Arts & Culture – Page 133

Experimenter first rate

Peter Sarsgaard in Experimenter. (photo from Magnolia Pictures)

It was neither random nor coincidental that groundbreaking social psychologist Stanley Milgram was Jewish, nor that his parents emigrated from Eastern Europe before the war.

“The Holocaust was a significant motivation to propel him into the areas he was searching, and he explicitly cited [it] as a background for trying to understand darker aspects of human nature,” said Experimenter writer-director Michael Almereyda. “He wasn’t enclosing or limiting how he saw the world, but the obedience experiments – which are his first experiments, how the film begins and what he’s best known for – were shaped by his speculation about human nature.”

Those 1961 experiments found that most ordinary people would reluctantly follow an order to inflict pain on another person from an authority figure who took responsibility. The controversial results, obtained the same year as the Eichmann trial though published later, suggested that Americans were capable of behaving in a not-dissimilar way than Germans and others infamously did.

Almereyda’s thoughtful, poignant and dryly comic Experimenter, starring Peter Sarsgaard and Winona Ryder, centres on the obedience experiments, the fallout and Milgram’s subsequent career. One of the finest American films of 2015 yet inexplicably overlooked, the DVD was released earlier this year and it can also be rented online.

Almereyda informs the audience of Milgram’s Jewishness from the outset, and provides several reminders in the course of the film.

“It seemed inappropriate to elide it or blur it or ignore it because it was a key part of his identity, as a man in the world but also as a scientist asking questions about human behavior,” he said. “I was aware of how deeply Jewish he was, that he married a Jewish woman who also was the daughter of immigrants, that there weren’t that many Jewish people in the community at Harvard and his friends tended to be Jewish, and how that sense of his identity was a huge part of who he was.”

As a Jew and a social psychologist, Milgram’s perspective was affected by the Holocaust.

“Milgram comes out with a very heavy quote talking about how, ‘during the Second World War, people were exterminated with the efficiency applied to making appliances,’” said Almereyda. “That’s a carefully worded and rather cynical statement, but its impact is resonant to this day. Genocide is a very efficient undertaking these days, and has been throughout the 20th century. You don’t have to be Jewish to be mindful of genocide, but we’re cognizant of that as one of the main shadows in recent human history, and he was trying to come to terms with it.”

A soft-spoken, self-described “displaced Midwesterner” and longtime New Yorker, the 57-year-old writer and director received a secular Jewish upbringing in Overland Park, Kan., before his family moved to Southern California when he was 13. His quirky independent films include Twister (starring Harry Dean Stanton and Crispin Glover), mood piece Another Girl Another Planet, vampire saga Nadja with Peter Fonda and Hamlet with Ethan Hawke and Bill Murray.

Almereyda researched and wrote the Experimenter script about seven years ago.

“It’s abidingly interesting and relevant and compelling,” the filmmaker mused during a visit last May when Experimenter played the San Francisco International Film Festival. “He left a lot of papers behind and they’re all at Yale and one can have access to them. I didn’t make up much of this movie. Almost everything, even the wacky, quirky things, is verifiably true.”

Almereyda confided that he originally wanted a Jewish actor to play Milgram, but was forced to relinquish that ideal.

“There is, as far as I know, no young Dustin Hoffman who’s a leading man right now,” he said with a smile. “Young Dustin Hoffman would have been a great Stanley Milgram.”

When Sarsgaard was suggested, Almereyda checked out his performance as Jewish man-about-town David Goldman in An Education (2009) and was instantly persuaded.

“He’s a very agile actor, he can do a lot of things and he believes that he could write a book,” Almereyda said. “You can’t say that about all leading men, you know. So whether he’s Jewish or not, he’s very equipped to play the part.”

Experimenter quickly succeeds in shifting the viewer’s mind from the lead actor’s ancestry to the more pressing question of how much empathy we feel for strangers.

