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Category: Arts & Culture

Peddlers in new light

Peddlers in new light

The award-winning Canadian film Lies My Father Told Me begins with a hunched over man on a horse-drawn wagon moving slowly through the snowy narrow streets of old Montreal. His grandson runs through the streets shouting Zayde, Zayde, as he tries to catch up with the wagon. The peddler occasionally cries out, rags, clothes, bottles. It’s a poignant scene that reflects the stereotypical view of how the first Jewish immigrants established themselves in the new world. However, the scene is misleading.

In one of the first histories to look at the role of the Jewish peddler in society, author and academic Hasia R. Diner in Roads Taken: The Great Jewish Migrations to the New World and the Peddlers Who Forged the Way (Yale University Press, 2015) says that most Jewish immigrants who started off as peddlers were young men who headed out to the countryside with suitcases of merchandise, not weary old men with wagons.

More than three million Jewish people left home in search of a better life from the late 1700s to the early 1900s. They came from the Ottoman Empire, North Africa, Eastern Europe and Germany. They headed out to countless isolated corners of the world – Canada, the United States, Cuba, Mexico, Argentina, Peru, Ireland, Wales and southern Africa. Peddling became the engine that fostered migration. A mass of ordinary people in their ordinariness made history. The peddlers were foot soldiers in a vast army of migrants that gave modern Jewish life much of its shape.

Diner, an award-winning professor of American Jewish history at New York University, does not tell the history of any single person, place or time. She relies on an academic approach rather than colorful storytelling, jumping across continents looking for similarities. She discovers them in abundance.

She finds that, regardless of where they came from or their destination, the experience of the Jewish immigrant was remarkably consistent.

On arrival, the Jewish immigrant – almost always a young man – connected with family members, friends or sometimes just a member of the Jewish community who helped them settle into the new world. The “greenhorn” would learn a few phrases in the new language and would be given merchandise to take on the road.

The new peddler did not carry the necessities of life. Rather, he sold a higher standard of living – sheets and pillowcases, picture frames, needles, threads, buttons, tablecloths, eyeglasses or suspenders. As he became more successful, he carried heavier items for sale in a horse-drawn wagon, such as stoves and bathtubs.

While in the countryside, the peddlers bought scrap, rags, metal, paper or anything else to be brought back to the city and sold. Many offered instalment plans to help their customers pay for their purchases. Within a few years, most peddlers opened their own stores in the city or moved on to other work. Their success encouraged family and friends to join them in the new land.

Diner contends that the waves of migration had a significant impact on the development of the countries that took them in. Industrialization, urbanization and social upheavals were transforming those societies at that time, and Diner says that Jewish immigration to the remote countryside played a significant role in the transformation that has previously not been acknowledged.

The Jewish peddlers solidified European colonialism in remote areas, bringing the city’s latest styles in clothing, furniture and tchotchkes to remote farms, mines, plantations, and logging and fishing camps.

image - Roads Taken by Hasia R. Diner book cover, fullThe peddlers crossed economic, social and religious divisions. They blunted social isolation with news of the outside world, helped break down class barriers, spread the gospel of consumption and encouraged individual choice in communities where there was little.

Diner even detects an impact on the evolution of women’s rights. The peddlers dealt mostly with women while men were at work. Women decided which goods to buy, and when and how to pay for the merchandise. In other circumstances at that time, women were mostly in the background while men made the decisions. Meanwhile, in the Old Country, the women left behind temporarily, to care for families, assumed responsibilities previously carried out by their husbands and fathers.

Diner also knocks down several shibboleths about Jewish immigration to the new world.

Contrary to widely held perceptions, Diner found that most Jewish migration was not a response to pogroms, hatred and antisemitism. She disputes that Jewish immigrants went into business as a result of discrimination and that the immigrants relied on the Jewish community for financing their dreams because local banks would not do business with them.

Invariably, as Diner travels the world, several references to Canada pop up.

She writes about Max Vanger, who relied on peddling outside Halifax and Saint John in the early 20th century to provide him “with the bedrock upon which to get started in his new world.” The Finkelsteins’ store in Winnipeg in the 1880s provided merchandise for the new Jewish immigrants who went off to trade with “the Indians and English” in the surrounding territory.

The Baron de Hirsch Institute in the 1880s lent money to peddlers in Montreal. The Jewish Colonization Association had a committee to give out loans across Canada to peddlers to pay for licences and to help the immigrants establish themselves. The Toronto Mail and Empire newspaper in 1897 wrote about the number of Jewish peddlers who go about the city and out among the farmers in the country.

Similar to Jewish immigration in numerous other countries, peddlers in Canada moved on to shopkeeping, financing and other work. Isaac Cohen in Kingston, Ont., started out as a peddler, became a scrap-iron dealer and eventually built up one of the largest scrap-metal firms in Canada.

Peddlers in Canada, as in other countries, occasionally ran up against racism. Reflecting the attitudes of the times, Anne of Green Gables, the legendary children’s book set in Prince Edward Island, describes a devious crook as a German Jewish peddler.

Diner does an impressive job of placing the traditional image of the Jewish peddler in a new context. She convincingly transforms the lonely immigrant peddler into a leading actor in the social, religious and economic upheavals over a 150-year period. However, she should have spent more time on the personal anecdotes of the peddlers. More academic than writer, she leaves it up to the reader to imagine the emotional conversations and inner struggles that might have taken place. She reduces the lives of the immigrants to sweeping generalizations that sometimes feel like exaggerations to prove a point. She passes lightly over the difficulties in conditions in countries that the peddlers left behind, leaving many questions unanswered.

Occasionally, errors creep in that chip away at her credibility. She confuses Saint John, N.B., and St John’s, Nfld.; she says Reform Judaism was founded in the United States, not Germany.

On the whole, however, Diner provides a fascinating account of an overlooked and often misunderstood aspect of Jewish history. Hopefully, her work will lead to more books on Jewish migration and the history of peddling.

Robert Matas, a Vancouver-based writer, is a former journalist with the Globe and Mail. This review was originally published on the Isaac Waldman Jewish Public Library website and is reprinted here with permission. To reserve this book or any other, call 604-257-5181 or email [email protected]. To view the catalogue, visit jccgv.com and click on Isaac Waldman library.

