Arts & Culture – Page 130

Replace your fear with hope

David Diamond, Theatre for Living, directs Reclaiming Hope. (collage graphic design by Dafne Blanco, photos by Wolfgang Rappel)

Starting on March 10, Theatre for Living (formerly Headlines Theatre) will be presenting a new event. Called Reclaiming Hope, it will “engage communities in identifying and transforming the narrative of fear that permeates our culture.”

Reclaiming Hope, led by Theatre for Living’s co-founder and artistic director David Diamond, will take place 12 times from March 10 to April 2 at various locations.

“The work that I do is really based in using theatre as a way to create dialogue in the community. We are a professional theatre company, but one that is really committed to collaborations with people in all communities,” said Diamond.

Diamond originally trained as a professional actor and came out of theatre school in 1975. He worked in professional theatre, radio, television and film for a few years before creating Theatre for Living with some of his peers.

“A number of us, writers, directors, actors, became frustrated in the late ’70s with the kind of work we were being asked to do. We wanted to do some kind of theatre work that was socially relevant. After complaining about that for a very long time, we decided we would stop sitting around and complaining, and we would do something about it.”

In 1981, Diamond and his peers created a play about affordable housing. It was a hit, and thus began the establishment of Theatre for Living.

Reclaiming Hope, Theatre for Living’s newest work, was born out of an unexpected turn of events. Diamond and company were initially planning a new project entitled Freedom, which would focus on the idea that corporations may unethically possess the freedom to generate exceptional wealth. But, as Theatre for Living was raising money for this production, the Canadian federal election took place.

“The impulse for that project was grounded, frankly, in Harperism. It isn’t that those issues have now gone away, the issues still exist out there, but the juice of it changed dramatically. Changing the government hasn’t solved all of those problems, but changing the government has changed the perception of those problems.

“We had to really reframe the project. Added to that, we were having trouble raising money for that project, because it was really challenging the financial structures that we have built around us. One of the elements of Freedom that we decided to focus on in Reclaiming Hope is that we are being asked to be afraid, we are being asked to live in fear from so many different sectors,” said Diamond.

Theatre for Living decided they would mount a series of theatrical events that would look at the different ways that various communities are experiencing being asked to live in fear. They would use theatre to identify those voices of fear that take up residence in the community’s psyche. They would also use theatre to try to change the community’s relationship to those voices, so that, according to Diamond, society could move into a more actively hopeful realm.

“‘Hope’ is a verb. ‘Hope’ isn’t just sitting in your living room wishing things were different. ‘Hope’ is getting up off your ass and doing something to make our communities safer in a really human type of way for everybody.

“Somehow,” he said, “we have decided on this little blue speck of a planet, that there is a ‘them.’ That decision that there is a ‘them’ out there, that there is more than just ‘us’ living here is fueled by voices of fear.”

Diamond believes that he and his peers are not inventing something new, but rather reaching back into something ancient. Moreover, he intends to bring back the ancient idea that art itself can once again be seen as the psyche of the community.

Diamond and his company believe that the community may reclaim its collective hope through art.

“Years ago, both as an artist and as an activist, I got really tired of working against a world that I did not want. I made a real choice to work towards a world that I do want. So, at the heart of our theatre work, is the sense of reclaiming positive action,” he said.

An audience member unfamiliar with Theatre for Living’s style should expect to be very active when attending Reclaiming Hope. The event, though structured, will be different every night, as it unfolds with the stories of its nightly participants. As each show will be sponsored by different co-hosts, Diamond anticipates that the chemistry of the audience will be different every night. (For the schedule and tickets, visit theatreforliving.com.)

Diamond will begin each show with a discussion about the idea of living in fear. The audience will then choose one story that resonates the most. The person whose story that is will assume a role on stage, interacting with other audience members who will act out the voices of fear found in the story.

“Audience members will come to play those characters not because they want to play a theatre game,” said Diamond, “but because they have information to share, they understand the ‘voice.’”

Each event will be highly improvisational, and Diamond expects both funny and profound moments to occur. Judging by past events, Diamond expects about 60 to 150 people per night.

On April 3, the series of events will culminate in a day of action planning. This day will only be open to individuals who have attended at least one of the Reclaiming Hope performances. The daylong session will consist of a facilitated workshop where people will form groups based on ideas gathered from Reclaiming Hope. These groups will then make concrete plans for actions that will be the ultimate realizations of Reclaiming Hope.

“On some level,” said Diamond, “I think it is important as a culture, as an over-arching Canadian culture, that we understand and reclaim this idea that culture is not a commodity, that theatre is not a commodity, but it is a language, and we are all supposed to speak. And if we were all of us in our daily lives speaking more art, we would be living in a healthier world.”

Jonathan Dick is a freelance writer living in Toronto. His writing has appeared in the Canadian Jewish News, and various other publications in Canada and the United States.

Miller’s urgency to create

Gallim Dance performs the Canadian première of Wonderland at Chutzpah! March 10-13. (photo by Yaniv Schulman)

Gallim Dance’s Wonderland premières in Canada at the Chutzpah! Festival March 10-13. It was inspired by artist Cai Guo-Qiang’s Head On, which is an awe-inspiring installation even when viewed only in photos. Ninety-nine wolves run into the sky, an arc of animals intent on moving forward and fast – right into a glass wall.

“I like this dance very much, which isn’t true of all my earlier works,” Andrea Miller, Gallim Dance founder and artistic director, told the Independent. “It’s the first of my works that I built like a story. It’s an absurdist narrative but a story nonetheless. I created four archetypal characters that depict the dangers of pack mentality. I use a broad range of music, from the Chordettes’ 1954 ‘Mr. Sandman,’ to Chopin, to indie singer-songwriter Johanna Newsom, to minimalist electronic music inspired by the circus.