“The film is meant to be a bit of a mirror, as Milgram’s work was [meant] to mirror human nature,” said Almereyda. “It’s meant to make you question your own behavior and your own life – not as an indictment but as a kind of exploration, because we can all be more conscious. That was Milgram’s hope. There’s a lot of ways that immoral or questionable or violent behavior is inescapable in life and in history, but the process of self-awareness is one way to turn the tide.”

Michael Fox is a writer and film critic living in San Francisco.

Cooking healthy, eating well

Rose Reisman’s newest cookbook is Rush Hour Meals: Recipes for the Entire Family. (photo from Rose Reisman)

Cookbook author, chef, television personality and columnist Rose Reisman helps people make better lifestyle choices.

After self-publishing a cookbook in 1988, she focused on healthy eating with Rose Reisman Brings Home Light Cooking (1993), which sold more than 400,000 copies. Since then, she’s been an oft-quoted expert on eating well, has appeared on TV and radio, worked as a teacher, and acted as a health and wellness consultant to businesses.

Reisman attended the Canadian School of Natural Nutrition to become a registered nutritional consultant. The mother of four ran a cooking school for four years, and then launched Rose Reisman Catering in 2004. She is also a nutritionist and adjunct professor at York University’s faculty of health, where she is a founding member of the university’s obesity task force.

Reisman also helps people eat well through the Personal Gourmet, a daily food delivery service launched in 2008 that offers both weight loss and healthy living plans she developed with the help of dieticians and weight management doctors. She has been a spokesperson for the national campaign of Breakfast for Learning and the national awareness campaign for the Canadian Breast Cancer Foundation, and has been an ambassador for the Canadian Diabetes Association.

In coming weeks, Reisman’s newest cookbook will be released, Rush Hour Meals: Recipes for the Entire Family. It will be her 18th – chai – book guiding readers to a better life.

When she first started cooking, she told the Independent, she was making “very delicious, high-fat foods when everybody flocked to my home. I continued to do that and I became a good cook using loads of butter and cream and chocolate…. But then I found my own family history wasn’t that healthy. I had lost my dad to heart disease in his 50s, my grandmother at 52 to diabetes type 2. Everybody had high blood pressure, high cholesterol and obesity, and I was an overweight child.

“This was all going on in my early 30s. I was slim and running every day, and I had lost the weight I had as a kid, and I figured I was fine. But then I went for a routine physical and my cholesterol was literally off the charts like somebody in their 60s or 70s who’d been eating steak every day.

“I realized that what I ate, even though I exercised and maintained a healthy weight, was still clogging my arteries, and my family history was such that I couldn’t afford to do it. It was then that I turned around, in 1993. I started researching healthier cooking, and I started to write my first book in healthy cooking. I’d written three or four books before that in higher fat meals.”

Like Reisman once did, many people equate being thin with being healthy.

“If you have skinny children, you kind of turn away as they’re eating junk because you think it’s not going to hurt them,” she said. “But what I started to learn is that cholesterol, diabetes, all of these things start when they’re children. Today, they’re finding kids in their early teens who have already got blocked arteries, high blood pressure, diabetes.”

She said that one child out of three born after 2000 will have diabetes type 2.

“I really encourage parents to be the role models at home,” she said. “I used to set the most delicious meals on the table, and they were good. I wasn’t talking vegan style, poached or steamed, but it was heart-healthy fat, and my kids would often turn up their noses. But, over the years, they picked it up, it was in the back of their minds and, today, all four of them, they’re adults, they’re really good eaters, they exercise.

“That’s one of the reasons that I launched into the books, the media, the catering company, the restaurant consulting,” she said, “because it’s really a great way to spread your message.”

It’s also a great way to spread less healthy messages. There are dozens of TV shows on food – a whole network, in fact.

“They call it ‘food porn,’” said Reisman. “It started back when I was entering the food world. I had my own TV show in 1998 to 2002. That was when the Food Network was just starting to get launched. I thought a show like that would never be successful, I thought no one would watch 24 hours a day of food. Boy, was I wrong. People loved it. And the shows got crazier and crazier, and more reality and more extreme.

