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Category: Arts & Culture

Jazz to benefit refugees

Jazz to benefit refugees

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Royal City welcomes Tevye

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Mamma Mia! in town

Yael Reich understudies the role of Sophie and is in the ensemble of Mamma Mia!, which is at Queen Elizabeth Theatre until Sunday. (photo from Broadway Across Canada)

Yael Reich is making her national tour debut with Broadway Across Canada’s Mamma Mia!, which has returned to the Queen Elizabeth Theatre stage, and runs to Sunday.

Featuring more than 20 ABBA songs, Mamma Mia! is set on an island in Greece. Bride-to-be Sophie wants to find her father, who she has never met, so that he might walk her down the aisle. From her mother’s diary, she narrows her search to three men, all of whom she invites to the wedding to figure out which one is her dad. The situation threatens both her relationship with her mom, and her wedding.

Reich understudies the role of Sophie and is also in the ensemble of the tour, produced by Work Light Productions, that has made its way to Vancouver.

“Being an understudy is one of the most incredible things I have had the privilege to do,” Reich told the Independent. “It’s both challenging and rewarding. Probably one of the most challenging parts of being an understudy is maintaining focus on your own role in the show while becoming fluent in your understudy role.

“I’ve been a part of companies before where we’ve had to do four and five shows at a time in repertory – a different show each night – which can be confusing. I’ve actually found it more challenging to maintain two roles in one show because, often times, my ensemble character will be on stage at the same time as Sophie.

“I’ve had the privilege of going on for Sophie a few times so far and have had an absolute blast!” she continued. “It is extraordinarily rewarding to finally get the chance to embody a role that has been encompassing my headspace for months. It was particularly special getting to do the role with this company. The artists we are surrounded by in the cast and crew are all beyond supportive and encouraging, and it was incredible to have the opportunity to exchange dialogue, intention and creativity with them.”

Reich made her professional theatre debut with Bigfork Summer Playhouse in Montana. She played Anita in West Side Story in the summer of 2014 and returned to play Aldonza in Man of La Mancha and Lily St. Regis in Annie in 2015. “Between those two professional engagements,” she said, “I had the privilege of making my debut at the Hippodrome Theatre in Gainesville as part of their winter season.”

Reich received her bachelor of fine arts in musical theatre summa cum laude from the University of Florida in May 2015. By that time, she had already been working for more than 15 years.

“I began singing jingles for my father in 1999 and have been a lead vocalist for his advertising company, Sound Branding Ideas, ever since,” she said. “I got my start in theatre at age 8 with the Galaxy Centre for the Arts in Seminole, Fla. My training there ranged from pop voice, piano, percussion, studio recording and dance, alongside the shows we would put on. I auditioned for the arts magnet program and attended the Pinellas County Centre for the Arts for high school, majoring in musical theatre. Having specific major coursework at that age was incredibly valuable because it instilled a sense of purpose and perseverance in me, which has proven instrumental in the cutthroat professional world.”

Also instilling a sense of purpose and a strong foundation from which to face the world is her upbringing.

“Both Judaism and Jewish culture have always played a significant role in my life,” she said. “Coming from an incredibly traditional and religious family, I was brought up with strong beliefs. I spent most of my time in the synagogue and Jewish day school studying Judaics and practising Jewish rituals, most of which involved singing. I actually managed to lead every service involved in my bat mitzvah weekend, including the majority of the Torah portions and the Haftorah.

“Recently, having spent so much time focusing on my career and training, I have devoted much less attention to the religious aspect of Judaism, but have come to find a much greater appreciation for the cultural aspect. The Jewish people are such an incredibly resilient, eclectic and unique people. Their sense of community and commitment to the people as a whole is what I find most important.”

Remaining performances of Mamma Mia! include shows Friday and Saturday, 8 p.m.; Saturday and Sunday, 2 p.m.; and Sunday, 7:30 p.m. Tickets start at $35 and are available through ticketmaster.ca or 1-855-985-5000.

Format ImagePosted on April 1, 2016March 31, 2016Author Cynthia RamsayCategories Performing ArtsTags Broadway Across Canada, Mamma Mia!, musical, Yael Reich
Adults ruin friendship

Adults ruin friendship

Samar, left, and Linor like each other from their first conversation. (photo from R2R)

If only adults could be as brave as children sometimes. The Israeli documentary Almost Friends screens as part of Reel 2 Real’s International Film Festival for Youth April 8-15. It shows just how insidious fear and racism can be, and how much a parent or grandparent can influence a child, for better and worse.