“Seeing Head On at the Guggenheim Bilbao consolidated my mixed feelings about the war in Iraq,” she added. “As I was looking at the installation, I was making the dance in my head.”

The archetypes are “the fool, death, the lovers and Cassandra,” according to Gallim’s website. They “evolve in a universe influenced by the imagery of the American atomic age. Behind the smiles of an Esther Williams dream world, Wonderland reveals psychological and physical episodes of a herd acting as a unit through the uncoordinated behavior of self-serving individuals. Although pack mentality is a natural and ongoing strategy in the animal kingdom, among humans it can indicate a vicious, desensitized brutality and disregard for humanity – a concept that is at the core of Wonderland.”

Head On was part of Cai’s first solo show in Germany, at the Deutsche Guggenheim in Berlin in 2006. While communicating a universal message, the danger of people blindly following others, among its themes are the rise and fall of Hitler – Wolf’s Lair was one of Hitler’s headquarters – and the rise and fall of communism, as symbolized by the Berlin Wall.

Such heady source material is not unusual for Miller. The writings of Raymond Carver and Albert Camus, for example, were inspirations for Fold Here and Sit, Kneel, Stand, respectively.

“I used to read a lot,” said Miller, “but now I feel like I’ve replaced books with work emails and video. I’m currently in a literary desert, but I love reading. Anything can inspire me, not just books; I’m available for being influenced and inspired by what I live and see happening to people in the world.”

Mama Call was directly related to her Sephardi heritage.

photo - Gallim Dance founder and artistic director Andrea Miller — Gallim Dance founder and artistic director Andrea Miller. *(photo by Peggy Jarrell Kaplan)*

“I grew up in a Conservative Jewish home. My father grew up Orthodox and eventually became atheist and my mother was Catholic and converted to Judaism,” she said about her background. “Because we lived in Salt Lake City, one could feel, as Jews, like we were in a minority and the synagogue became a really important place for feeling part of a community. I guess because of that, Judaism has always been a strong presence in my life. I currently attend Shabbat services with my two children whenever we aren’t on tour. We also attend Catholic services with my boyfriend, their father. Truthfully, I can’t exactly delineate the contours of what is exactly Jewish in me, but I feel that it is a latent presence in my life. In any case, that’s ultimately a personal circumstance; everybody has their own personal circumstances.

“I feel that, in order to relate to humanity, to each other, to art, we must understand that our personal circumstances are just departure points, which we should be ready to transcend. In this sense, I am more drawn to the universal human condition than restricting my artistic research to my personal circumstances, whatever they may be (nationality, age, cultural background, ethnicity or spiritual beliefs). Mama Call began its inspiration with the Jewish Diaspora and eventually became a story of home for any immigrant or displaced person.”

Miller’s professional journey began in Salt Lake City at the Children’s Dance Theatre, which was developed by a Doris Humphrey disciple, she explained. “The philosophy behind the training was in discovering movement through improvisation and dramatic play, and I loved it.

“We moved to Connecticut when I was 9 and, by pure coincidence, I ended up dancing with another Humphrey master, Ernestine Stodelle, and learned the technique and repertory of Doris Humphrey and Charles Weidman. At that time, I became sort of a young expert in pioneering modern dance, hungry to interpret the works of [Martha] Graham, [José] Limón and choreographers of that era.

“I got into Juilliard, which baffles me to this day considering I had very little ballet training. In my first year at Juilliard, the director Benjamin Harkarvy would work often with me, imploring me to undo myself, my body, from the 1930’s esthetics. It took a year of identity crisis and it was then that I started obsessing over living choreographers and contemporary art. I met Ohad Naharin at Juilliard and, after graduating, joined the ensemble Batsheva.”

It was during her time with Batsheva, she said, that “choreography changed from a passion to an urgency.” When she left the ensemble, she started creating her own work. Back in New York, she founded Gallim in 2007.

“Early rehearsals of the company were at Juilliard between 9 p.m. (when the students typically had to leave the studios to rest) and midnight,” she said. “My first piece was a quarter evening called Snow. I made it for a performance by video application at Joyce SoHo. It went well and they invited us back for a solo week for which I created my first full evening, I Can See Myself in Your Pupil. After that, we were invited back for two weeks, where we repeated Pupil and premièred Blush. Ella Baff from Jacob’s Pillow saw it and booked it for the summer festival. Everything started moving from there. The next year, we were asked to open Fall for Dance and perform at the Joyce.”

Gallim Dance has become an internationally renowned company. Miller has won multiple honors and her work has been commissioned around the world. Also of note is the company’s financial viability and continued growth. According to its 2014 annual report, that year ended “with a balanced budget just over $700,000 and an increase in net assets of more than $46,000.” In addition to looking after itself, the company invests in community programs in its Brooklyn neighborhood and beyond.

“I don’t feel I have any innate talent in the hard skills of business but I seem to have an intuition for the soft ones,” said Miller when asked about her apparent business savvy. “One of my understandings for both my business and my choreography is that progress is incremental and incremental steps take giant leaps of creativity, risk, strategy, planning and commitment. I think I have a combination of chutzpah and common sense that helps me push us forward without threatening our sustainability. I’ve learned a lot about leadership and business from my dancers, staff and board.”

Early in the company’s history, Miller articulated her vision for Gallim Dance: “to play inside the imagination, to find juxtapositions in the mind and body that resonate in the soul, to investigate our limitations and pleasures, and to realize the endless human capacity for inspiration.”

“It describes where everything begins for me and how I relate to all art, not just mine,” she told the Independent. “I think this vision captures both the values I hold for the process of making dances, as well as the larger impetus for making dances at all.”

Gallim Dance performs Wonderland March 10-13, at Rothstein Theatre. For tickets ($29/$25/$21), call 604-257-5145 or visit chutzpahfestival.com.