“They’ve done these studies from Harvard that people who watch these shows are actually heavier than other people. Nobody really wants to watch a healthy cooking show. There’s only one or two healthy cooking shows…. It’s ridiculous. You’re piling up butter to your elbow when you’re mixing, and people just love watching that decadence.

“But, when Paula Deen came out, and she was diabetic, all of a sudden people went, ‘you know, you can’t be that heavy.’

“You don’t see in seniors homes obesity in people in their 80s. If you notice that, people die off in their 70s, 60s, from cancer, heart disease or stroke, or diabetes when you’re obese.”

For people just starting to cook for themselves, a mistake they make, said Reisman is “they can just whip something off, and not measure and not read the recipe.” She said that’s not really possible, “unless you really have a food gene,” and there are only “a handful of people like that. I’d say 99% of us can’t do that.”

Even with years of experience, Reisman still finds new foods that she both enjoys and that are healthy.

“A couple of foods that I like, that allow me to maintain a really healthy body weight, are quinoa and Greek yogurt,” she said. “Quinoa is the only seed-grain that’s considered a complete protein: a half a cup is equal to three ounces of chicken or fish. So, on the day that you don’t want to eat the hormone-injected chicken or the farm-raised fish, you can have quinoa. Put dressing on it, make it with tomato sauce, and it is a powerhouse of nutrients.

“But, the most important thing is, after you eat a bowl of quinoa versus say white rice in a Chinese food situation, [where] you burp, you eat again, you burp … with quinoa, you walk away full and you’ll find you won’t get hungry for about three hours. That’s because the glycemic index, your blood sugar, is rising very slowly, whereas with white rice or with white starch, what I call an empty grain, it’s rising quickly and then it crashes, which means you need more of that food.”

As for Greek yogurt, she said, “you can have it plain or mix it with berries for breakfast. You can even have Greek yogurt with quinoa. Greek yogurt has 18 grams of protein for three-quarters of a cup, which is unbelievable, more than you could ever imagine in eating fish or chicken in the morning, so it’s a super breakfast.”

And what about that morning coffee?

“I think coffee by itself is great, and the studies now prove more and more that it lowers cholesterol, it’s got some great antioxidant powers,” said Reisman. “The key is, you can’t be drinking coffee after coffee after coffee. If you’re starting to get anxious, or you’re not sleeping at night, you’re drinking too much!

“The problem is that coffee shops are mixing in whipping cream and syrup and tons of sugar,” she added. “If you have two double doubles every day, you’ll gain something like 12 to 13 pounds in a year, just from the cream and sugar in those two drinks. It’s not coffee. It’s candy.”

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.

Saying what he wants

Ari Shaffir was in Vancouver Feb. 18-20 as part of Just for Laughs NorthWest. (photo from Ari Shaffir)

Ari Shaffir is a long, long way from his yeshivah. The 42-year-old stand-up comedian and actor who lives in New York and Los Angeles appeared in Vancouver Feb. 18-20 as part of Just for Laughs NorthWest and entertained packed audiences with his deep baritone and casual conversation, drawing plenty of laughter.

Shaffir grew up Orthodox and shomer Shabbat in Kemp Mill, Md., attending Hebrew academy and the Jewish day school before spending two years at Beth Midrash HaTorah, a now defunct yeshivah in Jerusalem. When he returned, he enrolled at Yeshiva University in New York. That was the year he lost his religion.

“Mostly it was inward reflection that caused me to turn away,” he said. “I was doing these religious things because I was expected to, and I was succeeding, but I’d never stopped to think why I was doing them. When I really thought about it, I didn’t see a belief inside me. It just wasn’t there.”

At 20, he left Yeshiva University for the University of Maryland, taking arts courses like English and screenwriting. His parents and friends were dismayed by his change in lifestyle. “My friends tried to talk me out of it,” he said. “They would be happier if I were dating a Jewish girl who was a completely worthless human being as opposed to Mother Teresa. When I thought about it, I started feeling mad and decided this is not the way I should live my life.”