Format ImagePosted on August 28, 2015August 27, 2015Author Robert MatasCategories BooksTags Hasia Diner, immigration, peddler, Roads Taken
At home anywhere in world

At home anywhere in world

Playwright, cyclist and world traveler Ira Cooper. Among his many endeavors has been teaching English in China. (photo from Ira Cooper)

“I lust to travel, to see places, to meet people and do theatre,” said Ira Cooper.

In everything he does, he forges his own path; he is not one for conforming to the rules. Even his professional definition is sprouting in all directions. He is an actor and a playwright, an educator and a world traveler, a poet and a filmmaker. In the few years since he graduated from the University of British Columbia theatre program, he has worked with children at the Jewish Community Centre of Greater Vancouver, taught English in China, worked as an actor in the Czech Republic, produced films and written plays.

“I have been writing for a long time, poems and short stories,” he said in an interview with the Jewish Independent. “I never tried to publish anything. If you do, everyone could see who you are.

“Then, after university, I worked as an actor for the Nelson Historical Theatre Society. In 2007, we produced a play about Charlie Chaplin, and there was a gap in the play. The director asked me if I could write a scene for it, and I agreed. It was produced and well received.”

His latest play, Sid: The Handsome Bum, a one-woman show about homelessness in Vancouver, was written and first performed in 2014. The play will be part of this year’s Victoria Fringe Festival.

“I wanted to show that homelessness is not general, it’s personal,” Cooper said. “We listen to Sid because she is in a show. Would we listen to her otherwise?… I was privileged growing up, but not everyone is. I talked to homeless people in downtown, wanted to figure out who they are. My mom taught me that there is no ‘us’ and ‘them.’ It’s all ‘us.’ One of the problems homeless people face is that nobody is listening to them. They want to talk, and I listened. There is a community there, like everywhere else. There is beauty there, not just ugliness.”

The play germinated in his head for several years. In 2014, Cooper and two friends, both UBC graduates, Joanna Rannelli and Hilary Fillier, organized a new theatre company – Spec Theatre – to produce the play.

“We wanted this theatre to be for a non-theatre audience. Everybody should be able to enjoy a theatre, but not everybody can afford expensive venues. A theatre could perform anywhere: in a bedroom, in a garden, in non-theatre spaces. Our theatre is accessible to everybody.”

However, theatre is a tough way to generate an income, he acknowledged. “Our theatre is a labor of love. It’s fulfilling. It’s somewhere between a hobby and a profession. I’d say, I have a relationship with theatre, not a career.”

Like Spec Theatre, the play was a collaborative effort.

“We traded ideas,” Cooper explained. “I would receive feedback from Joanna and Hilary and rewrite. In the beginning, I planned it for a male actor, but later that changed. Joanna is playing the title role, which includes five different characters. We hired the director, Kayla Doerksen, and first performed the show in 2014, in the Little Mountain Studio. It’s a small space, 45 seats, but it was sold out most nights.”

This year, Spec is remounting the play for a bigger audience at the Victoria Fringe. “I don’t know anyone there,” Cooper confided. “It’s terrifying. Here, in Vancouver, many friends came to the show, but there, we have to promote.”

They also have to do all the other jobs a play requires besides acting and directing: lighting, stage management, producing and so on. As in any relationship, in Cooper’s relationship with theatre, no job is too small, and collaboration is extremely important.

“I always wanted to collaborate with passionate people on our own projects, not jump into the industry at the entry level and work my way to the top.”

Cooper’s interests are broad, and he doesn’t confine himself to one area of the arts. In the last few years, he also has created several short films, taught English in China, and traveled by bicycle to Mexico and through Europe.

His enthusiasm for cycling is comparatively recent. “It happened around 2010,” he said. “My mom and I talked, and she said that I was smart but not very physical. I wanted to be physical, too, and I thought biking would be right for me. I did some research and joined a group bicycle trip from Amsterdam to Istanbul. But I had to prepare for such a long trip, so I biked from Vancouver to Mexico. It took about two months. I stopped where I wanted, talked to people. It was all about exploration, not the destination.”

His next long bicycle trip will happen in a couple of years – he will be going to Beijing.

“I’m planning parts of the trip now,” he said. “I will bike from Vancouver to Newfoundland, and from there to Argentina. Then, I’ll take a ship to South Africa and, from there, travel north on my bike, through Africa and the Middle East, tentatively Russia, to China. I started a special website and blog for the trip, and I want my readers to suggest where I should go next. It will be an interactive trip.” (His bicycle trip website is pedaleachmile.com.)

Cooper is also planning to stop and work along the way. One of his more definitive plans is to teach English in Saudi Arabia.

“There is a stigma attached to traveling through Africa or Muslim countries,” he said, “and, in part, that’s what my trip is about: removing the stigmas from people, cultures and places. The same about homelessness – I wanted to remove the stigma. They are just people, like everyone else.”

Sid: The Handsome Bum will be performed Aug. 29 to Sept. 5 in Victoria. For more information, visit spectheatre.wordpress.com.

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

Posted on August 21, 2015August 19, 2015Author Olga LivshinCategories Performing ArtsTags cycling, Hilary Fillier, homeless, Ira Cooper, Joanna Rannelli, Kayla Doerksen, Spec Theatre, Victoria Fringe
Rumshinsky operetta rediscovered

Rumshinsky operetta rediscovered

Joseph Rumshinsky’s Yiddish operetta Di Goldene Kale premièred 92 years ago at Kessler’s Second Avenue Theatre in New York, and was still being performed as late as 1948. The Aug. 5 perfomance at Nicholas Music Centre was the first since then. (image from masongross.rutgers.edu)

It is not often that a neglected or forgotten artistic treasure is rediscovered. But it happened recently at a theatre in New Brunswick, N.J. – a concert version, with full orchestra, of Joseph Rumshinsky’s 1923 musical comedy Di Goldene Kale (The Golden Bride). This joyful, melodically blessed operetta was co-presented with Mason Gross School of the Arts by another treasure, the National Yiddish Theatre Folksbiene, the oldest continuous theatre in New York. Founded in 1915 on the Lower East Side, the theatre is now celebrating its centenary.

Di Goldene Kale’s plot is above the usual standard banal fare of Yiddish plays: it involves a young woman who is heir to a fortune and now has several suitors after her and her money. But she loves Misha and ends up with him, after the usual ups and downs of musical comedy narrative.