Join the wedding party

Left to right, Laura Luongo (Mindy), Melanie Preston (Georgeanne), Michelle Weisbom (Meredith), Devon Oakander (Tripp), Christine Reinfort (Trisha) and Yvette Benson (Frances) in Metro Theatre’s production of Five Women Wearing the Same Dress. (photo by Tracy-Lynn Chernaske)

The wedding reception thrown by Metro Theatre Vancouver will be one of the most engaging and fun that you’ve attended – without the hangover or other morning-after regrets. Well, not necessarily, anyway.

Five Women Wearing the Same Dress is at Metro to March 12 and it is well worth seeing. Not only will you be supporting a wonderful theatre space but some very entertaining theatre, as well.

Two Jewish community members are among the five women at this over-the-top Knoxville, Tenn., wedding – Michelle Weisbom as Meredith and Melanie Preston as Georgeanne. Meredith is the younger sister of the bride, Tracy, who none of the bridesmaids, including Meredith, like. Georgeanne was a friend of Tracy’s in high school but Tracy’s then fiancé, Tommy, caused a lasting rift. And Tommy is a recurrent topic among the bridesmaids – he is what you would call a real shmuck.

We meet the bridesmaids after the wedding, just as the reception at Tracy’s parents’ home is starting. The women are decked out in teal sleeveless taffeta dresses that wouldn’t look half bad but for the huge sash with a bow that wraps about the butt, and the hat with a bow to match.

Frances (Yvette Benson) is the first to take refuge in Meredith’s bedroom. Tracy and Meredith’s cousin, Frances is a believer, and every time she is offered a drink, a smoke, a joint, she declines, giving as her reason, “I’m a Christian.” One of the best exchanges in the play is between Frances and Trisha (Christine Reinfort), another former high school friend of the bride, who describes herself as “the reigning queen of the bad rep.” They argue about the difference between having the right to an opinion versus imposing your opinion on others, and Frances’ accusation at one point, “That is secular humanism talking!” is hilarious – and thought-provoking – in context.

Rounding out the bridal party is the groom’s sister, Mindy (Laura Luongo). A lesbian whose coming out was almost universally poorly received, except by her cousin Tripp, Mindy is high-strung and somewhat defensive. She is also clumsy and a compulsive eater, at least in stressful situations, which this wedding is for her and her fellow bridesmaids.

The one man in the cast is Tripp (Devon Oakander), who we meet late in the play, though we hear about him earlier, as Trisha finds him attractive and talks about him with the other women. She tries to resist his charms, as she has slept with many, many men to date and been hurt many times. The scene between Trisha and Tripp is delightful, though it is one spot at which the play loses a bit of its momentum. It is unclear why playwright Alan Ball (whose credits include American Dream, True Blood, Six Feet Under) needed have a male character in the play at all. Perhaps to defend his sex? Show clearly that there are some good men out there?

The only criticisms of Metro’s Five Women lie with the writer. He touches on a number of themes – religion, homophobia, AIDS, sexual abuse, drug use, race, wealth, etc. – and the points are sometimes lost. As well, there are a few moments where the story drags a bit. But director Don Briard has done a fantastic job with this production overall. All of the actors have just enough of a Southern twang that the play is well-situated geographically, and the set of the play, which premièred in 1993, puts it firmly in its temporal space. The actors have a great chemistry and interact with each other convincingly. You really will feel as if you’re the sixth bridesmaid in the room – though much more comfortably dressed.

Five Women is recommended for audiences age 16+. For tickets ($24/$21, two for $35 every Thursday), call 604-266-7191 or visit metrotheatre.com.

More than physical strength

Leah Goldstein shares her life story in No Limits. (photo from Leah Goldstein)

Leah Goldstein put the “severe” into persevere. The physical demands and rigors she has experienced in her life include being a kickboxing champion, a Taekwondo champion, a professional road-racing cyclist, an officer in the Israeli commando and elite police unit, and a participant on the Race Across America, a 3,000-mile bike trek. The B.C. local recently published her memoir, No Limits, outlining the triumphs and the tragedies of her athletic life.

Lessons in fortitude and grit began with her grandparents – survivors of the Shoah – trickling down to her parents, who arrived in Canada from Israel with very little English and a hundred dollars to their name. To make ends meet, her parents worked opposite shifts.

“It’s just the determination of somebody wanting something that bad, and would do anything to get there,” Goldstein told the Independent.

That would be something of a mantra throughout her life, beginning with Taekwondo lessons at age 9. By 16, she achieved a black belt as National Junior Champion. She then moved on to kickboxing. While jugging high school classes, she became World Bantamweight Kickboxing Champion.

As a teenager, her coach had her follow a strict regimen of “no smoking, no drinking, no friends, no phone, no junk food, and seven days a week of training. I did exactly what he said and I didn’t have a teenage life,” recalled Goldstein, now 47.

She went on to win a slew of championships provincially, nationally and in the United States. “Those sacrifices were worth the payoff at the end,” she conceded.

That distilled willpower carried into her Israeli military service. She became one of a handful of women instructors of the elite commando division and, later, a krav maga self-defence trainer for special unit soldiers.

Goldstein was one of only two women to successfully complete the harsh commando training of Course Madaseem, and the only woman out of about 30 recruits to graduate from a then newly established special program at the Israeli Police Academy. She went on to work in the undercover narcotics division, the intelligence services, anti-terrorism department, violent crime investigations, and was an instructor for officials and field workers.

In one 20-hour long grueling military training session that she describes, recruits subsisted on 30 minutes of sleep, then had to repeat the exercise. While many “dropped like flies,” she learned that survival depended largely on what “happens in our mind.”

That was a lesson that went back to her tournament days as a youth. As a second-degree black-belt kickboxer, she had won virtually every bout, but an admitted inflated ego led her to be distracted, and badly defeated, in one match in particular.