Bat mitzvah-age girls from two Israeli schools – a religious Jewish school in Tlamim and a mixed secular school in Lod – were brought together in a pen-pal program. For most, if not all, of the religious girls, this is their first exchange with non-Jews.

The success of the written exchanges leads to the Lod girls being bused to Tlamim to meet their pen pals. The teachers take the students through a couple of trust-building exercises and then give them time to interact. It is on this day that Arab-Israeli Samar and Jewish-Israeli Linor meet and become friends. They continue to write each other afterward, but the influence of Linor’s grandmother and mother overwhelms Linor and she stops writing. Samar’s concern for Linor’s safety, lest there be a terrorist attack if Linor visited her, consoles Samar over the loss of the friendship.

The most interesting development is Linor’s change of perspective. Initially, her mother is supportive of the pen-pal program and assures a then-worried Linor that there is nothing to fear from Arabs. Her grandmother is close-minded from the beginning, warning Linor that there will always be “a sting” in the Israeli-Arab relationship. Once Linor bonds with Samar, the ingrained distrust, racism, fear and insularity of Linor’s family presents itself. Their words sway Linor who, before the letter exchange, was calming her friends’ concerns about Arabs. After the negative reactions from her mom and grandmother, she is the one telling her friends how dangerous Arabs are, while one of her friends tries to convince her, “We’re alike. We’re brothers.”

There are many things powerful about this documentary. One is the reminder of how separate from each other most Arabs and Jews live in Israel. Another is how people who are kind and loving in so many ways can also be hateful and hurtful. But the documentary also reveals cause for hope – in both the religious girls’ reactions to their Lod peers and the friendships that do exist among Jews, Arabs and Christians in the Lod school.

Almost Friends is recommended for ages 13+. The hour-long film will be followed by a discussion with R2R artist-in-residence filmmaker Jessica Bradford and an R2R board member. It screens Wednesday, April 13, at noon, at Vancity Theatre. Tickets are $9 ($6 child/youth/senior, $5 each for groups of 10+) from 2016.r2rfestival.org or 604-224-6162.

Format ImagePosted on April 1, 2016March 31, 2016Author Cynthia RamsayCategories TV & FilmTags interfaith, Israeli-Palestinian conflict, peace, R2R, Reel 2 Real
Understanding Onegin

Understanding Onegin

Lauren Jackson as Olga Larin and Josh Epstein as Vladimir Lensky in Arts Club’s Onegin. (photo by David Cooper)

Generally, I don’t think background research is something that should be required in order to fully enjoy a performance; but every now and then a play really needs context, and the viewer becomes lost without it.

So, I would suggest – even to those with extensive Russian literature under your belts – if you have not read Alexander Pushkin’s dramatic poem, “Eugene Onegin,” start there before you see the musical Onegin. The poem contains descriptions of the characters, homes and countryside that add depth of interest that could simply not be communicated on stage.

That’s not to say that Onegin (pronounced “Onyegin”), the musical interpretation of the poem, can’t stand on its own. The singular creation by Veda Hille and Amiel Gladstone, combining the poetry of Pushkin and the opera of Tchaikovsky, is highly entertaining from start to finish.

The supremely talented group of seven performers, including the Jewish community’s own Josh Epstein, executes so many complex harmonies and moving solos, I certainly wasn’t walking out at intermission.

Set in 1819 St. Petersburg, the poem centres on four main characters: a self-proclaimed rakish womanizer, Eugene Onegin; Vladimir Lensky, a romantic poet; Vladimir’s love interest, Olga; and Tatyana, Olga’s sister, who’s in love with Onegin.

At first, Onegin rejects Tatyana, breaking her heart, and turns his attention to Olga, incurring Vladimir’s jealousy and bringing about a duel. Years later, after extensive traveling, Onegin returns to St. Petersburg and wants to be with Tatyana. But, by then, she’s already married, and Onegin realizes he’s wasted his life chasing women he doesn’t care about.

Taking place primarily in rural vacation homes, these well-to-do look for anything to “deal with the boredom of long winters” and come up with hunting, dancing, dueling and falling in and out of love.

The script includes quite a bit of play-by-play, where explanations of who’s who and what’s going on are interspersed with the action on stage. One by one, we’re introduced, in song, to the characters, with tongue-in-cheek descriptions. At one point, even the details of an impending pistol duel are sung to audience – just in case we were a little rough on the regulations.