Rumshinsky (1881-1956), one of the giants of Yiddish theatre during its heyday in the 1920s and ’30s, continued to work and compose until the year of his death. His operetta is full of memorable tunes, which the audience took to immediately. His musical traditions include influences from the Yiddish theatre, American musicals, European operettas and American popular music, most notably the opening chorus of George M. Cohan’s 1917 First World War song, “Over There.” Yiddish theatre was known for having at least one joyous religious occasion onstage, often a wedding, which nostalgically brought back an aspect of traditional Yiddishkeit to now-secular Jews, who were usually watching the performance on a Friday night, and Di Goldene Kale has a very moving Friday night Kiddush, a lovely melody that the soloists and chorus expand via theme and variations.

After its 1923 première, Di Goldene Kale toured the United States, Europe and South America. It was still being performed as late as 1948. The Aug. 5 show at Nicholas Music Centre was the first performance in Yiddish (with English and Russian supertitles) and full orchestra in 70 years.

The stunning cast was led by the gorgeous operatic voice of Dani Marcus, who plays Goldie, the goldene kale, and the fine baritone, Eyal Sherf – a trained cantor – who plays her boyfriend, Misha. The producer and director was Motl Didner, and Michael Ochs edited the orchestral score from manuscripts dating back to the 1923 première. National Yiddish Theatre Folksbiene artistic director Zalmen Mlotek conducted the young, attractive cast, all seasoned in singing, acting and comedy. To find first-rate singers who also act superbly and know Yiddish was a minor miracle and a major achievement. At the show’s end, the full house stood up and applauded. The orchestra and cast then reprised one of the operetta’s songs and everybody went out singing.

***

Classical American Yiddish theatre was also recently the subject of a program hosted by Michael Tilson Thomas, music director of the San Francisco Orchestra, who celebrated the career of his legendary grandparents, Boris Thomashefsky (1868-1939) and Bessie Thomashefsky (1873-1962), who were illustrious Yiddish theatre personalities.

image - poster, Bessie and Boris Thomashefsky, the legendary grandparents of Michael Tilson Thomas, music director of the San Francisco Orchestra, are the focus of the show The Thomashevksys: Music and Memories of a Life in the Yiddish Theatre
Bessie and Boris Thomashefsky, the legendary grandparents of Michael Tilson Thomas, music director of the San Francisco Orchestra, are the focus of the show The Thomashevksys: Music and Memories of a Life in the Yiddish Theatre. (image from thomashefsky.org)

Titled The Thomashevksys: Music and Memories of a Life in the Yiddish Theatre, the show included four singer/actors and members of the Boston Symphony Orchestra at Tanglewood playing selections from Yiddish theatre music.

On the morning after his program, I walked down from our room at the Apple Tree Inn across the street to the Tanglewood grounds, where I met Thomas. I began in Yiddish: “Reb Mekhl” – the name his bobbe Bessie used for him – “ken ikh mit eykh redn a bisl vegn ayer program?” (“Reb Michael, can I talk to you a bit about your program?”)

By speaking Yiddish I wanted a) to know if he understood Yiddish and b) to separate myself from a group of people near him. Born in 1944, Thomas – his father shortened the original name – never met his famous grandfather, but the conductor told me that Grandma Bessie spent her old age near the family in California. Since she lived to be 89, she was a presence in Michael’s life until he was 18.

“She would show me around in Hollywood and take me to screenings,” Thomas recalled. “She called me Mekhl or Mekhele and would often jibe at my parents: ‘You’re too conventional. But Mekhele is not going to be that way.’”

When Boris’ infidelities became too intolerable, Bessie simply walked out on him in 1912 (she never did divorce him) and opened a rival theatre and became a success on her own.

“My grandmother used to say of her marriage to Boris: ‘We were a mistake – but a beautiful mistake,’” shared Thomas.

One of the most touching of personal anecdotes is Thomas’ strudel story.

“How did my grandmother make strudel? Here is her recipe: ‘You go home, you put on a clean apron, you wash your hands and you bake a strudel.’ And that’s what I do when I prepare for a concert. I make my way to the hall, I put on a clean tux, I wash my hands and I go out there and bake a strudel.”

The Tanglewood program also included a slide show that added lustre to the narration and a brief clip from the only film that Boris ever made, wherein he sings a Yiddish song. Along with sparkling orchestral numbers, the conductor and four singers offered musical selections and scenes from the couple’s real-life drama.

When Franz Kafka, early in the 20th century, brought a Yiddish troupe to Prague and told his audience, “Ladies and gentlemen, you know Yiddish better than you think,” he may have had the Tanglewood audience in mind for, with every Yiddish joke, most of them broke into laughter.

The highlight of the program was Thomas singing the once-popular song “Thomashefsky,” about the actor himself. The conductor pranced on stage, doing all the riffs and gestures of a veteran Yiddish music hall star, with the song’s memorable refrain, “Who do you think is going to marry my sister?” No doubt Grandma Bessie’s spirit was guiding her einikl in performing this enchanting song.

Curt Leviant’s most recent book is Zix Zexy Ztories. His ninth novel, King of Yiddish, will be published in December.

Format ImagePosted on August 21, 2015August 19, 2015Author Curt LeviantCategories Performing ArtsTags Di Goldene Kale, Joseph Rumshinsky, Michael Tilson Thomas, National Yiddish Theatre Folksbiene, Thomashefsky, Yiddish
Reva Stone at ISEA2015

Reva Stone at ISEA2015

Winnipeg artist Reva Stone is interested in “examining ideas about the mediation between our bodies and the technologies that are altering how we interact with the world.” (photo by Harold Stone)

The International Symposium on Electronic Art comes to Vancouver Aug. 14-19. One of the artists featured in this “showcase of creative productions applying new technologies in art, interactivity, electronic and digital media” is Reva Stone.

It should come as no surprise, with Stone’s artwork comprising computer-assisted installations since 1992, that she has been invited to participate in ISEA once again. The first time Canada played host to the international symposium was in Montreal in 1995 and the Vancouver event marks only the second time that it has come to our country. In the last four years, it has been hosted in Istanbul, Albuquerque, Sydney and Dubai.

Stone, 70, was born to Sarah and Don Atnikov in Winnipeg and raised in Regina before returning to Winnipeg for university, earning a bachelor’s in sociology and psychology in 1966 and a bachelor of fine arts in 1985. She has been a professional electronic and digital media artist for more than 25 years.