“Refocus, and be humble,” she recalled her coach insisting. “And, with every opponent that I had, or any challenges, treat it like it’s your biggest threat.”

When she left policing, she shifted to professional cycling. While her law enforcement career left her emotionally tattered, it was cycling that left her the most battered and bruised physically.

In a Pennsylvania race just prior to the 2004 Olympics, she fell off the bike, breaking her hand. And then, in 2005, after winning nine of her first 11 races, she was involved in what she calls “the mother of all crashes” during the Cascade Classic – she landed on her face at 80 kilometres an hour, “breaking practically every bone in my body, ripping my face right off.”

Doctors were astounded she survived at all, she said.

More astounding was her outlook on the situation: “I actually came back out of that stronger than I was prior.”

It was in 2007 approximately when she started to consider taking David Spanner’s advice – he wrote a feature on her for the Province newspaper – to write a book for the purpose of inspiring others.

“I didn’t understand that at the time because, when you’re an athlete, you’re very self-absorbed and everything is about you,” she said.

The decision to write a book solidified as she did more public speaking engagements. Attendees were quite moved by her stories of resilience.

“I said, ‘Woah, if my story is really that powerful, and I can potentially change lives and help inspire, motivate people, then this book has to be written,’” she explained. “For many of us, it’s easy to be safe. We’re so afraid to fail. But part of succeeding is facing failure. I think it’s just having movement in life, and not watching great things that other people do, but starting to do great things and wowing yourself.”

Goldstein walked her talk or, rather, pedaled her talk, returning to the racing circuit in 2011, winning the women’s solo category of Race Across America, breaking the previous record by 12 hours.

“It’s really using your mind,” she said of perseverance. “When you feel every element of pain, and you’re exhausted and tired, and you just don’t want to be there – and then it starts raining and it’s minus-two degrees – it’s just all about being able to keep it together.”

Dave Gordon is a Toronto-based freelance writer whose work can be found in more than 100 publications globally. His is managing editor of landmarkreport.com.

Barbershop memories

Christopher Best’s recent book, My Greek Barber’s Diary, is a biography of George Chronopoulos, told in the barber’s own words. In recent years, Best has been writing about history and people. Not celebrities but regular citizens who have made Canada a thriving multicultural country. His goal as a writer and as a publisher is to preserve precious memories.

Best will talk about My Greek Barber’s Diary at the Isaac Waldman Jewish Public Library on March 2.

The book follows Chronopoulos’ life from his childhood in Greece, through wars, hardships and immigration to Canada, to the modern day. Through the years, he has tried his hands at various business ventures, from restaurants to real estate, but he always comes back to being a barber. His hair salon has always been a hub of friendships and conversations, confidences and laughter.

Chronopoulos’ bright, ebullient personality, his courage and insatiable curiosity to try new things, to learn new skills, attracted the young entrepreneurial crowd of the 1960s, ’70s and ’80s. Many of Vancouver’s industry leaders started out during those years, and many of them became Chronopoulos’ personal friends and golf buddies.

My Greek Barber’s Diary is a series of more or less chronological stories as remembered by Chronopoulos. A large part of the book is dedicated to the barber’s extended family and their adventures. He sponsored many of his relatives into Canada and helped many others with their first jobs or first homes. A man of big heart, he also was one of the founders of the Gold Plate Dinner charity event in Vancouver in 1977, which was later picked up by the Hellenic communities all across Canada. Today, the events are considered the most important fundraiser in the Canadian Greek community.

Chronopoulos talks in the book about the many people he got to know from different cultural and ethnic backgrounds. Among his many Jewish clients and friends are business tycoons and philanthropists Joe Segal, Bob Golden, Syd Belzberg and Max Fugman. Everyone first came to his shop because of Chronopoulos’ well-known talent for styling men’s hair, but they stayed for their barber’s charisma and the joy of his friendship. The book includes tributes to Chronopoulos, friends sharing their memories of good times and bad times together, of triumphs and losses.

As did the others, author Best first met his subject at the barbershop. “We started talking,” Best recalled of that haircut a couple of years ago. “George asked me what I do, and I said I’m a writer. He said he always wanted to write a book – his life story. Afterwards, we met many times, and George told me about his life and about the people he knew.”

It took Best a year to record and transcribe Chronopoulos’ memoirs, and about six months to edit the book, which he published in 2015.

My Greek Barber’s Diary is not Best’s first book. The writer owns his own publishing company, Warfleet Press, and, since 2007, has published eight books, all of them on local history, including one about Canadian Airlines.

His first publication was By Jove What a Band, about Arthur Delamont and the Vancouver Boys Band. Before becoming a writer and publisher, Best was a musician and a music teacher and, in the 1960s, he was a member of Vancouver Boys Band. He recorded his memories and those of others about the band and its legendary leader, Delamont, who became a member of the Order of Canada in 1980 and even had a park in Vancouver named in his honor. It took three decades and the founding of Warfleet Press before the memoirs became a published book in 2007. Best writes about By Jove What a Band: “It is a story about the band which never grew old. The band that won over 200 trophies and awards during its unprecedented 50-year history. The band that made 15 European tours and attended five world fairs. The band that dined with royalty but never lost the common touch.”

Best’s talk on My Greek Barber’s Diary at Waldman Library on March 2 starts at 7:30 p.m.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

Dementia, cinema’s darling

Julianne Moore as Alice in Still Alice. (photo by Jojo Whilden, courtesy of Sony Pictures Classics)

Fifteen years ago, the subject of dementia was the “elephant in the room,” a very large issue that everyone is acutely aware of, but nobody wants to talk about. If you or a member of your family developed symptoms such as forgetfulness or confusion, you kept it quiet as long as you could. The first time your grandfather found himself somewhere and did not know why he was there was but the coup de grâce, the decisive stroke that heralded the end of a lifestyle as he knew it. This was the beginning of a terrifying and tragic journey towards senility and death.