When a friend moved to California, Shaffir decided to join him. “I’d done stand-up once in college and had always thought about it, because I was one of the funnier guys at school, but it didn’t seem like a legitimate career,” he said. “Initially, I tried to find a fun regular job, but couldn’t, so I did an open mic one time in California and that was it. I was totally focused.”

Shaffir’s career has been on an upward swing in recent years. His stand-up album Revenge for the Holocaust was released in 2012 and went to No. 1 on iTunes and amazon.com the week of its première. His show Passive Aggressive premièred on chill.com in 2013 and on Comedy Central in 2015, while his weekly storytelling series This is Not Happening premièred on Comedy Central in 2015. Season 2 of This is Not Happening will air this year, and it was recently picked up for a third season on Comedy Central. He hosts the podcast The Skeptic Tank, a weekly interview show that averages more than 100,000 downloads per week, and he just shot a feature film, Keeping Up with the Joneses, slated for release this spring.

He didn’t completely lose his cultural identity, if his performance on Feb. 18 was anything to go by. In one part of his show, he joked about visiting Germany and urinating outdoors anywhere he could, hoping to pee on Hitler’s grave. “If anyone tried to stop me, I’d play the Jew card,” he said. (The part about urinating outdoors was no joke, he admitted in a telephone interview. “I did that.”)

Shaffir says the Bible is now his least favorite book: “There’s a lot of holes in the story.”

He enjoys using material he learned in his religious life in a completely opposite way than how it was intended. “I get joy out of that,” he said. “For example, the Torah says if someone is coming to kill or rob you, you’re allowed to defend yourself up to the point of killing them. A child cost $500,000 to raise and they’re going to take that from you, so the Torah would tell you to kill them to protect your income.”

Defying his parents’ expectations and leaving the community of Kemp Mill wasn’t easy, and there are still things Shaffir misses from that life. “It took my parents years to get over it. My mother was more concerned with me losing the culture of Judaism, the songs on Pesach, the camaraderie. My dad was angry. He had swayed from religion for a little while, but I swayed way further. Years later, he realized he didn’t want to lose me as a son and we were able to move on.”

Shaffir’s casual, unassuming storytelling style accounts for his popularity. His stand-up routine is peppered with sex and toilet jokes, rants on why he hates kids and anecdotes from his travels. Throughout his routine, he appeared relaxed and at ease, and his hour-long performance went by quickly.

If he has any remaining link to his Jewish life, it’s cultural, Shaffir said. “When I hear a news story come on about Israel, my ears perk up a little more than they would about another country. Otherwise, I have nothing left to do with the religion. But I miss the community I had in Kemp Mill, where everyone knew me. You had this gigantic family that you’d see in synagogue every weekend. To lose all that – now I’m on my own and I’m just floating. You lose those friends. You can’t go to restaurants with them because we’re into different things. They’re into family and religion, I’m not into either.”

A page on his website is called Shroomfest and, on it, Shaffir has taken time to write everything he feels others should know about mushrooms. “That’s not a joke, it’s real, and I do it a few times a year,” he said. “I took a lot of time to write that and it helps a lot of people take mushrooms the right way.”

Shaffir described feeling free on stage to say what he wants, but when it catches up with him in a private setting, he feels some guilt and embarrassment. “I feel guilty about all sorts of stuff, not committing to women, not being monogamous. If I’m at a dinner party and it comes up that I had a threesome last week, then, yes, I’m embarrassed.

“I’m proud that I’m a free comedian,” he reflected. “I say and do what I want, what I feel is correct creatively, and both criticism and praise are irrelevant to me. I’m living as a stand-up comedian! It’s one of the coolest jobs in the world and I have an apartment I pay for, just by doing that!”

For a link to his podcast visit arishaffir.com/category/podcast.