“As far back as I can remember, I was always interested in making art, but it wasn’t seen as a practical decision when I was in university in the early 1960s,” said Stone. “By my early 30s, I was married [to Harold Stone] and a stay-at-home mom with two children. I was taking local art classes, but not finding them satisfying. I needed to learn more, experience more and experiment more.”

Stone returned to school to take fine arts. “I thought I was going to become a painter, but that didn’t last long,” she recalled. “I learned quickly that I love to take chances and am really comfortable trying things I have never done before.”

She graduated when she was in her 40s and was told that a woman her age could not have an art career. So, she said, “I did it anyways. Since that time, I have been creating computer-assisted installations that explore the mutable space between human and machine.”

Stone always begins new work with a concept that she has read about or an occurrence that she has observed, developing her ideas through research and experimentation. Each work comes to fruition, sometimes in collaboration with other artists and scientists, and other times with hired computer programmers. Stone has shown her work across Canada, the United States and Europe.

In addition to ISEA2015, Stone’s work is featured in the 2015 Governor General’s Awards Exhibition at the National Gallery of Canada, which runs to Aug. 30, and will be at Gurevich Fine Art in Winnipeg in September, as part of the exhibit A Celebration of Women’s Art.

The Winnipeg show includes the work of her studio partners, Aganetha Dyck and Diana Thorneycroft. “We have shared space for over 20 years and this is the first time we are showing together,” said Stone.

“My interest is in researching and examining ideas about the mediation between our bodies and the technologies that are altering how we interact with the world,” explained Stone. “I then use various forms of digital media to make artwork that comments on this changing nature of what it means to be human.”

Stone’s art has encompassed works such as “Imaginal Expression” (an endlessly mutating, responsive, 3-D environment), “Carnevale 3.0” (an autonomous robot that reflects on the nature of human consciousness) and “Portal” (which combines custom software, media, robotics and mobile phone technology to create a work that appears to be sentient).

“Recently, I began altering and repurposing obsolete devices that refer to the history of communication and technology,” said Stone. “I am altering them by adding small, embedded computer boards, video screens, lights, sensors, custom software, robotics and found video.

“I am choosing objects that possess an historical richness that merges with the alterations I am making to create a rich layering of ideas. As I continue to explore this series of work, I am finding that humor and a sense of play have become an increasingly important element.”

Over the years, Stone has received numerous research and production awards, including from the Canada Council for the Arts, the Major Arts Award from the Manitoba Arts Council and, of course, the Governor General’s Award in Visual and Media Arts this year.

She has also been internationally recognized. In 2002, for example, “Carnevale 3.0” received an honorable mention in Fundación Telefónica’s Vida 5.0 Art and Artificial Life International Competition. In 2009, Stone presented at Super Human – Revolution of the Species Symposium, organized by the Australian Network for Art and Technology in Melbourne. The proceedings were published in Second Nature: The International Journal of Creative Media.

The theme for ISEA2015 is “Disruption,” inviting “a conversation about the esthetics of change, renewal, efficiencies and game-changing paradigms.” Conference events will be held at the Woodward’s campus of Simon Fraser University, with exhibitions and events taking place at Emily Carr University of Art + Design and other venues throughout the city.

Vancouver Art Gallery’s Fuse event will be held in partnership with ISEA2015 on Aug. 15. In addition to music and live performance, the works of some 50 artists will be on display, including that of Stone. The event is open to the public starting at 8 p.m. (tickets are $20 plus tax). For more information, visit isea2015.org/schedule.

Rebeca Kuropatwa is a Winnipeg freelance writer.

Format ImagePosted on July 31, 2015July 28, 2015Author Rebeca KuropatwaCategories Visual ArtsTags digital art, ISEA2015, Reva Stone, VAG, Vancouver Art Gallery
A BuzzFeed video master

A BuzzFeed video master

Allison Raskin, left, produces a weekly webseries, Just Between Us, with her best friend and comedy partner, Gaby Dunn. (photo from Allison Raskin)

Tens of millions of online viewers may have learned a little bit more about being Jewish after seeing Allison Raskin’s wacky BuzzFeed videos.

There, the young actor has brought her comedic take on many topics. Her Jewish shtick includes such witty shorts as 11 Things Jewish Friends Just Get, Christmas Explained by Jews, Jews Decorate Christmas Trees for the First Time and the Funny or Die video 1-800-4-Jew-Now, where nice Jewish girls Rebecca and Rachel make themselves available as fill-in dates for family get-togethers.

“Finding success on YouTube has been both the most exciting and confusing thing that has ever happened to me (other than my bat mitzvah),” she wrote recently on her blog.

Raskin, a Scarsdale, N.Y.-native, who now calls Los Angeles home, also performs improv and stand-up around Los Angeles, and produces a weekly webseries, Just Between Us, with her best friend and comedy partner, Gaby Dunn. With more than a hundred segments thus far, they tackle relationship issues in an irreverent and unconventional manner.

“Basically, it’s two girls on a couch giving love advice, but we’re terrible at giving advice,” explained Raskin. “That’s the shtick. It’s not at all about the questions or advice, but about our relationship. People say we’re the odd couple, a classic comedy approach.”

The Jewish Independent recently caught up with Raskin.

DG: What videos of yours are your favorites?

AR: A couple of contenders for different reasons. If Buying Condoms Was Like Buying Birth Control, I’m really proud of that one because I think it had a message and did really well. From a comedic level, that didn’t do well, but the writing was good. The other, Is This a Date?, is a sketch I liked. It’s a miscommunication between a man and a woman, and how their dialogue confused each other.

DG: You’ve done a few videos with Jewish content. Is our heritage and culture inherently funny?

AR: We all know how our families behave. Sometimes there’s a larger familiarity people will get even if they’re not a part of your family. I find things funny in my family and people I grew up with that I’m sure are funny to other people also.

DG: So, how do you make a Jewish video funny to people who don’t know about Jewish culture?

AR: The hope is that you’ll relate, even if you’re not Jewish or have a lot of Jewish friends that get it. At the end of the day, everyone is just human and we all do just funny things. My sister is married to an Italian and their family is very similar to ours. It’s all about the food; everyone is into each other’s lives, it’s all just loud and fun and caring. Even if they’re Roman Catholic, there’s a lot of similar culture there. And Italian has always been our favorite food.