These “asides” help with the background and also offer some great comedic breaks, often picking up on the satire that winds its way through Pushkin’s original work.

As an added bonus, guests are encouraged to bring their alcoholic drinks into the theatre and raise a glass for a sip every time someone says lebov (love in Russian). This is even facilitated by the cast handing out cups of vodka during the performance.

But there are also some bizarre non-sequiturs, such as when a singer in what looks like a boudoir is given a mic and electric guitar to continue her performance. Though it provided a chuckle, the reason for that choice went over my head.

While the script tries to provide the context I mentioned, it simply can’t make up for what’s lost from the poem, and I couldn’t help feeling “left out” of the framework.

For example, according to one translation of the poem, Onegin’s house is described: “All of the rooms were wide and lofty/ Silk wall paper embellished the drawing room/ And portraits of czars hung on the walls / The stoves were bright with ceramic tiles / There was no need for these things at all / Because he would yawn with equal distraction / At an ancient pile or a modern mansion.”

This paints such a great picture of the lifestyle and ennui of the main character, but not one that I caught onto in the musical.

Besides detailed description of scenery, the poem delves extensively into philosophical discussions, particularly about love, that would come across far better on stage as verbal jousting rather than a sing-song.

Onegin runs until April 10 at BMO Theatre Centre. Visit artsclub.com.

Baila Lazarus is a freelance writer and media trainer in Vancouver. Her consulting work can be seen at phase2coaching.com.

Format ImagePosted on April 1, 2016March 31, 2016Author Baila LazarusCategories Performing ArtsTags Amiel Gladstone, Josh Epstein, Onegin, Pushkin, Russia, Veda Hille
Keeping the ballet dancing

Keeping the ballet dancing

Sam Steinfeld works with Royal Winnipeg Ballet apprentice Jesse Petrie. He is traveling with the ballet on their current tour, which arrives in Vancouver April 7. (photo by Amy Simoes)

The Royal Winnipeg Ballet is currently making its way across Western Canada and will present the Vancouver première of Going Home Star – Truth and Reconciliation at Queen Elizabeth Theatre April 7-9.

Commissioned by RWB, with support from the Truth and Reconciliation Commission, Going Home Star was first performed in Winnipeg in 2014, as part of RWB’s 75th season. Conceived by RWB artistic director André Lewis and the late Cree elder Mary Richard, the ballet was created by novelist Joseph Boyden, choreographer Mark Godden and composer Christos Hatzis. It features the music of Inuk throat singer Tanya Tagaq, and Steve Wood and the Northern Cree Singers.

Traveling with the ballet is physiotherapist Sam Steinfeld, who spoke to the Independent during the company’s bus ride to Brandon, Man., the tour’s first stop.

photo - Sam Steinfeld
Sam Steinfeld (photo by Amy Simoes)

Born and raised in Winnipeg, Steinfeld graduated from the University of Manitoba. He did a science degree and considered doing a master’s in physiology but, between the poor job prospects for science grads at the time and a friend who was finishing up his training in physiotherapy, Steinfeld decided to change his path.

After his training, he worked in a hospital setting for several years before going into private practice. He has been a consultant to professional sport teams in Winnipeg, including the Jets and the Fury, and, in 1998, he started working with RWB. He also teaches for the Neuro Orthopedic Institute, which is based in Australia.

Steinfeld has been a physiotherapist for more than 35 years. “Every day’s a little different,” he said. “There are always new challenges, especially working in an environment like this, with the ballet and going on tour. It’s one thing when you’re working, say, in your clinic or at home and in the ballet’s clinic, things are a little more predictable. But, when you’re on the road, you never know what you’re going to encounter … that, for me, keeps it interesting. Certainly working with different people, too, the different dancers we’ve had over the years, different clients. Everybody brings their own way of managing and dealing with their injuries, and you have to be able to adapt and work with those people and find ways to get them going again.”

It’s never the same, he said. “Treating two ankle sprains doesn’t necessarily mean you approach them in the same way, for instance, just because of the individual or what the individual’s going to have to do.”

There are two physiotherapists who work with RWB – the other is Kevin Dyck – and the two split up the tours, said Steinfeld. When in Winnipeg, Steinfeld is at the ballet’s clinic Tuesday and Thursday afternoons and evenings, and Dyck works the other hours Monday to Friday. For shows in the city, they try to divide the time at the concert hall evenly.