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

A-WA to electrify Biltmore

A-WA plays at the Chutzpah! Festival on March 12. (photo by Tal Givony)

For a breakup song, “Habib Galbi” is pretty darn upbeat. And the three women in the video – who are singing of a lover who has left – don’t seem too crushed. In fact, they end up dancing the Yemenite step with three young men in tracksuits and baseball caps, who seem to have popped in from a hip-hop video. Colorful clothing contrasts with bleak desert, a traditional melody pulses with a pronounced electronic beat. In a word, A-WA.

The three women are sisters Tair, Liron and Tagel Haim. They hail from the village of Shaharut in southern Israel. The video for the title track of their first CD was filmed nearby, though the sisters have been based in Tel Aviv for about five years now. “Tel Aviv is one of our favorite cities in the world and one of the coolest places in terms of culture, food, fashion and music,” they told the Independent in an email interview.

And they have been to many cities in recent years, touring all over Israel, Europe and now North America. On March 12, they perform at Biltmore Cabaret as part of the Chutzpah! Festival. The week later they’re in Toronto. The only other place they’ve performed in Canada to date is Montreal. “We had so much fun and we can’t wait to be back again!” they said.

A-WA’s CD Habib Galbi (The Eighth Note, 2015) is described as “electronic, funk/soul, folk, world and country”; its style, “Afrobeat.” Produced by Tomer Yosef of Balkan Beat Box, it comprises 12 traditional Yemenite songs that have been modernized with the help of Yosef’s unique vision, for sure, but the Haim sisters grew up listening to, creating and/or performing an eclectic musical mix, from “Greek music, Yemenite music, jazz, R&B, hip-hop, reggae, progressive rock and more,” according to their website. And they grew up in a culturally mixed household, with their father’s parents having come to Israel from Yemen and their mother being of Ukrainian and Moroccan heritage.

“We grew up in a very musical family,” they explained to the Independent. “Our parents are both music lovers and they used to play records around the house all the time; a lot of Middle Eastern stuff, but also a lot of great pop from the West. Our dad used to play his bouzouki and guitar every day – he’s obsessed with old Greek music. We have one brother and two younger sisters and they all sing and play instruments. Our brother is a sound engineer and he helped us from the very beginning to record demos for the album. Our littlest sister, Tzlil, is working on composing the film score of her dreams.”

When the sisters heard the recording by Yemeni singer Shlomo Moga’a of “Habib Galbi,” they were hooked. “From there,” reads their website, “a door was opened [to] a hidden treasure of ancient Yemenite women’s chanting, that was passed from generation to generation for centuries and has been recorded a few times. Moga’a was one of the only chief curators of these songs and after passing has left a legacy just waiting to be discovered.”

“When we released the track ‘Habib Galbi,’ we had no idea how people would react to it, but we loved it and wanted to share it with the world,” the sisters told the Independent. “We always had a good feeling but the fact that it went viral so fast and reached so many people worldwide is still overwhelming for us. It was such an awesome surprise!”

In an August 2015 article in the Forward, writer Madison Margolin describes A-WA – pronounced Ay-Wah, and meaning yes or yeah in Arabic – as “part of a movement that celebrates Jewish-Israeli cultural roots in Arabic. Now, after decades of discrimination, the younger generation of Mizrahim is rediscovering their Jewish ethnic identity as Middle Easterners and reclaiming their heritage.”

“It seems like there is a revival of Mizrahi culture and also a longing for the magic and simplicity of old times, not only in Israel, but in the whole world, and we think it’s great,” the sisters told the Independent. “People feel a strong desire to explore their histories, especially artists, who are constantly seeking inspiration from their roots. For us, Yemenite culture was always really fascinating and something we are very proud of.”

The sisters said that, in school, they all took dance, theatre, art and voice lessons, and performed as much as they could around the area. But then they went their separate ways for a spell. Tair got a BA in music and did her master’s at Levinsky College of Education, Liron got a degree in architecture and interior design, and Tagel studied illustration and visual communication.

