability, and Ezagui has become a symbol of what the human spirit is capable of accomplishing.

Arnold Ages is Distinguished Emeritus Professor at University of Waterloo, in Ontario.

Yom Ha’atzmaut love, spirit

Shlomi Shaban will be joined by Ninet Tayeb (right) at Metro Vancouver’s celebration of Yom Ha’atzmaut on April 18 at the Chan Centre. (photo from Jewish Federation)

Two award-winning veteran musicians, not to mention good and longtime friends, will be headlining our community’s Yom Ha’atzmaut celebration on April 18 at the Chan Centre for the Performing Arts. Tel Aviv’s Shlomi Shaban will be joined by Los Angeles-based Ninet Tayeb.

“I have performed once outside the country on Yom Ha’atzmaut,” Shaban told the Independent. “It was Israel’s 60th anniversary. It was in Stockholm, Sweden. A lot of musicians and myself traveled over there, like Beri Sacharov, Eran Tzur and many others. We had a great show over there. But, beside that, I can’t remember performing outside Israel on Yom Ha’atzmaut, mostly I’m here in Israel, performing across the country or just being with my family, it depends.

“I’ve never been to Canada before, so, naturally, I’m very, very excited,” he said. “I’ve heard a lot of really great things about Vancouver and I’m really looking forward to just hang there, travel around and explore the place, although we’re going to be there for too short [a time] I’m afraid, two days, but I hope to catch as much as I can.

“I remember my friends Jane Bordeaux performing there last year,” he added, “and they came back really excited about the crowd and the place.”

Shaban was born in Tel Aviv and has lived there his whole life, except for a few years, when he was in London, England, to study classical piano. “I’m in love with Tel Aviv,” he said.

Like Tel Aviv, music has always been a part of Shaban’s life.

“I started learning how to play the piano when I was 6 years old,” he said. “I started privately, like a lot of kids. Then I went to a conservatory, and studied there for 10 years. And then, in London … I received an artist’s diploma from the Royal College of Music. I’m very proud of that, though I haven’t looked at that diploma since I got it.

“I always wrote little songs, since I was 10, I think, and always considered that as kind of a hobby, or kind of an intermission – I was practising a lot of piano, five hours a day, six hours a day, and more and more, and I always saw that as kind of a comic relief from practising…. When I was 21, I started thinking, maybe I went the wrong direction, so to speak, and the little hobby that I considered to be a comic relief, might be my main interest, and tried to publish my songs. I was very lucky, I was signed by a major label, here in Israel, of course, and faded away from the classical world, and never went back.”

Shaban now has four albums under his belt, and has won several awards for his work.

“In terms of career highlights,” he said, “I would mention two. As I said, I left the classical world but, five years ago, or six years ago, I was approached by the Israel Philharmonic. They celebrated their 75th year, and they asked me to do a concert of my music, my songs, with the orchestra.

“It was a great closure for me because, when I was 17, I played with the orchestra as a classical pianist with Maestro Zubin Mehta. I was a kid, so, naturally, very excited and very nervous, and now I came back through the main door with my own songs. It was another exciting and, again, nerve-wracking in a way, event for me. I had to practise piano again because I played my own songs and a little classical music we mixed throughout the songs. That was definitely a highlight.

“Nowadays, I’m touring with Chava Alberstein,” he continued. “She’s Israel’s, let’s say, Edith Piaf. I don’t know. She’s Chava Alberstein – she has more than 60 albums. I recorded a song with her four years ago, and asked her to consider touring with me and being her pianist – just me and her, she sings and I play…. We planned to do four or five shows, and now the tour has evolved and it’s sold out, and we are adding more and more shows. I sing only one song during the show, the song that I wrote for her…. It’s a great, great pleasure for me and I learn so much and enjoy so much doing it. So, that’s another big highlight for me.”

Shaban has been inspired by many musicians.

“I’ve covered many artists, Israelis and non-Israelis,” he said. “Mostly, I tend to cover storytelling songs, people like Bob Dylan, Leonard Cohen … I’m going to play a few songs by him in the show.

“I was trained as a classical musician and, when I left it and began hearing popular music, in a weird way, my heart went to very simple music, very text-based music, people, as I say, Dylan and Leonard Cohen, Tom Waits, Lou Reed, all that gang. And, during the years, they have remained my main love and inspiration, but I have listened to a lot of other music – new music, old music, jazz. I love jazz pianists and composers, people like [Thelonious] Monk … Miles Davis, and many, many others. I’m not interested in a specific genre, just getting as much inspiration as I can from different genres. But, as I said, my main interest always was the lyrics, funnily enough, and the story that the song conveys, and that hasn’t changed.”

In terms of his creative evolution, however, Shaban has been focusing more on the music. He described his early composing as “very functional,” something he used mainly to help the story to come across. “Nowadays,” he said, “I’m writing more rich music. I think, in that way, I’m heading backwards to the classical time and thriving on inspiration from all kinds of music, and not just folk music or rock music.”

photo - Ninet Tayeb — Ninet Tayeb *(photo from Jewish Federation)*

Shaban is excited to be performing in Vancouver with Tayeb, who he described as “one of the best singers I have ever heard.” He added, “She’s a great friend of mine, so that’s another bonus, meeting her in Canada – she’s in L.A. now and I rarely see her, so I’m looking forward to that, and meeting you all.”

For her part, Tayeb has recorded five albums and, like Shaban, has been recognized numerous times for her work. Also like Shaban, music has been a lifelong passion.