I remember my paternal grandmother; she was a wonderful cook, Polish style. Her husband took care of her until she had to be placed in a seniors residence. The topic of her illness never came up at home. My father visited her every week. My brother and I did not go with him. Then there was the telephone conversation with my aunt: she was surprised to hear that I lived in Vancouver (I had moved here eight years prior). I knew then that she had Alzheimer’s disease. It was a shock.

During the last 10 years, things have changed. Articles about dementia, in terms of statistics, symptoms, prevention strategies, caregivers and residential settings, abound in our newspapers, magazines, on the radio and on the internet. Seminars, forums, courses, self-help and support groups are readily available – and world cinema has made up for lost time. For the last few years, I have been tracking American, Canadian, British, European and Israeli films that feature people who are suffering from some form of dementia, especially Alzheimer’s. These movies show the impact of their condition on caregivers, whether they be spouses, sons, daughters or friends.

photo - Jim Broadbent with Judi Dench in Iris — Jim Broadbent with Judi Dench in *Iris*. *(photo from Everett Collection / Rex Features)*

The British film Iris (2001) reveals the true story of the lifelong romance between novelist Iris Murdoch and her husband John Bayley, and her gradual deterioration due to Alzheimer’s disease.

The Canadian movie Away from Her (2006) follows a loving couple; she acknowledges her condition and moves into a seniors residence, and the husband must cope with his wife’s new romantic attachment to a male resident of the facility. Still Mine (2012), also a Canadian movie, is an old-age love story told with minimal sentimentality and spiky integrity. She has Alzheimer’s, he wants to build her a smaller house, with his own hands; complications ensue.

Amour (2012), a French film, gives us an unflinching vision of dementia caused by stroke and the complex relationship between the members of the octogenarian couple. It was widely acclaimed and nominated for several Academy Awards.

The British comedy Quartet (2013) brings together four superb actors in a magnificent seniors residence for musicians. Each member of the ensemble has his or her own impairments and talents. Somehow they cope and produce beautiful music together.

The American movie Still Alice (2014) shocked and educated every viewer who stayed until the end. We watch as early-onset dementia gradually overcomes the heroine’s intelligence and independence. Her strategies and courage educate and enrich our lives as she struggles with her loss of memory and mental abilities. Julianne Moore won an Academy Award for her performance.

In the American documentary Glen Campbell … I’ll be Me (2015), the legendary singer agrees to a final North American tour knowing that he has Alzheimer’s. The family supports, encourages and devises ways in which he can continue to perform despite the debilitating effects of the disease. A superb real-life drama that makes one appreciate how drastically the disease affects everyone close to the struggling singer.

photo - Christopher Plummer in Remember — Christopher Plummer in *Remember. (photo from Serendipity Point Films)*

In the Canadian movie Remember (2015), two residents of a seniors home seek revenge against the Nazi killer of their families in the Holocaust. With Alzheimer’s robbing him of his capacity to remember, one old man goes forth, with detailed instructions in hand, to find and kill his tormentor. He struggles with his inadequacies and perseveres.

Then there is the Israeli drama The Farewell Party (2015), which deals with the topic of assisted suicide and dementia. Notwithstanding the topic, it is a sweet, funny and sad tale that teaches us compassion and acceptance.

I recommend all of these movies to you, no matter at what stage of life you find yourself. But you might say, why should I watch these movies, why should I care? I am not there yet. It is not my issue, I don’t need to know about all this. It is too depressing. I defy readers to tell me they do not know someone who is suffering or has suffered from dementia. One in nine people over the age of 65 will develop some form of dementia. We must acquire knowledge of the disease, we must become familiar with the signs and symptoms, we must acquaint ourselves with the various paths that dementia takes.

How can we understand, empathize and assist these people, our grandparents, our parents, our friends, in their journey? As ethical human beings, it is our obligation and privilege to make the disease and those who suffer from it an integral part of our society. Watching these movies will provide you with the tools and strategies to be informed, to be helpful and to be accepting of this condition. After all, you or I may receive the diagnosis of dementia tomorrow.

Dolores Luber is a retired psychotherapist and psychology teacher living in Vancouver. She writes regular columns for Senior Line, blogs for Yossilinks and writes movie reviews for Isaac Waldman Jewish Public Library. This article was originally published on yossilinks.com.

Leaving some things hidden

Olga Campbell and Larry Green’s shared exhibit at the Zack, Hidden, is on until March 6. (photo by Olga Livshin)

In the new exhibit at Zack Gallery, Hidden, the pieces are united not only by theme but also by media. Both artists featured, Olga Campbell and Larry Green, mostly use photography, which they then play with in Photoshop. The computer-generated effects contribute to the graceful and faintly mystical feel of the images. Hazy silhouettes hide behind the splashes of paint. Eyes peek through the veil of the unknown. Mysterious places and partial faces open the gates of subconscious and let us witness the artists’ creative cores, their emotions.

The images are distinct, echoing each artist’s personality, but the common approach makes their double show almost seem inevitable. And the meshing of their artistic visions spills into life beyond the gallery. Both chose careers in the helping professions, for example. Campbell was a social worker until she retired. Green is a psychotherapist and a professor of psychology. But they didn’t really know each other before the idea of a mutual exhibit took root.

Campbell explained how it happened: “Last year, I participated in Culture Crawl. Linda Lando, the Zack Gallery director, came to see my pieces. She asked me if I wanted to have a show at the Zack Gallery.”

Green added: “I was with Linda that day – we are partners. I remembered Olga’s art from other shows…. I like what she does. Someone suggested we have a show together. That’s how this collaboration started, but, even before that, we were vaguely aware of each other. We saw and admired each other’s art at group shows. We knew many of the same people: friends, neighbors, co-workers.”