DG: Are any of your comedic influences Jewish?

AR: My friends flatter me and say I’m like a female Woody Allen, but I know they’re just sucking up. But I definitely relate to some aspects of his point of view and I think that there are certain neuroses that I bring to some of my characters that are similar.

Other than that, one comedic influence is Julia Louis-Dreyfus (not Jewish). She has such presence – timeless and perfect and commanding. I love Veep.

DG: Is comedy natural to you?

AR: I think you either have it or you don’t. Have spark of it, or don’t. But you have to nurture and grow with that spark. It’s something you study and refine over years, with stand-up especially. Refining just my presence on stage took a long time, not just the actual jokes, but how I would deliver them was a whole journey. Just have to kind of need to love it.

All I ever want to do is to make a good joke. That’s what drives me day in and day out. Not just on the internet, but also to my best friends.

DG: What’s the environment like with other BuzzFeed actors?

AR: It’s definitely work; but it’s like working at a college campus – everyone is friends, we hang out, it’s great, awesome to be surrounded by young, talented people who want to do the same stuff you want to do. So, it’s definitely a fun office. I’ve been to my dad’s law office and it’s nothing like that.

DG: You’ve done some of the famous taste-test videos of ethnic foods. What would you eat again?

AR: Boiled peanuts. Everything in the Southern taste test was incredible. Okra was incredible. All I think about now is okra and boiled peanuts and how to get them.

DG: Have you tried okra in beef stew?

AR: I don’t eat beef, so maybe I’d pick it out. I’ve been a vegetarian for ethics reasons since I was 8, but now I eat birds and fish.

DG: BuzzFeed fans found out through the Jewish videos that there are other young Jewish actors at BuzzFeed. Do you guys hang out or talk Jewish stuff?

AR: Nah, maybe like “Oh, what are you doing for Passover? Hmm, nothing.” A lot of people were shocked that more than one Jew works at BuzzFeed.

Most of my friends, oddly enough, are Jewish and there’s shared culture there. I thought, with the video of Jews explaining Christmas, some online comments were antisemitic, and then the one with Christians explaining Chanuka nobody cared about.

DG: Did it upset you?

AR: I grew up surrounded by Jews, so I forget that there’s a lot of antisemitism in the world.

DG: What’s funny about being Jewish?

AR: Um, my mother. I just think the traditional Jewish mom is so funny to me. It’s already been passed on; if someone doesn’t call me back, I think they’re dead. I really have to work on my anxiety about thinking everyone’s dead.

DG: OK, pop quiz. Just like in the videos: A Jew explains Easter. Go!

AR: Oh, crap. That’s the one where Jesus is born, no, dies? He dies, right? Something about bunnies and chocolate? Lent, where you swear off doing something? The stores are closed?

Dave Gordon is a Toronto-based freelance writer and managing editor of landmarkreport.com.

Format ImagePosted on July 24, 2015July 22, 2015Author Dave GordonCategories TV & FilmTags Allison Raskin, BuzzFeed
Thirty years and counting

Thirty years and counting

Warren Kimmel as Javert in Arts Club Theatre’s Les Misérables. (photo by Ross den Otter)

This October will mark the 30th anniversary of one of the most adored, reproduced, translated and recorded performances of our time.

If you are one of the few who has not seen Les Misérables, take the opportunity now and head down to the Arts Club presentation, which is on at the Stanley Industrial Alliance Stage until Aug. 16. Even if you have seen Les Mis before, this production is worth catching for a number of reasons, not the least of which is seeing Warren Kimmel display his musical prowess on stage.

Les Mis opened in London with the Royal Shakespeare Company in 1985 and has been seen by more than 70 million people worldwide. In the Arts Club version, Kimmel stars as the policeman Javert who has committed his life to capturing prisoner Jean Valjean. Kimmel reveals on his website that he is surprised that this is the role he ended up in, but happy to be finally doing the show.

“It was the thing to see when I was leaving school and going to university … and, when I graduated from drama school, it was top of my list,” he writes. “For one reason or another, I have either declined, missed or chosen not to be a part of many productions. All of those decisions were mistakes in my opinion but I have finally been sucked into the vortex. And, to boot, I am playing the last character I ever imagined I would be. Great hat though!”

The award-winning Kimmel is one of a stellar cast of singers who hardly have a fault among them, and their performances are stirring – from the mournful “I Dreamed a Dream” to the rousing “Do You Hear the People Sing?” to the plaintive “Bring Him Home.” (I dare you not to shed a tear during this heartrending rendition by Kieran Martin Murphy.)

Even a tiny bit by ensemble member Kevin Michael Cripps as Bishop Myriel stands out as a memorable performance. And Kimmel’s interpretation of “Stars” certainly holds its own against that of any of the other Javerts in the musical’s history.

Many people think that Les Misérables was written about the French Revolution of 1789. In fact, the story centres on a lesser-known republican rebellion that took place in 1832. Like a fire that appears to have been squelched but comes back to life after a time, the 1832 insurrection was a reigniting of leftover anger from a larger rebellion in July 1830 that saw the overthrow of the Bourbon monarchy.

The story’s author, Victor Hugo, was on his way home when he was caught in the crossfire in 1832, stuck in an alley behind the barricades that are a key element in the musical. Though originally a staunch monarchist, he became a republican supporter and, 30 years after his experience, he wrote the novel, which is still required reading in many French schools.

So popular has this story been that the musical has been translated into 22 languages. For a taste of some of these, including songs in Swedish, Japanese, Polish and Norwegian, watch “Do you hear the people sing: Sung by 17 Valjeans from around the world” on YouTube.

Though it’s normally performed in large theatres with the capacity for several thousand, the production translates very well onto a smaller stage, and I think the intimate location makes for an even better experience. It has been six years since it played at the Arts Club, and who knows when it will be back? Don’t miss the opportunity.

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

Format ImagePosted on July 24, 2015July 22, 2015Author Baila LazarusCategories Performing ArtsTags Arts Club, Les Mis, Victor Hugo, Warren Kimmel
TUTS takes on light and dark

TUTS takes on light and dark

Dustin Freeland as Link Larkin, Erin E. Walker as Tracy Turnblad, Hannah Williams as Penny Pingleton and ensemble members in Hairspray. (photo by Tim Matheson)

When Theatre Under the Stars announced its lineup earlier this year, I was excited. I’d enjoyed the movie Hairspray, but not seen the stage version, and the last (and only) time I had seen Oliver! was at Winnipeg’s Rainbow Stage when I was just shy of 9 years old. The brutality in that production, in particular Nancy’s death at the hands of Bill Sykes, stayed with me, and I was curious to see how TUTS would handle it.