“We’re looking after not just the company, but we look after the professional division students of the RWB school,” explained Steinfeld. “I’m treating the recreational division students, as well, and we look after all the administrative staff, the teachers, the stage crew that works for us. We’re responsible for all those people.”

Dancers don’t generally get injured during a performance, he said. “Most of the injuries we see are overuse things and, usually, with some modification of activity, some treatment, we can keep them going. Our main thing is to make sure they’re going to be safe and we work closely with the ballet masters and artistic director. If we feel somebody can still perform but perhaps in a lesser role, or modify their choreography somewhat, they’re good at adapting things for the dancer and are able sometimes to keep somebody in. But there are always situations where somebody just can’t do it, period, because of the nature of their injury or the severity of it. Then we have to work around that, and that sometimes means somebody else picking up an extra part or, if we’re on the road, bringing somebody from Winnipeg out to meet us and take over that part.”

Every physical activity stresses the body in a unique way. When he started working with the ballet, he said, “it became quickly apparent that I was working with artistic athletes and I had to learn more about dance and the technique and what’s involved and how they work because, in order to make decisions about whether it’s safe for someone with an injury to return, I have to understand what it is they’re doing.”

Compared to hockey or soccer, for example, dancers – and especially those who do pointe work – have more “forefoot and ankle problems that you don’t normally see, say, in a hockey player who wears a skate,” said Steinfeld. A foot doesn’t move much inside of a skate. However, he said, “you look at a dancer in a pointe shoe and the load they’re putting on their foot, and the very different way they load their foot, right through their toes, for instance, when they’re on pointe, is unique…. So, we’ll see more things like stress fractures in the foot, metatarsal stress fractures or mid-foot stress fractures, certainly more mid-foot and forefoot sprains and that sort of thing that you don’t often see in something like hockey. You might see them in soccer, though, with the amount of running.”

Steinfeld is the son of Holocaust survivors who came to Canada three years after the war. He has two older brothers.

“My parents set an amazing example in terms of their ability to overcome adversities, how they dealt with other people and … how they still had a lot of positive feelings towards other people. I think that helped me in terms of my development as a person and, ultimately, as a caregiver, in … having a little more empathy with people when they’re in trouble and understanding that, with hard work and perseverance, you can overcome a lot of adversities…. The courage they showed in starting a life anew after everything they’d been through, I think it all trickled down to myself, my brothers. I’m quite proud of that as far as my Jewish upbringing.”

Working with the ballet was never in his career plans, he said. “I actually went in there to replace the therapist who was ill and I was only supposed to work for about four or six weeks there, till this person came back. It turned out, unfortunately, they weren’t able to return to work, so the ballet said to me, do you want to carry on with us and I said OK, and here I am, 18 years later.”

Steinfeld said he is fortunate to have understanding colleagues and that the other physiotherapists in his practice help absorb his caseload when he travels with the ballet. He also voiced appreciation for his family’s tolerance of his absences and their support of his work. “I’ve been a lucky guy, I think, to have had this opportunity,” he said.

Steinfeld’s wife, Karen, is also a physiotherapist – she specializes in hands and the upper extremities, and he’ll sometimes confer with her. Their two daughters are now adults, the oldest is a cardiac surgery resident in Winnipeg and the youngest is a lawyer in Ottawa.

***

Going Home Star is at Queen E April 7-9, at 8 p.m., with pre-show talks at 7 p.m. Ticket are $29 to $89 and can be purchased from ticketmaster.ca or 1-855-985-ARTS (2787).

Format ImagePosted on March 25, 2016March 24, 2016Author Cynthia RamsayCategories Performing ArtsTags Going Home Star, Royal Winnipeg Ballet, Steinfeld, Truth and Reconciliation Commission

One of the new “dragons”

Soft-spoken, reserved, thoughtful. Hardly the epitome of a dragon. Yet, Joe Mimran’s definitely a dragon – one of the newest on the panel of investors on Dragons’ Den, CBC’s hit entrepreneur reality show.

The Canadian fashion designer, clothier and entrepreneur is best known for launching the Club Monaco and Joe Fresh brands. He is also a partner in Gibraltar Ventures, investing in early-stage digital businesses.

photo - Joe Mimran
Joe Mimran (photo from Joe Mimran)

The 63-year-old, Moroccan-born immigrant has spent nearly his entire life immersed in business, in ventures on his own or with family members, particularly in the clothing industry.