After the dates of the exhibit were set, the artists met to decide on the theme. “Larry came up with the Hidden, and I thought it was wonderful,” said Campbell. “There is so much in the world that is hidden. People hide things from others and from themselves, adopting layers of masks and veils. When we put obstacles in the way of seeing the world, we hide not only the shadows, but also the light. When we acknowledge the shadows, then we are able to see the light. Most of the really profound and rewarding things in life are hidden beneath the layers of mystery.”

In Campbell’s pieces, the layers are frequently photographs superimposed upon each other in Photoshop, plus special effects and the occasional addition of multimedia. She admitted that she doesn’t do much pure painting although she studied it.

“I always liked doing art,” she said. “In 1986, I took several art classes and then I thought, what to do with it? So I enrolled in Emily Carr. Afterwards, I worked as a social worker part-time and on my art part-time, until I retired. Art is not a hobby for me. I have to do it.”

Green’s path was a bit different. “I did a lot of art until I was about 25. Then I dropped it for 20 years before starting again, first with pottery and then with other stuff. When I worked with clay, sometimes my hands knew better than my brain what I wanted to say. I made a sculpture and now, years later, I look at it and think: Oh, that’s what I meant. Of course! My brain has caught up with my hands.”

The intuitive application of their skills underlines both artists’ creative courage. They are not afraid to experiment.

“I play around with Photoshop,” said Campbell. “I don’t know it very well. I try different things and I often get something I like by accident. Later, I can’t always reproduce the effect, so I never repeat myself.”

Green concurred. “I like Photoshop,” he said. “I learn it as I go. My ideas pull me through the learning process…. Using Photoshop, I can realize my vision much faster than with paint and canvas, but it is all trial and error. I keep worrying at the piece until something comes along. Or not. If it comes, I go for it. If it doesn’t, I don’t. Some pieces take years to come together. For example, years ago, I saw a single pink running shoe in a park and snapped a photo of it but I didn’t do anything about it. Then, recently, in a different place, I saw a single pink glove, and photographed it. I brought them together in Photoshop, and now they are not lonely.”

Many of Green’s pieces at the Zack are foggy landscapes. “I’ve always been fascinated by fog,” he said. “A foggy landscape has a particular dreamlike quality to it. Shapes are indistinct and, therefore, invite the viewer in, in an attempt to give the scene some definition. Alternately, the viewer can rest in the soft tranquility of the scene rather than be overwhelmed by details…. People who come to me for therapy are often afraid of the fog, especially inside themselves, but they’re also interested in it, in what it might reveal. Everything I do, in both art and psychology, is basically the same: trying to reveal the underlying reality, the hidden connections behind the apparent.”

“The same for me,” Campbell agreed. “Although not everything should be revealed. Some parts of the whole are better hidden, while the essence should be revealed.”

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

Don’t let the fear overwhelm

Itai Erdal brings A Very Narrow Bridge to Chutzpah! March 5-13. (photo by Emily Cooper)

There’s the family into which you were born, and the families you create yourself. Itai Erdal has built a life in which he is surrounded by family, both on and off stage. He often shares vulnerable aspects of himself and his family in his work, and he is one of the more collaborative playwrights out there.

While A Very Narrow Bridge, which runs March 5-13 at this year’s Chutzpah! Festival, is about Erdal’s “relationship with his sisters, Judaism and the state of Israel,” it is written by Erdal, Anita Rochon (artistic director of the Chop theatre company) and Maiko Yamamoto (artistic director of Theatre Replacement), is directed by Rochon and Yamamoto, and co-stars Erdal, Anton Lipovetsky, Patti Allan and Tom Pickett. The original score is written and performed by Talia Erdal.

“It is a dream come true for me to work with my sister,” Erdal told the Independent. “She is a brilliant musician and I’ve always admired her talent and her spirit. Talia is much younger than me … and we’ve been very close from the day she was born. In the past few years, she has become religious and, since I am not religious at all, I was worried that it would pull us apart. This fear of mine is indeed addressed in this show, which makes her being here and participating in the show even more special.”

The play’s description is minimal: Erdal “relives a trial in order to obtain a get – a divorce document in Jewish religious law – where everything he knows is at stake.” Its title comes from a teaching of the founder of the Breslov Chassidic movement, Rabbi Nachman of Breslov (1772-1810): “All the world is a very narrow bridge, and the most important thing is not to be overwhelmed by fear.”

That certainly seems to be Erdal’s approach to creativity. A Very Narrow Bridge is not the first work in which he puts a part of his life on a public stage.

“I’ve always been a very candid and open person,” he said. “I am an extrovert and I enjoy telling stories and being the life of the party. Having said that, in all my shows I talk about very personal things and sometimes about things that are hard to reveal or even to admit to myself. But I’ve learned that when something is hard to talk about, it often makes for good dramatic material, and I really trust my collaborators, who are all brilliant and steer me in the right direction.”

And they have. How to Disappear Completely, which was also a collaborative writing effort, is a one-man show that deals with the last months of Erdal’s mother’s life before she passed away from lung cancer. First produced by Chop Theatre for Chutzpah! 2011, it has since been mounted in many other cities, and continues to tour. It was nominated for Jessie and Dora awards, which both honor excellence in theatre.

Rochon was one of the writers of How to Disappear Completely, and its producer. Erdal, who is also an award-winning lighting and set designer, has worked with Yamamoto before, as well.

“One of the things I like the most about theatre is the collaborative nature of the process, and knowing each other well and understanding each other’s strengths and weaknesses makes it that much more rewarding,” he said. “The three of us have done many shows together, in different capacities. I have lit five shows for Maiko’s company, Theatre Replacement, some of which she acted in, some of them she directed and all of them she produced…. All this familiarity makes for a very symbiotic process and a totally democratic room, where no one is precious about anything and the best idea always wins.”