“We started A-WA,” they said, “because we were always already playing music together and just wanted to keep creating, so the project was born. Music was always our passion and having our own band is a dream come true. We actually are best friends (really!) so working together is a lot of fun and it keeps our bond strong.”

About touring, they said, “Being on tour means having a very dynamic schedule with long hours of traveling, but the chance to meet new people, see cool places for the first time, expand our own perspectives, and opportunities to try a lot of different food, make it all worth it. It is also really challenging because of the feeling of being away from our home and family and close friends, but, in a way, it keeps us and the whole band very united.”

While they’ve already started working on their next album, the sisters said, “We’re mainly focused right now on the release of our debut Habib Galbi in the U.S. and Europe, but, in the meantime,” they admitted, “we’re already jotting down songs for the next album and finishing up collaborations with some musicians we’re really excited about. We will always keep true to our funky Yemenite sound and might mix in some English stuff, but as for the Greek” – the music their father loves so much – “we’ll have to wait and see.”

For more on A-WA, visit a-wamusic.com. Their March 12 performance at Biltmore Cabaret, 2755 Prince Edward St., starts at 8:30 p.m. For tickets ($29/$25/$21), call 604-257-5145 or visit chutzpahfestival.com.

Stand-up rabbi returns

Rabbi Bob Alper will perform as part of Congregation Beth Israel’s Purim festivities on March 23. (photo by Sultan Khan)

It’s too good not to lead with – Pope Frances’ honorary comedic advisor, Rabbi Bob Alper, will be bringing his comic stylings to Congregation Beth Israel on erev Purim March 23.

A professional comedian for some 30 years now, Alper said his life hasn’t changed that much since he became the papal advisor last fall. “I now drive my very own popemobile in my hometown in Vermont,” he said. “It gets 150 miles to the gallon, but is not great in blizzards. Otherwise, nothing has changed, though I do ‘use’ the title whenever I can. It’s a great story.”

No doubt, Alper will be flying to Vancouver. He was invited by the congregation, “people who obviously know how to make Purim rock,” he said.

He’s been here twice before, “once for a show at Temple Sholom and, earlier, for a Federation event. One of the most difficult of my career, since it fell just two weeks after 9/11.

“I’ll only be in Vancouver for a day or two,” he added about this month’s trip, “but I hope to do the highlights. The best part of every trip, for me, is performing!”

Alper won the title of honorary comedic advisor to the Pope in a contest held by the Pontifical Mission Societies in honor of the Pope’s September 2015 visit to the United States and to raise awareness and money for three pontifical missions. He beat out more than 4,000 people from 47 countries, including fellow American funnymen like Bill Murray and Conan O’Brien. You can watch his video, as well as those of the other contestants, at jokewiththepope.org, but the joke is: “My wife and I have been married for over 46 years, and our lives are totally in sync. For example, at the same time I got a hearing aid, she stopped mumbling.”

“I grew up in a religious Reform family for whom our synagogue was central, and my uncle was a Reform rabbi,” said Alper of his background. “My father loved humor, and told long ‘shaggy dog’ stories, which, naturally, prompted me to take the opposite route into the quick-hit world of stand-up. Bob Newhart, Shelley Berman and Mel Brooks records were my childhood companions and, in Jewish youth group, in high school, I would memorize and perform their routines at regional convention talent nights, thereby attracting the hottest girls. Comedy is good.”

Nonetheless, Alper was ordained as a rabbi in 1972 and then worked in congregations for 14 years. It was another contest that led him to become a comedian.

“In 1986, living in a Philadelphia suburb and armed with a doctoral degree from Princeton Theological Seminary, Bob was charting a different path, trading congregational life for a counseling practice,” writes editor David Crumm in the introduction to Alper’s book Thanks. I Needed That. And Other Stories of the Spirit (Read the Spirit Books, 2013). “But, at that same time, comedy reared its ugly head in the form of a ‘Jewish Comic of the Year Contest.’ Bob entered, came in third behind a chiropractor and a lawyer, and went on to make stand-up a full-time career.”