But first, Hairspray. “Good Morning, Baltimore” is one of the greatest songs. So cheerful and optimistic, its driving beat setting the tone and pace of the entire musical. If only we could all carry such confidence and positive energy out into the world. But I digress. The broad expanse of the movie, in which heroine Tracy Turnblad, sings and dances her way to school through the city that she loves is, of course, not possible on stage, and the added sparseness of Brian Ball’s TUTS set – basically tiered, multi-colored stages with the odd extra prop or flourish – took a little adjustment in perspective. But once I scaled my expectations, I came to appreciate the room his choices made for the dancers. And what dancing! Julie Tomaino’s choreography was not only fabulous, but it was professionally executed by the mainly amateur cast.

Many of the cast members are at least triple threats. Starting with the lead, Erin E. Walker does a commendable job as the boundless Tracy, who, in 1962 Baltimore, sets out to be a dancer on The Corny Collins Show despite her relative largesse, and ends up not only winning a spot on the show but getting its Elvis-like heartthrob Link Larkin (perfectly played by Dustin Freeland) to fall in love with her. Oh, and she also inspires significant social change along the way, succeeding in racially integrating her favorite show. And, she convinces her mother – a pleasantly understated performance by Andy Toth – to come out of the house after a decades-long, self-imposed imprisonment out of shame over her weight.

On her mission(s), Tracy is supported by her best friend, Penny Pingleton, played by the obviously talented Hannah Williams, though the accent she chooses for the role makes her sound incredibly stupid. Thankfully, she sings more than talks. I also had a problem with a couple of the other accent choices – Ryan Purdy as Tracy’s dad sounds like a complete moron, rather than the tenderhearted, somewhat nerdy guy he is; and I’m still trying to figure out how a German prison matron made it to 1962 Baltimore.

For the most part, however, director Sarah Rodgers’ pacing and style are spot on; the costumes by Chris Sinosich are colorful and suit the characters and period; and music director Chris D. King, whose orchestra is fantastic, does an excellent job as Corny Collins. And three other standouts cannot go without mention: Cecilly Day as Motormouth Maybelle and, as Maybelle’s children, David Lindo-Reid as Seaweed J. Stubbs and Marisa Gold as Little Inez.

Oliver! is a much more uneven performance. TUTS valiantly tries to evoke 1843 England beyond the stage and, by the time the show starts, kids (and older folk) have had the chance to see a Punch and Judy show, compete in a 20-yard dash, show their strength in a bell-ringer contest and watch some comedic but able strongmen. While the “village fair” is a lot of fun and a great idea in concept, it sets the wrong tone for the musical – poor orphan Oliver, after all, left in a workhouse after his mother dies giving birth to him, does not get to have much fun.

The first few musical numbers also struggle to respect the darkness of the story. At the workhouse, the main “problem” is the portrayal of Mr. Bumble, who is played much too loudly and vulgarly by Damon Calderwood. At the undertaker’s (to whom Oliver is sold), dancing zombies and more overacting detract one’s attention from Oliver’s plight. A rushed rendition of the beautiful ballad “Where is Love” is a lost opportunity to latch on and care for Oliver, who is well-played by Carly Ronning.

It is only when Oliver manages to walk himself to London and find a home with Fagin’s gang of thieves that director Shel Piercy’s vision becomes more uniform and appropriate to the subject matter.

photo - Stephen Aberle as Fagin, Carly Ronning as Oliver (centre, on floor) and the young cast of Oliver!
Stephen Aberle as Fagin, Carly Ronning as Oliver (centre, on floor) and the young cast of Oliver! (photo by Tim Matheson)

The young Nathan Piasecki as the Artful Dodger is one of the highlights of this production, as is his boss, Fagin, played by Jewish community member Stephen Aberle. The connection I felt some 36 years ago to Nancy just wasn’t there, however. Calderwood fares better as the evil Bill Sykes than Mr. Bumble, but again without any refinement, so it is hard to understand why Nancy, played ably by Elizabeth Marie West, would love him. She also was dressed quite fancily and seemed like a lady, so it was a wonder that she would be involved with him and Fagin in the first place. I had to stop myself from rolling my eyes during her rendition of “As Long As He Needs Me,” when I should have been sympathizing with her predicament – to be loyal to her (dangerous) man or risk her life to save Oliver. While the character’s death may have semi-traumatized me as a child, I can say this – it was both moving and memorable, neither of which applies as much to this version.

All that said, it is worth repeating that, from the moment Oliver meets the Artful Dodger just over halfway through Act 1, and is encouraged to consider himself part of Fagin’s “family,” TUTS’s Oliver! is a solid, enjoyable production. The ensemble – which includes community members Kat Palmer and Julian Lokash – are an incredibly talented and energetic group well worth seeing and hearing in action. They land the choreography of Keri Minty and Shelley Stewart Hunt and are in perfect tune with the orchestra, led by music director Kerry O’Donovan.

Theatre Under the Stars presents Hairspray and Oliver! on alternate evenings at Malkin Bowl in Stanley Park until Aug. 22 (tuts.ca or 1-877-840-0457).

Format ImagePosted on July 24, 2015July 22, 2015Author Cynthia RamsayCategories Performing ArtsTags Hairspray, Malkin Bowl, Oliver!, Theatre Under the Stars, TUTS
Shakespeare musical

Shakespeare musical

Left to right, Jay Hindle, Josh Epstein and Daniel Doheny in Bard on the Beach’s Love’s Labor’s Lost. (photo by David Blue)

How do you get more people interested in Shakespeare? Give ’em what they want – music, song, dance, comedy and words that are easy on the ears. Bard on the Beach has incorporated all these elements into its production of Love’s Labor’s Lost, set in a speakeasy in Chicago in the Roaring Twenties.