Erdal is the artistic director of Elbow Theatre, which is presenting A Very Narrow Bridge. He explained how the collaboration with his fellow artistic directors on this work came about.

“I always wanted to do a show about my sisters and my complicated relationship with Judaism and the state of Israel, and I always wanted to work with my dear friend Maiko, so I approached her and pitched her this project about three years ago and we’ve been working on this project ever since.

“Initially, we thought that Maiko would be on stage with me, so we approached Anita, who is in my mind the most exciting director in Vancouver. When we started writing this play, the focus shifted from my sisters to a show about immigration and Judaism, we added the three rabbis and Maiko’s role has changed from performer to writer and director.

“Creating a show from scratch is very hard and you never know which direction it will take,” he added, “so it’s important to stay open and do whatever serves the play. The various directions this process took have led us to create an exciting piece of theatre that we are all proud of.”

Would A Very Narrow Bridge exist if Erdal had never left Israel?

“Since this play is about emigrating from Israel, I am sure I couldn’t have written it if I still lived there,” he said. “Even though I am very happy in Canada, immigration is a very hard thing to do and this show is about the lingering doubt in the back of every immigrant’s mind: Did I do the right thing? Would I have been happier had I stayed home?

“When I grew up in Israel, everybody around me was Jewish, so I never felt particularly Jewish. I knew that there were people in the world who weren’t Jews, but I had never met them. Since moving to Canada, I feel a lot more Jewish because I am defined as a Jew by my surroundings. It’s a bit like family: you take it for granted when it’s there and you start appreciating it when it’s gone. Moving to Canada made me appreciate my heritage and my family, and this show is about both.”

A Very Narrow Bridge runs March 5-10, 12-13, 7 p.m., in the Dayson Board Room of the Jewish Community Centre of Greater Vancouver. For tickets ($29/$25/$21), call 604-257-5145 or visit chutzpahfestival.com.

Exploring sound and space

Israel’s Victoria Hanna is coming to Vancouver for the Chutzpah! Festival (photo from Chutzpah!)

Victoria Hanna is unique. There is no doubt that her concert at the Chutzaph! Festival on Feb. 23 will be one of the most uplifting and intriguing performances you’ve ever seen.

A longtime vocalist and performer, Hanna’s mainstream popularity skyrocketed last year when the video of her song “Aleph-Bet (Hosha’ana)” went viral. She describes herself as a voice artist, and the phrase does best describe her work. Though music is a large part of it, Hanna explores the sounds that we make when we speak, the physical mechanics required to form letters, diacritics (the nekudot in Hebrew) and words, their meanings and those of the space into which they travel. She uses her whole body as an instrument, singing, voicing beats, gesturing with her arms, tapping her chest, stamping her foot. She is mesmerizing to watch and hear.

“I am very curious about voice and speech,” Hanna told the Independent. “I had a stuttering problem and it made me enter deeply into the act of voice.”

When Forbes Israel chose the Jerusalem-based artist as one of the 50 most influential women in 2015, it noted as one of her most important messages: “If you have a disadvantage you can turn it into a kind of gift.”

Hanna grew up in Jerusalem in a religious family, “in which the language and elocution of prayer were valued, above all other arts,” notes her bio. Hence, her source material: texts such as Sefer Yetzirah (Book of Creation, traditionally ascribed to Abraham) and the writings of 13th-century kabbalist Rabbi Abraham Abulafia.

“I grew up hearing both Iraqi-Persian and Egyptian liturgy,” she said, “and it influenced my art in the sense that I am completely intrigued by the scales and accents.”

The way in which Hanna presents the melodies and the rhythms of the texts gives listeners a sense of meaning even if they don’t understand the words.

“When I sing in ancient Hebrew for audiences who do not speak Hebrew,” she explained, it provides “a better understanding that language is sound, and music crosses boundaries.”

She also crosses boundaries between the seen and the unseen, making tangible the intangible. She uses letters, nekudot (or vowels), syllables and her whole body to create choreography in the space sound inhabits. She refers to it as “voicing space.”

“The concept,” she said, “means ‘to fill the space with voice,’ giving the voice action. Voice in action has to react to space. When you intend to put the voice into space, then it is called ‘voicing space.’”

Her art includes song and spoken word.

“Singing has to do with the purity of voice and speaking has the intention to deliver information,” she explained. “These two levels are mentioned in the kabbalistic scripts as two different dimensions.”

Her performances also include theatre, music, of course, and video or some form of visual. In a 2015 lecture-performance at Tel Aviv University (TAU), which she has posted on her website, she uses a dry-erase board to illustrate various concepts.

A graduate of Nissan Nativ Acting Studio, Hanna has performed around the world – in Mumbai, Berlin, Sao Paolo and Boston, to name only a handful of the diverse places she has been. Her Chutzpah! show in Vancouver marks her first visit to Canada.

Hanna recently released her second single, “22 Letters,” a “kabbalistic rap from Sefer Yetzirah.” In the TAU lecture, she explains that there are 22 letters (in Hebrew). These foundation letters are engraved by the voice, carved with breath set in the mouth in five places: in the throat, in the palate, in the tongue, in the teeth, in the lips. With these 22 letters, God depicted what would be formed and all that would be formed; He made nonexistence into existence. She connects the creation of letters, writing, to human conception, birth. Therefore, our souls are full of letters, from head to foot, and the letters combine with the nekudot, alternating sounds, back and forth, in many melodies.

Her work is thought-provoking as well as entertaining, but is there some specific understanding that she is seeking, or that listeners are supposed to glean? “The exploration is the purpose,” she said, examining the “meeting point between voiced language and space.”

And it’s a journey that many are now following her on. As to what about her personal search speaks to so many people, she said, “I think that voice is a universal code, the basis of everything. The word was created by sound.”