At an early age, he assisted his mother, Esther – who was a couturier in Morocco – in her Toronto-based boutique garment outlet. That business grew, necessitating the purchase of a small factory in Toronto’s garment district in the mid-1970s. Mimran joined to lead operations, manufacturing and finance.

“I was inspired by the design and esthetic world,” he said. “I like designing products, building stores.” He was “inspired by great prints, inspired to want to be entrepreneur.”

That inspiration evolved into Ms. Originals, tailoring suits and pants for women and, soon thereafter, Mimran and brother Saul hired designer Alfred Sung, with a goal to create their own clothing line. The Alfred Sung collection swiftly soared in popularity across the continent.

By the mid-1980s, he launched yet another line, based on the idea that a plain, white, quality cotton shirt was unavailable in the market – and Club Monaco brand was born.

“If you’re not a risk taker and abhor taking risks, entrepreneurship is not for you,” said Mimran.

“There were many people along the way of my career who said, ‘You’re crazy, don’t do this or don’t do that. What do you waste your time for doing that?’ I have stuck to my guns. Sometimes you need to say to naysayers that you have to pursue your dream.”

Unfortunately, the plan didn’t go smoothly at first. The Bay and Eaton’s didn’t want to carry the product.

“We realized that we had all these goods coming in and the only way we could move forward was to open our own stores,” he said.

They rolled the dice on a 5,000-square-foot store in trendy Queen Street West in Toronto, showcasing an array of attire. The day it opened in September 1985 saw their marketing campaign pay off in a major way, with line-ups to get into the store.

“From adversity comes something terrific,” said Mimran. “We realized, as we opened our own stores, we’ll cut out the wholesale margin.”

At the time, such a move was rare. Typically, retail stores bought through a wholesaler, he explained. “But, sometimes, you just have to dive in, make the mistakes, fix it, move forward, make more mistakes, and try different things.”

Mimran dived in, not only opening a flagship Club Monaco store in New York City on Fifth Avenue in 1995, but opening another 120 stores in the next four years. That success caught the eye of Polo Ralph Lauren Corp., who purchased both Club Monaco and Caban (another Mimran line) in 1999.

“A lot of businesspeople, having had lots of problems in the past, will try to dissuade somebody else,” said Mimran. “But your idea might be done in a new way, might resonate in a way that this very experienced person didn’t, couldn’t, anticipate. There’s always an idea that surprises people, and that leads to success.”

Mimran has continued that success, time and again.

Pink Tartan – a women’s line – was yet another Mimran venture, appearing in high-end retail outlets such as Holt Renfrew and Saks Fifth Avenue, as well as in its flagship store in Toronto’s Yorkville.

Mimran’s Joe Fresh Style, a private-label apparel line for Loblaw Companies Ltd., was launched in 2006. The label has since opened free-standing stores – the first Joe Fresh opened on Granville Street in Vancouver in 2010 and, soon thereafter, in New York City. Many others followed.

Mimran said the apparel industry is among the most competitive industries in the world. Because of this fact and his own experiences, he empathizes with the entrepreneurs who come to the Den having had tough breaks.

“No matter how good you are, or what you know, you can still fail in our business,” he said. “It keeps you pretty grounded.”

Today, Mimran sees a future of entrepreneurs that have opportunities that were nonexistent a generation ago.

“There’s more willingness to try by the new generation – millennials – who are asset light, where boundaries and borders are not an issue. They live in a virtual world and have the ability to take on more risk. They look at the world in a dynamic way that leads to entrepreneurship,” he explained. “Particularly in today’s world, where things are so different in terms of how one communicates with the consumer, all the new online fundraising channels that are available, what’s old is new, what’s new is old. It’s the Wild West out there.”

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.

Posted on March 25, 2016March 24, 2016Author Dave GordonCategories TV & FilmTags CBC, Club Monaco, Dragons' Den, Joe Fresh, Mimran
Little Shop fills the Rothstein

Little Shop fills the Rothstein

The full cast of King David Players’ Little Shop of Horrors. (all photos from King David High School)

On March 16 and 17, the Rothstein Theatre was alive with music and a giant flesh-eating plant, as the King David Players presented this year’s theatre production, Little Shop of Horrors. Featuring a cast of students from every grade, the actors and musicians brought to life the dark comedy/musical. They played to full houses both nights.