“Music has been my life ever since I was a little girl,” she told the Independent. “I started writing my own music at the age of 23. To be able to express myself through music is the most amazing gift I could have.”

Tayeb said, “My style is a mixture between Israel, L.A., Berlin and New York, kind of a Middle Eastern rock ’n’ roll with a slight hint of electronic. Music keeps evolving all the time and so do I – thank God! – and, for me, the most important thing is to keep moving forward and keep my mind open.”

It was this drive to continually enrich her knowledge and creative spirit that took her to Los Angeles, she said. She moved there from Tel Aviv.

On Yom Ha’atzmaut, said Tayeb, “The show will be me singing with Shlomi and Shlomi will sing alone, as well. One thing I can promise you – the show will be full of love and true spirit.”

For tickets ($18) to the April 18, 7:30 p.m., concert at the Chan Centre, visit jewishvancouver.com.

Unique coming of age

Richard Newman and Gina Chiarelli in Bar Mitzvah Boy, at Pacific Theatre until April 14. (photo by Damon Calderwood)

The number 13 means different things to different people. To a baker, it’s that extra pastry that he adds to a dozen; to the superstitious, it’s considered bad luck to the extent that some buildings do not have a 13th floor. To a Jewish boy, it means his right of passage into manhood, a journey fraught with both angst and joy.

But what if you missed that momentous occasion, for whatever reason, and now, as a grandfather, as your grandson’s bar mitzvah approaches, you have an urgent need to have a bar mitzvah ceremony? This premise forms the basis of local playwright Mark Leiren-Young’s Bar Mitzvah Boy, a two-hander being staged at the intimate Pacific Theatre in Vancouver until April 14. It won the American Jewish Play Project’s prize for best new Jewish play last year, with successful staged readings in New York, Boston and Charlotte, N.C.

Joey Brandt (Richard Newman) is a successful Vancouver divorce lawyer who wants to study privately with Rabbi Michael (Gina Chiarelli) in order to have his bar mitzvah before his grandson’s big day. He is surprised to learn that she is female, and even more surprised when she refuses him as a student, suggesting that he join Cantor Rubin’s bar mitzvah class instead. Joey is obviously a man used to getting his way and, not surprisingly, his stint in Rubin’s class turns into a fiasco, as Joey disrupts the class and takes all the boys out for Hawaiian pizza (you know, the kind that has ham on it). The rabbi eventually relents, in light of both Joey’s advocacy skills and a big donation to the synagogue’s renovation fund.

The chemistry between the two actors is palpable. The audience is led through a witty pas de deux, and both teacher and student experience personal metamorphoses through their weekly interactions. Joey – who has not been to shul for 52 years – learns to put on tefillin, as well as studying the liturgy and history of his people, in a crash course in Judaism. Meanwhile, the somewhat bohemian rabbi (she jogs and smokes marijuana – for “medicinal purposes” only) works through her own demons, which include an almost-12-year-old daughter with cancer and a husband who cannot cope with the illness. In an engaging twist, the professional roles reverse as the players grapple with the existential question of whether G-d is a metaphor or a real entity on which to base our faith.

Newman, who says that he is “Jewish on both sides” is stellar in his role as Joey (and his Hebrew is not too bad, either) but it is Chiarelli who steals the show with her sublime portrayal of a working mom having to deal with a sick child and an unsupportive husband. Kudos to Chiarelli, who is not Jewish, but who has mastered the dialogue and rituals of the script.

The set design is sparse but effective. One side is a backlit bimah with a lectern and a dove-shaped eternal flame hanging above. The other side does double duty as the rabbi’s study (replete with a library that includes Kosher Sex by Rabbi Shmuley Boteach and the Kama Sutra) and Joey’s office. The costumes are simple and the music – klezmer, what else.

Leiren-Young peppers the play with local references that will resonate with some of the community audience – names like Cantor Rubin, Rabbi Solomon, Schara Tzedeck, the astronomical prices of the real estate – some contemporary quips about the Broadway musical hit Hamilton and singer Kenny Rogers, and a multitude of Jewish clichés. He is the master of witty repartee, as anyone will know who has seen his play Shylock, which was, most recently, at Bard on the Beach last year.

“I had a truly crazy bar mitzvah at the Beth Israel,” said Leiren-Young when asked in an email interview by the JI about his own bar mitzvah experience. “There was a snowstorm and my mom’s car was hit en route to the shul for Friday night services. After that, standing at the bimah

and singing was easy! I drew a lot of inspiration for this play from real experiences – a mix of my own and stories from friends – but I just realized I left out the snowstorm. Maybe that’ll go in the movie.”

As to whether or not you have to be Jewish to get the play, he said, “No more than you have to be Catholic to ‘get’ Doubt or Mass Appeal or Sister Mary Ignatius (three ‘Catholic’ plays I love). But there are definitely moments that will hit harder for a Jewish audience and, I suspect, there will be jokes only Jewish audience members will laugh at.”

It is somewhat ironic that the world première of this play is being held in the basement of an Anglican Church, but that is part of its cachet.

The audience take-away from any play is deeply personal but, as Joey says in his bar mitzvah speech at the end of this journey into his faith: today, I am a man here to honour my family and ancestors, to celebrate being a Jew and becoming a member of a community with all the rights and responsibilities that go along with that membership. And, to that, we say, amen.

For tickets, visit pacifictheatre.org or call the box office at 604-731-5518.

Tova Kornfeld is a Vancouver freelance writer and lawyer.