For more on Hanna, visit victoriahanna.net. Her Feb. 23 performance at Rothstein Theatre starts at 8 p.m. For tickets ($29/$25/$21), call 604-257-5145 or visit chutzpahfestival.com, where the entire festival schedule can be found.

Join Hotz at Just for Laughs

Jeremy Hotz is coming to British Columbia, starting with a show in Kelowna on Feb. 25. (photo from Just for Laughs)

For a man whose current show is the International Man of Misery Tour, whose CTV special was What a Miserable Show This Is and whose DVD is called What a Miserable DVD This Is, Jeremy Hotz is a very funny and upbeat guy. He’s also really pleasant and cheerful on the phone.

Hotz spoke to the Jewish Independent on Jan. 27 from Toronto, where he was doing a press run for his show, which is being presented by Just for Laughs. The month-long Canadian tour started in Jasper, Alta., but then Hotz returned east to perform in Newfoundland. He is now making his way west and his first of four shows in British Columbia is in Kelowna on Feb. 25. The trip has him performing almost every day, sometimes twice in a day.

“I don’t work in the same order or anything,” he said. “A lot of stuff I make up is specific to the city that I’m in, so it’s quite fresh for me every single time I go on stage. I’m a very free-form comedian. I include the audience in the performance so they’re part of the show. It’s like a comic working without a net. That’s what seems to work the best for me, even though a lot of comics will tell you, ‘you should never do that.’ But, of course, everything that I’m told I shouldn’t do, I do. I put my hand in front of my face, I turn my back to the audience, I do everything wrong, but if you do all those wrong things together, I guess it works.”

Whereas many comedians have their prepared routine and will perform the same jokes from show to show, Hotz has several concepts that he carries from one performance to another – complaints about getting older, for example – but the content will be different. “That’s because I can’t remember the damn jokes,” he said.

He explained that he doesn’t plan anything out. “Planning gives me anxiety,” he said. “I suffer from this generalized anxiety disorder … and what happens to me right before shows when there’s stuff looming and coming up, it can get very bad, almost debilitating…. But, once I get out there, it just melts away, it’s gone. I feel much more comfortable in front of a theatre full of people than in a one-on-one conversation with a stranger.”

He said that he ended up being a comedian in part because he never really got any other jobs when he was younger. “I had to choose stand-up because it really was the only thing that was working for me.”

Humor has always been a part of his life.

“We were Jews, so when we got together for dinners, it was funny,” he said. First starting out as a comedian, “I didn’t even know there were comedy clubs. I didn’t understand why people would have to go to a club to see funny, and then I realized, oh, not all families are funny, I get it.”

While he had a bar mitzvah and attended Jewish school for six years as a kid, Hotz said, “My dad was the one that held the Jewish thing together in the family. My mother, of course, was Jewish as well, but she came from South Africa, like he did, and her family wasn’t observant. We observed the High Holidays, the Yom Kippurs, we had Passovers, things like that, but as far as going to the synagogue every Saturday, we didn’t do that.”

Born in South Africa, Hotz was a year old when the family moved to Canada; he has an older brother and a younger sister. He remained here until he moved to the United States in 1997.

“What happened was I went to the Just for Laughs comedy festival in Montreal and then these people from Disney gave me this big deal,” he explained. “They just threw a whole bunch of money at me to stand there and do nothing for a year. I guess they were keeping me off the market and they were saying they were going to do all these things with me. They did nothing, but they gave me that chunk of money and, on that money, I moved to Los Angeles.”

Joining his household soon will be a purebred long-haired chihuahua named Shackleton, after the polar explorer. Hotz is getting him from a longtime friend and had just seen the puppy while in Toronto for the press run. “We went on Canada AM and he was a fantastic little star,” said Hotz. “He’s only three months old.”

At best, Shackleton might be five pounds at his adult weight, Hotz added. “His nickname, of course, will be Shaq, which will be very funny because Shaq [O’Neal] is the big giant basketball player and this dog will be about five pounds.”

After the Just for Laughs tour, there will be a few projects to which Hotz will return his attention.

“We’re right now working on this documentary that’s going to bring to light this anxiety thing that I suffer from because it’s no joke,” he said. He described it as being “like an evil man that waits around the corner and can just pop out at any second.” While fine on stage, it’s generally “in full force” before the show, so he brings his brother, who’s a psychologist, on the road with him, at least for the beginning of the tours, “to get my head thinking about the right things.”

Even when acting in TV or film – Hotz is in Call Me Fitz, and has done other television shows and the movies My Favorite Martian and Speed 2 – the anxiety affects him. He was diagnosed about two and a half years ago.

In addition to the documentary, Hotz said he and his writing partner, Brian Hartt, have a couple of projects that they would like to have produced. On his wish list for himself is an HBO special.

“I’ve pretty much done the Lettermans and the Lenos and other specials, Comedy Central … but I’d like to do one HBO special. That would be something for me to do,” he said.

Hotz is looking forward to performing at Vogue Theatre. “I think it’s one of the best venues,” he said, “and I really hope that a lot of people are there. I know that there’s a comedy festival [jflnorthwest.com] going on at the right time, which they’ve made me part of, so hopefully that’ll be neat. And it’s a Just for Laughs thing, so that makes me feel all warm and fuzzy because they kind of launched my career. It’s very difficult to get out of Canada – because of Just for Laughs and the festival, that’s how I did it.”

While Montreal isn’t on this tour – and Hotz hasn’t done the main Just for Laughs festival for awhile – he said he’ll be there this July. While locals will be able to watch that performance on television, no doubt, his B.C. dates are a rare opportunity to see the award-winning comedian in person. Hotz is in Kelowna Feb. 25 (Kelowna Community Theatre), Vancouver Feb. 26 (Vogue Theatre), Nanaimo Feb. 27 (Port Theatre) and Victoria Feb. 28 (McPherson Playhouse). For tickets ($45.50), visit hahaha.com/en/jeremyhotz.