Think Prohibition, gangsters, molls, spats, fedoras, shoulder holsters, Cole Porter, flappers, the Charleston and vaudeville, all in glorious Technicolor, and you get an inkling of what is to come. Set on the intimate Howard Family Stage in the Douglas Campbell Studio, the fun begins the minute you walk through the tent flaps, as cast members accompany you to your seats with song and dance (and martinis – theirs, not yours). It continues with introductory remarks by a ventriloquist dummy that looks (and sounds) a lot like artistic director Christopher Gaze.

Ferdinand, aka “the king” of the gangsters (Jay Hindle), decides to shut down his nightclub, Navarre, devote three years of his life strictly to academic study and abstain from all vices including women (ouch!). He talks his friends Berowne (Jewish community member Josh Epstein) and Dumain (Daniel Doheny) into joining him in this escapade and the three sign a pact. However, just as they embark on their chaste journey, they meet blond bombshell Princess (Lindsey Angell) and her two friends, Rosaline (Luisa Jojic) and Katherine (Sereana Malani), each of whom catches the fancy of one of the potential abstainers.

To woo their respective ladies, the smitten men write secret letters and have a messenger, the resident clown Costard (Andrew Cownden), deliver them to the objects of their affection. Meanwhile, a fourth love story is brewing during all of this action, that of Don Amato (Andrew McNee), Ferdinand’s Italian house guest, who has fallen for Jaquenetta (Dawn Petten), one of the Navarre flappers – who has also written a letter to be delivered by Costard. A mix-up occurs (naturally) and what happens next is an hilarious musical romp through courtship interruptus with the men disguised and the women masked.

Princess’ chaperone, Boyet (Anna Galvin), gets into the game as the go between the men holed up in Navarre and the women forced to camp outside the building. Witty repartee abounds as the battle of the sexes heats up, and we all know who eventually wins that battle.

As musical director, Ben Elliott (with Jewish community member Anton Lipovetsky as his assistant) has done a great job of bringing iconic hits from the ’20s into this show. The jazz band (piano, bass, trumpet and drums) is the perfect background for the actors who, during an intense soliloquy, suddenly break into songs like, “It Had to Be You,” “Ain’t Misbehavin’,” “Second Hand Rose” and “Blue Skies.”

Epstein – who is the face of this production with Jojic on the season poster – wows with his voice in every number he sings and is certainly one of the standouts along with McNee, who sports a soprano-like gangsta accent and puts on a daring one- “woman” show (accompanied by his sidekick, Moth, played by Lili Beaudoin), and Petten, with her nasal voice and horizontal dance rendition (she rolls down the stairs and right back up).

This is the same cast that performs A Comedy of Errors on the BMO Mainstage (reviewed in the July 3 Independent) and it is a credit to their collective comedic acting talents that they can pull off both shows with success.

The set and lighting provide the feel of an underground Chicago speakeasy. The costumes by Rebekka Sorensen-Kjelstrup are simply divine, sparkly, fringed sheath dresses, rolled-up silk stockings, beautiful headdresses and glamorous fur stoles for the women; snappy suits, hats and Oxfords for the men. Valerie Easton’s peppy choreography is spot on.

Some will say that this production goes too far, and is not really Shakespeare – after all, Shakespeare: The Musical, who would have thought it possible? As with Bard on the Beach’s Comedy this year, purists are going to lament the loss of classical productions but, on Love’s opening night, audience members were humming along with the songs, tapping their feet to the catchy tunes and they jumped up in unison for a standing ovation before the last note was sung in the closing song, “Dream a Little Dream of Me.”

You have to give Gaze credit for taking a chance on director Daryl Cloran’s vision, which includes cutting half of the original text and omitting some characters. As he writes in the director’s notes, “Ultimately, that’s what’s so exciting to me about adapting a script – the process of exploring, shedding and inventing to get to the heart of the story and find a way of telling it so that it resonates with a contemporary audience.” It is a safe bet that even old Will himself would be doing the Charleston Stratford-on-Avon way if he saw this version of his play. If you are a lover of jazz and showmanship, this production is a must-see. While it runs until Sept. 20, word on the street is that shows are selling out quickly so don’t wait too long to book your tickets (bardonthebeach.org or 604-739-0559).

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Format ImagePosted on July 24, 2015July 22, 2015Author Tova KornfeldCategories Performing ArtsTags Bard on the Beach, Josh Epstein, Shakespeare
Impromptu interview

Impromptu interview

After having spent decades trying to visit Wilensky’s lunch counter, made famous by the Mordecai Richler novel and film The Apprenticeship of Duddy Kravitz, I finally made it to the weekday-only Mile End joint in Montreal a couple of months ago.

It’s a modest place with a tiny menu – two main course options, a few beverages and – for those seeking vegetables – pickles. As I finished my Wilensky’s Special (a fried bologna, salami and mustard sandwich on a kaiser) chased with a chocolate egg cream, I spotted a neighborhood fixture finishing his hotdog: Socalled (aka Josh Dolgin), the Yiddish hip-hop artist and music producer. He has been dubbed “hip-hop’s answer to Mordecai Richler.”

We made our way to a St. Viateur patio for coffee as we spoke about his latest album, his growing up in Gatineau, Que., his love for early Yiddish film, his views on Zionism, and the art of musical “sampling.” Our impromptu interview was interrupted frequently. Like the King of Kensington, Socalled seemed to know everyone in the neighborhood.

Socalled had been on my radar since my husband brought home his Passover album, The Socalled Seder: A Hip-Hop Haggadah, 10 years ago. In that album, ads for Manischewitz, along with Passover dinner table chatter, are sampled over a driving hip-hop beat; the track “The Ten Plagues” features the lyricist rapping that “sometimes bad things happen to bad people for a good reason, you dig?,” the “Miriam Drum Song” features an urgent fiddle, and the hip-hop single called “Who Knows One” is heavily klezmer inflected.

His latest effort, Peoplewatching, is perhaps more accessible musically, and is frequently quite beautiful, though whatever Jewish aspect is there is much more subtle. Still, Dolgin insists that his Yiddish interests influenced him. He explained that the track “Never See You Again” features a chord progression from an Abraham Ellstein song used in the wedding scene of the 1936 film Yidl Mitn Fidl (Am, A7, D7, F7, E7, Am – for readers with a piano or guitar nearby). There are a couple of bits of klezmer. And there is a sad and pretty song about Shabbat candles starting a fire near his Hutchison Street apartment in Mile End.

As for the sampling so integral to his music, Dolgin describes it as “giving you sounds with the atmosphere cooked in…. It’s archeological. It’s like cultural alchemy.”