Teachers Aron Rosenberg, Johnny Seguin and Anna-Mae Wiesenthal created the production, which involved 50 students, as well as other staff, parents and community supporters.

“When deciding what play to explore this year, we were looking for a musical that was light and fun and that was not too heavily based around social commentary (as is my usual inclination),” said Rosenberg in his director’s note. “I looked through a list of musicals and, remembering childhood evenings watching Little Shop of Horrors with Rick Moranis, Steve Martin and Bill Murray, I sent an e-mail to the administration ensuring it would be an appropriate choice.”

On closer look, the musical wasn’t that light.

“Three of the most problematic characters are Mushnik – the caricature of a greedy Jewish merchant – Audrey – the caricature of a helpless victim in an abusive relationship – and Orin – Audrey’s abusive boyfriend, and a caricature of a dentist with a self-acknowledged appetite for causing pain,” noted Rosenberg. “Perhaps this play’s innocuous reputation comes from an outdated attitude that treated ethnic stereotypes as playful, sexual violence as bland and dentists as inevitably painful. However, in 2016, our modern sensibilities force this play to take on a new life. The dark and irreverent humor of the play remains but, along with it, our cast has worked to uncover a respectful and critical look at the struggles of ethnic shop-owners in low-income neighborhoods, the horrors of domestic abuse and the ridiculousness of gender-inequity in relationships (not to mention the reality that dentists are no longer painful … usually).

“With all the creative commitment and hard work from our cast, crew and community, we are left with something not unlike our original goal…. The plot may not be light but the musical numbers are. And, as for social commentary and all this hullabaloo about the self-destructiveness of greed and power, you can take it or leave it. However, if you leave it, don’t be surprised when a giant human-eating plant comes a-knocking….”

photo - Seymour (Daniel Shuchat) and Audrey (Sydney Freedman)
Seymour (Daniel Shuchat) and Audrey (Sydney Freedman).
photo - Audrey II, played by Alisa Bressler and Hannah Marliss
Audrey II, played by Alisa Bressler and Hannah Marliss.
photo - Stage managers Rachel Pekeles and Matty Flader
Stage managers Rachel Pekeles and Matty Flader.

 

 

Format ImagePosted on March 25, 2016March 24, 2016Author King David High SchoolCategories Performing ArtsTags Aron Rosenberg, KDHS, Little Shop
On becoming a great leader

On becoming a great leader

Sydney Finkelstein’s most recent book is Superbosses. (photo from Penguin/Random House Canada)

While the target audience for Sydney Finkelstein’s newest book, Superbosses: How Exceptional Bosses Master the Flow of Talent, is businesspeople, it is clear that his ideas carry well into many aspects of life, not just work, and not just business.

Finkelstein, who is a professor at the Tuck School of Business at Dartmouth College in Hanover, N.H., is originally from Montreal. He has authored 21 books and more than 80 academic articles.

“Pretty early on, I was interested in why people did what they did and in people who seem to have a lot of power and influence in society,” said Finkelstein. “I was actually very interested, and still am, in not just business leaders, but political leaders.”

Ten years ago, Finkelstein struck a note with his book Why Smart Executives Fail, and he was invited to give keynote speeches and to consult for several companies.

“Everybody pretty much had the same question, which was how to avoid getting into my sequel,” he said. “In the book, I talked about a lot of things you could do to avoid falling into the trap that led to failure but, over time, I came to realize that there was something else more important – the ability to generate and regenerate talent on a continuous basis. That’s the only way to survive and thrive in the long-term.”

After coming to this realization, Finkelstein set out to learn who possessed this ability. This is what led him to learn of those he came to call “superbosses.”

cover - SuperbossesThe Jewish Independent spoke with Finkelstein around the time of his March 8 talk and book signing at Concordia University in Montreal.

“The big difference was the ‘why smart executives fail’ leaders look at people around them – other managers and team members – as people to be used and exploited for their own purposes…. They didn’t really appreciate the fact that the people around them – team members – are actually probably the most important part of what you are doing, because they help you get better.”

Superbosses, on the other hand, wholly prioritized the idea of having great teams and great organizations of great people, understanding that this is the best way to succeed, he said. “The WSEF leaders didn’t understand that. So, that’s a gigantic difference in mindset – thinking about other people and what role they can play.

“Then, when you look at the details of how they run their businesses, there are many, many differences – from how they identify talent, to how they motivate people, how they develop teams, the role of vision and [of] inspiration.”