Alper’s wife, Sherri, is a psychotherapist. On his website, it notes, “Professionally, he makes people laugh, while she helps people cry.”

With literally thousands of shows under his belt, Alper has made a lot of people laugh. “It gets easier and easier,” he said about performing. “That’s how comedy works. I agonized before I did my first five minutes in 1986. Now performing is a delight and, since stand-up is cumulative, I have tons of material from which to choose.”

Among Alper’s shows are duos with Muslim comedians.

“My Muslim colleagues include Ahmed Ahmed, of Egyptian background, Azhar Usman, of Indian background, and Mo Amer, a Palestinian born in Kuwait,” writes Alper in Thanks. I Needed That. “We do Muslim-Jewish shows, frequently enhanced by the addition of a Baptist minister, Rev. Susan Sparks. And we have so much fun at each performance, it’s almost criminal.

“We call our shows Laugh in Peace.

“Back in late 2001, Ahmed and I were brought together as a gimmick by a savvy publicist,” he continues. “Our relationship quickly developed into a friendship based on the camaraderie of fellow artists and the breezy banter of guys who really enjoy one another’s company. We laugh together a lot.”

Alper began working with Usman when Ahmed became more focused on acting, and he also works with Amer quite often.

He admits, “No question, Laugh in Peace was conceived initially as a way to further our comedy careers, to book more gigs, to raise our visibility. It would be disingenuous to suggest anything else. But as the act and our personal relationships evolved, we quickly understood how Laugh in Peace brought a sense of hope and relief and healing that shared laughter, especially shared laughter between communities in frequent tension, can provide.”

Alper is also the author of Life Doesn’t Get Any Better Than This, a collection of stories, and the cartoon book A Rabbi Confesses, and he has produced two CDs and a DVD. For more information and a five-minute demo of Alper’s comedy, visit bobalper.com. Readers can also watch the video “Rabbi Bob Alper’s dog respects religions” and many others on YouTube.com.

Beth Israel’s Purim celebration starts at 6:15 p.m. on March 23 with a kid-friendly Megillah reading and costume parade, followed by carnival activities. The full Megillah reading and comedy by Rabbi Bob Alper starts about 8:15 p.m. Food will be for sale during the evening. Visit bethisrael.ca for more information and to register for the kids events.

Yom Ha’atzmaut confirmed

Achinoam Nini (photo from Federation)

The Jewish Federation of Greater Vancouver has confirmed that it has invited Israeli singer Achinoam Nini (Noa) to perform at the Vancouver Jewish community’s Yom Ha’atzmaut celebrations on May 11 at the Chan Centre.

After initial controversy because of Nini’s political views, including a petition that has stalled at just over 430 signatures and the withdrawal of funding by JNF Canada, Pacific Region, support has grown.

The Jewish Independent was one of the first to publicly support Federation’s decision, telling the Canadian Jewish News in a Feb. 19 article that the controversy was “unmerited,” and following up in a JI editorial that was published online Feb. 22 and in the newspaper last Friday. (jewishindependent.ca/lets-talk-about-nini) Also on Feb. 22, a group of more than 30 Israeli Canadians sent a letter urging Federation to “stick” to its invitation.

On Feb. 23, Federation announced two new event sponsors: the embassy of Israel in Canada and the consulate general of Israel in Toronto, which is the official representative office of the government of Israel in Ontario and the Western provinces. “We were thrilled when both the embassy and the consulate approached us with offers to be official sponsors of our Yom Ha’atzmaut celebration,” said Stephen Gaerber, chair of the Federation board, in a statement. “As official representatives of the state of Israel, we see support from the embassy and the consulate as strong messages that there is room for diversity both within Israel and within our community. We are also very happy that the deputy consul general is once again planning to represent the state of Israel at our Yom Ha’atzmaut celebration.”