My fellow Canadians in particular will no doubt be tickled by the final track, “Curried Soul 2.0.” Familiar to radio listeners as the theme to the CBC Radio nightly current affairs program As it Happens, “Curried Soul” is featured here in an extended version of the remix that CBC invited Socalled to produce. In a charming bit of hyperbole, Dolgin told a CBC interviewer that he was daunted and floored by the opportunity to tinker with the show’s theme because he “heard it every single day of my life.”

It’s not only Canadian listeners who have been privy to that storied evening broadcast: some Israelis have been featured on the show as well, including Meretz MK Michal Rozen and Tel Aviv-based pollster and political commentator Dahlia Scheindlin.

These days, beyond promoting his new album, Dolgin is busy with a Yiddish barbershop quartet he founded called Julius, in homage to the Oscar Julius Quartet. Many of the songs Dolgin’s quartet performs were originally in Yiddish translated into English, which Dolgin helps put back into Yiddish.

I was curious about what motivated Socalled to seek out Yiddish in the first place (a trip to a Salvation Army vintage record collection supplemented by a textbook called College Yiddish) and whether his continuing interest in the language and culture has anything to do with a rejection of Zionism – the nationalist movement which sought to “negate the Diaspora” in its urgent, Hebrew nation-building project (not so, in his case).

“I don’t believe in countries or nationalism,” Dolgin said, “but if we are going to live in a world with countries or nations, it’s not insane for the Jews to have a country.” He added, “I think Palestinians should have a home, too.” That said, he stressed that he is “more ashamed by how Canada has treated its aboriginal people. I’m more worried about the report on residential schools.”

Politics aside, I wondered whether Dolgin gets to speak any Yiddish these days. He does: at Yiddish festivals around the world, with an “old Jew he met in Russia” and, most often, with his Chassidic landlord. It’s Montreal’s Mile End neighborhood, after all.

Mira Sucharov is an associate professor of political science at Carleton University. She blogs at Haaretz and the Jewish Daily Forward. A version of this article was originally published on haartez.com. For an in-depth interview with Socalled, visit jewishindependent.ca/oldsite/archives/oct11/archives11oct07-01.html.

 

Format ImagePosted on July 24, 2015July 22, 2015Author Mira SucharovCategories MusicTags Josh Dolgin, Peoplewatching, Socalled, Yiddish
Amy doc a dismal portrayal

Amy doc a dismal portrayal

Image from the movie Amy. Amy Winehouse died four years ago this month. (photo from epk.tv)

Amy Winehouse, the brash little Jewish girl with the great big voice, died four years ago this month. There are any number of ways to mark that unhappy anniversary and draw inspiration from the British singer-songwriter’s artistic legacy. Subjecting yourself to Amy, Asif Kapadia’s unattractive and superficial documentary, is not the recommended option.

Amy opened on July 10. Strewn with grainy video footage shot by Winehouse, her family and friends over several years, the film is conceived as an intimate, behind-the-scenes portrait of a very public, very talented figure. Given that Winehouse mined her troubled relationships for her pain- and yearning-filled lyrics, it makes sense to conflate her creative and personal lives. But, rather than highlighting Winehouse’s artistic courage and her commitment to confronting and conveying hard truths, Amy presents its subject as weak, insecure, volatile and vulnerable. In lieu of insight, Kapadia offers amateur psychologizing.

photo - In Amy, filmmaker Asif Kapadia can’t resist focusing on Winehouse’s low points
In Amy, filmmaker Asif Kapadia can’t resist focusing on Winehouse’s low points. (photo from epk.tv)

The list of culprits goes way back. When Amy was a toddler, her mother wasn’t strong enough to stand up to her or rein her in. (Had her mother set firm boundaries all along, who’s to say the free-thinking Amy wouldn’t have rebelled and run away as a teenager?)

Her father cheated on her mother for years before they divorced when Amy was an adolescent. We are left to conclude that this is the source of Amy’s neediness, promiscuity, vulnerability and poor judgment regarding men. (Mitch Winehouse resurfaces once her career takes off, which allows Kapadia to imply that he was more concerned with Amy’s income streams than with her health.)

Oddly, no other facts about Winehouse’s upbringing are deemed to be relevant, including what kind of work her parents did or how they instilled her Jewish identity.

We infer that the North London family was lower middle-class, without connections or access to opportunities for their children. From the playful, self-deprecating way Winehouse refers to herself in messages left on answering machines, it appears that she associated being Jewish with being a curiosity and an outsider.

Although lyrics were important to her, there was no literary component to Winehouse’s Jewish identity. Her musical idols weren’t Jewish wordsmiths such as Bob Dylan, Laura Nyro or Paul Simon but vocalist/interpreters Sarah Vaughan, Billie Holiday and Tony Bennett. (Bennett’s collaboration in the studio with an awestruck Winehouse on “Body and Soul” for his Duets II album – reportedly her last recording – is one of the more wrenching sequences in Amy.)

The film also casts some responsibility for the 27-year-old’s premature demise on her bad-boy lover and eventual husband Blake Fielder-Civil. She followed his lead into hard drugs out of some twisted combination of love, obsession and need.

Finally, Kapadia tosses the pressures of fame and the pursuit of the paparazzi into the mix. If Amy is starting to sound like the familiar, formulaic shape of an episode of VH1’s Behind the Music, your hearing is excellent.

The documentary’s big revelation – which is withheld until late in the film, giving it a sensationalist vibe – is that Winehouse was bulimic. Had Amy presented her illness as a defining (albeit secret) characteristic from childhood instead of withholding it for dramatic purposes, the documentary’s social utility would be infinitely greater.

Regrettably fulfilling the clichés of too many portraits of artists, Amy can’t resist being drawn – like the proverbial moth to a flame – to the sordidness, unhappiness and public embarrassment that denoted Winehouse’s low points.

Thankfully, what will remain long after the details of her life have faded into trivia on a Wikipedia page is that extraordinary voice. The best way to mark Amy Winehouse’s life is to listen to her music.

Amy is screening at Fifth Avenue Cinemas and Cineplex Odeon International Village. It is rated R for language and drug material. It runs 128 minutes.

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

 

Format ImagePosted on July 17, 2015July 15, 2015Author Michael FoxCategories TV & FilmTags Amy Winehouse, Asif Kapadia

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