While most leaders, good or bad, carry with them a certain amount of ego due to their previous endeavors’ successes, Finkelstein said superbosses find ways to put that ego aside.

“This may be the best first thing for people to work on – having a degree of humility about yourself, your own accomplishments and your own personality even,” he said. “Humility doesn’t mean you’re afraid to take on challenges. It means you understand that there are other people who play a role and that you can’t let your ego run away with things.

“By the same token, listening is one of the most important managerial skills I’ve ever seen – the ability to really listen, to understand, not to critique. A lot of people are listening to find a flaw in their argument or to justify a point of view they already have. I’m talking about listening that’s designed to learn something. That’s a tremendous skill and mindset.”

Another important skill Finkelstein advised honing is open-mindedness, ranked highly with its close cousin, curiosity. These are attributes he regularly discusses with boards of directors and management teams.

“You need to have that curiosity about life, about what you’re doing,” he said. “When you have curiosity, you’re asking why a lot. Kids do that, but when we’re older, we don’t do that so much. You learn so much more by doing that.”

Courage is on the list, too – the kind of courage that challenges convention, and the ability to raise your voice when something is not going the way you think it should. “This doesn’t mean you’re going to win the argument or get your way,” said Finkelstein. “It’s about trying to improve the eventual outcome or situation you’re in.

“Many people often remain silent. They just nod their heads. As a result, they’re not engaged in what’s going on. Later, they spend their time complaining and back-biting, rather than being part of the solution. Sometimes, of course, managers or leaders create an environment where, if you challenge, you get punished, so it can be difficult, but I think courage is a critical factor.”

The next item on the list is accountability – recognizing you need to be responsible for your own actions and behavior, as well as instilling a sense of accountability in others.

“I think, by the way, that most people prefer not to be held personally accountable,” said Finkelstein. “I don’t think people should assume people would automatically be accountable. I think people enjoy it when it happens, but they don’t automatically do it. This is particularly relevant in volunteer organizations.

“Being a teacher, a nurturer of talent, is something anyone can do, no matter what their job is,” he continued. “You don’t have to be a famous CEO. You can be an average person doing whatever you’re doing. But, if you spend some time and energy acting to help others get better, often through teaching, sharing and listening … I think that’s a giant differentiator and extremely meaningful in people’s lives. If you have an impact in helping other people, it makes you feel good, too.

“Younger people, earlier in their career, who are ambitious, have high expectations, want to accomplish great things. How do you find people to work with, to work for? I talk a little about that in the book, but I also think that trying to work for someone who is more like a superboss, rather than less like one, is a great way to learn, develop and accelerate your career.”

As the book’s subtitle suggests, Finkelstein sees managing the flow of talent as one of the most important things for superbosses to do, and he segments this aspect into three categories.

“One is finding good people,” he said. “Everyone needs to hire when you’re growing, you need to hire and find people…. That’s the first stage in this flow of talent.

“The second stage, which not everyone engages in, is developing that talent, helping them get better. That’s managing the flow of that talent in a team/organization for a number of years.

“The third stage is managing the flow of talent sometimes even outside your own region, division or role in the company. Very few managers, leaders or bosses think a lot about … how they should manage people out of the organization. I’m talking about good and very good performers.

“The typical assumption among most leaders is to keep those people forever,” he said. “But, those who work for superbosses, people that really enhance their skills or have this vision, they won’t be satisfied with that small piece of pie. They want a bigger role themselves so, in fact, many of them will end up wanting to leave anyways. Managing the flow of talent should also consider this kind of radical or counterintuitive idea – managing people out of the company itself.”

Finkelstein said, “The best people know they will move around, look for those opportunities. If you know that will happen, the questions become how can you take advantage of that, how can you be strategic in that, how can you create a win-win out of that situation?’ That’s what superbosses do. They make a spinout business. One example from the book is the Hospital Corporation of America (HCA). The CEO used to create big opportunities for senior executives who were going to leave anyways. He would create a spinout company in a mental health clinic, surgical centre or what have you. That former team member would be given the opportunity to be CEO of that spinout business but, because you’re doing the spinout, you get to participate in a financial sense.”

To see where you sit on the superbosses scale, Finkelstein invites readers to visit superbosses.com and take a 10-12 question quiz.

“The quiz is because people find it interesting to see how they rank,” he said. “The book can help them get better.”

Rebeca Kuropatwa is a Winnipeg freelance writer.