JNF Canada chief executive officer Josh Cooper and president Jerry Werger issued a statement on Feb. 25 clarifying JNF’s position: “We want to be absolutely clear that JNF Canada is not protesting, boycotting, delegitimizing or censoring this event. After hearing from so many of our donors, we simply are not comfortable using charitable funds to support this particular artist.

“JNF Canada is a non-political organization which believes in strengthening the state of Israel for all of her citizens. It remains our position that Yom Ha’atzmaut celebrations and other community events should be inclusive.”

Last week, Federation received letters of support that are cited here and can be found in their entirety at jewishvancouver.com.

In addition to saying, “in no way can we allow for differences of opinion to undermine those core values which unite us in our desire for a strong Jewish future with a strong Jewish democratic Israel at the centre,” Natan Sharansky of the Jewish Agency for Israel wrote, “As one who has often had the pleasure of enjoying Noa’s outstanding voice and spectacular talent, I applaud the Vancouver Federation and I know your Yom Ha’atzmaut celebrations will be wonderful.”

The director general of the Jewish Agency for Israel, Alan Hoffmann, also issued a supportive statement: “Canada and Israel share the same democratic values that allow for a wide range of opinions, including diverse expressions of Zionism. An inclusive dialogue about Israel is at the heart of JAFI’s efforts to build a thriving Jewish future and a strong Israel.”

Former CEO of the Jewish Federation of Greater Vancouver, Mark Gurvis, who is now executive vice-president of Jewish Federations of North America, wrote, “In today’s political environment, which is so highly polarized, it has become all too common to brand political opponents as enemies – disloyal, treasonous. It isn’t unique to Israel – we see it today in every Western democracy. It is a phenomenon that is ultimately a far greater threat to communal or national cohesiveness than the different ideas themselves.”

Gurvis spoke of the compromise that was necessary to arrive at the recent landmark decision in Israel to create an egalitarian prayer space at the Kotel. He concluded that there should be a place at the celebration of “Israel’s central place in our collective Jewish gestalt … for the broadest possible cross-section of people who love Israel. The only way we have a future together as a people is if we make our tent larger, and not smaller. It doesn’t mean we have to agree with one another. It just has to mean we recognize and accept each other’s place in our collective journey.”

Julia Berger Reitman and Linda Kislowicz of Jewish Federations of Canada-UIA also stressed the importance of pluralism and the need to “support the values of Israel and Canada where democracy and freedom of expression are promoted.” They pointed out, “Artists often play a unique social role. Not only do they entertain us, they also help us to confront issues and stretch beyond the usual sensibilities. They help us find new forms of expression through their art.”

From several local rabbis, Federation received letters of support, or was copied on letters that thanked Israel’s representatives for Israel’s support and/or discussed the importance of a large tent and a multiplicity of opinions in Judaism. Writers included Rabbi Dan Moskovitz of Temple Sholom, Rabbi Andrew Rosenblatt of Congregation Schara Tzedeck and Rabbi Philip Bregman of Hillel BC. Beth Israel Rabbi Jonathan Infeld wrote a letter thanking Israeli Ambassador to Canada Rafael Barak and made a short video for his congregation, which can be viewed on the home page of jewishindependent.ca.

Members of the Rabbinical Association of Vancouver – Moskovitz, Infeld, Rosenblatt, Bregman, Beth Tikvah Rabbi Howard Siegel, Har El Rabbi Shmuel Birnham and Or Shalom Rabbi Hannah Dresner – expressed their “appreciation to all of those that have come out in support of our community’s Yom Ha’atzmaut concert and celebration…. Our community, like others, has a spectrum of opinion about Israel, its policies and politics. We are grateful that the spirit of democracy, which is one of Israel’s trademarks in the Middle East, has been championed in Vancouver by Israel’s diplomats.”

The RAV letter concluded with the hope that members of the community would include the May 11 concert “among their observances of Yom Ha’atzmaut.”

More than 50 Jewish community organizations support the annual event.

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.