Format ImagePosted on March 25, 2016March 24, 2016Author Rebeca KuropatwaCategories BooksTags business, Finkelstein, leadership, superbosses
Exploring winter landscapes

Exploring winter landscapes

Ian Penn’s exhibit Winter Paintings: The Figure in and on the Landscape opened March 10 at Zack Gallery. (photo by Olga Livshin)

The theme of Ian Penn’s solo show at Zack Gallery is winter. The artist’s love for winter, for the mountains of British Columbia and for skiing reverberates through the gallery.

“I’m affected by the seasons, by my surroundings,” said Penn in an interview with the Independent. “I only paint current seasons. In summer, I paint summer; in the fall, I paint its rioting colors. In winter, I paint snow and skiing.”

Penn spends lots of his free time in the mountains. “Our whole family likes to ski,” he said. “When we first moved to B.C., we bought our first place in the mountains before we settled in Vancouver.”

Penn has been skiing since his youth in Australia, but it was cross-country skiing until he immigrated to Canada and saw the mountains. At the age of 35, he started alpine skiing – and loved it.

Around 2000, he went a step further. He joined the ski patrol in Whistler, volunteering part-time his professional skills as a doctor. He still does that. “I like the ski patrol community. They are nice people,” he said.

About the same time, he also became seriously interested in painting, which eventually led to a degree from Emily Carr.

Penn has a general fascination with landscapes, especially mountain scenes, as an art form. He has painted dozens of landscapes, in every season, and some of his favorite areas to paint are around Whistler and the Callaghan Valley.

“I was always interested in mapping a territory, but a map and a territory are not the same,” he explained. “The painting of a landscape is not the same as if you stand in that place, experience it with all your senses. Or with devices – photo cameras and cellphones. I wanted to capture that difference in my paintings. That’s why I started a series of diptychs. My diptychs are like a single painting in two parts.”

There are several diptychs on display in the gallery. One is a landscape, a vista with the majestic mountains and forest, with tiny human figures. The second affords a closer look. The human figure is larger, the artist’s focus has narrowed, and the people in these paintings are doing something, engaging with the mountains. They whip down the slopes on their skis. They stop to take photos. They enjoy the invigorating exercise and the beauty around them. They laugh and horse around.

Penn captures their movement in his paintings. His objects are not static. They don’t pose. They are just going about their business, and the artist is going about his.

“Initially, I wanted to paint on location,” he said. “I want to paint everywhere I go, but I couldn’t do that in winter. It’s too cold both for my hands and for the paints. Or it might snow. What I do when I’m in the mountains skiing, I take photos and make quick drawings.”

The drawings provide him with the first impression, the emotional subtext. The photographs he uses for details.

“All the details in my landscapes are accurate. The precision is important to me. I want to be able to navigate by them. I want the ski patrol to be able to use my paintings when they have to rescue someone,” he said, only half-joking.

Many of his paintings have personal stories attached, some of which are more obvious than others. In one painting, there was to have been a person but there isn’t; the close-up view is surprisingly empty of life. “He got erased. I erased him,” Penn said. “He was a vain fellow. He was dancing around, making selfies of himself with his cellphone, turning so he would get every possible angle. He didn’t notice anyone else, almost stepped on my ski. At first, I wanted to show it, as a portrait of self-absorption, but I disliked the fellow so much, I finally erased his figure from my painting. But, mostly, I want my paintings to tell your stories, not mine.”

The dominating color in all of the paintings is white, of course, overset by green forest and dark mountains. Only people provide splashes of color: a red jacket or a yellow parka.

“I use five different whites for the snow,” Penn said. “And then there are color patches reflecting the surroundings. Snow is never simply white. It’s complex and a challenge. It’s always different. And so is the sky: blue but different in each painting. But I never used black in any of these paintings. When I needed the dark, I mixed colors.”

Penn paints landscapes because they are endless. “Wherever I go, there is a new and amazing landscape waiting for me. Painting them, making drawings, photographing slows me down, allows me the time to look, to see the beauty around me.”

Winter Paintings: The Figure in and on the Landscape will be at the Zack until April 3. For more information about Penn and his work, visit ianpenn.com. An interview with Penn about his exhibit last year, called Pole, can be found at jewishindependent.ca/memorials-to-millions.

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

Format ImagePosted on March 18, 2016March 16, 2016Author Olga LivshinCategories Visual ArtsTags Ian Penn, landscape, winter, Zack Gallery

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