Arts & Culture – Page 40

History of “left coast”

David Spaner’s new book, Solidarity: Canada’s Unknown Revolution of 1983, forms an archival testament of one of this province’s most dramatic epochs.

One of the funny things about watching the 1976 movie All the President’s Men, about how Washington Postreporters Bob Woodward and Carl Bernstein broke Watergate and brought down Richard Nixon, is that, after 138 minutes of sitting on the edge of your seat, you realize that you’ve watched nothing more than two men making phone calls and knocking on doors asking questions. In other words, stuff doesn’t need to blow up in order to make an excellent movie. This thought occurs when reading Vancouver author David Spaner’s new book, Solidarity: Canada’s Unknown Revolution of 1983. On the surface, the book is a litany of bureaucratic meetings and activists’ backstories. Together, they form an archival testament of one of this province’s most dramatic epochs.

Spaner, an activist and journalist who has been immersed in the left-wing ferment for most of his life, chooses a different Hollywood reference. At the end of the book, he alludes to the 1983 film The Big Chill, in which disenchanted middle-agers convene for a friend’s funeral and lament their glory days. For anyone who has been part of British Columbia’s left-wing movements – recently, in 1983, or decades earlier – this book will provide many Big Chill moments. An initial criticism might be the title, which alleges this history is forgotten. Any person who was living in British Columbia in 1983 and even moderately politically aware will not forget that riotous time, though Spaner revives it effectively for new audiences.

Spaner’s thesis is that British Columbia’s well-known legacy of progressive activism that began in the 19th century converged in 1983. All the economic, social, racial, gender and other movements cohered in response to unparalleled government excess – and then refracted again into the myriad organizations and causes that drive B.C. politics today.

The province’s long history of progressive activism weaves its way through the book. More volunteers from Vancouver signed up to fight Franco’s fascists in the Spanish Civil War than from any other North American city save New York, Spaner says. And, in a more trivial note, he claims that the Industrial Workers of the World got their nickname “Wobblies” right here. Greenpeace was founded in Kitsilano in 1971. Movements against the Vietnam War and nuclear warships found fertile ground here. A squatters’ park stopped development at the entrance to Stanley Park. A “smoke-in” in Gastown protested police brutality and called for loosened marijuana laws. The Simon Fraser University Women’s Caucus, formed in 1968, was, according to the book, not only the first such group in Western Canada, but the first in North America. The first rumblings of gay rights activists were heard in these parts around the same time.

With all this as a foundation, the events of 1983 exploded out of the results of the provincial election on May 5. Dave Barrett’s New Democrats, who had governed the province for a short but tumultuous two-and-a-half years beginning in 1972, had been widely anticipated to defeat Bill Bennett’s right-wing Social Credit government. Instead, Bennett pulled out a surprise victory – and then launched a “restraint movement” that was unprecedented in Canada and is often compared with Thatcherism in Britain and Reaganism in the United States. On July 7, Bennett and his cabinet “unleashed a far-right legislative avalanche that tossed asunder virtually every advance achieved by B.C.’s social activists and trade unionists,” Spaner writes. “In an instant, and from every corner of the province, there was a rising of resistance.”

Almost exactly two months after the election, Bennett’s Socreds dropped 27 radical bills, affecting every area of government operations. For starters, 1,400 members of the B.C. Government and Services Employees Union (BCGEU) were summarily fired the day after the bills were tabled. The government eliminated special education programs, reduced student loans, fired family support workers, took away autonomy from local school boards and mandated fewer teachers and larger class sizes. Environmental protections were removed, welfare rates frozen, healthcare facilities closed and programs, including the Human Rights Commission, were cut. Funding for programs in services like the Vancouver Women’s Health Collective were eliminated. They closed the Tranquille mental health facility in Kamloops and fired its 600 employees. Labour relations laws were amended to take away rights such as seniority, working hours and overtime in collective agreements. Tenants could be evicted without cause and the Rentalsman’s office was eliminated, meaning any disputes would have to go to expensive court proceedings. The Agricultural Land Act, intended by the Barrett government to protect farmland, was gutted. User fees for hospital care increased exponentially.

Organized labour mobilized as soon as they could shake off the disbelief about what they were confronted with. They formed Operation Solidarity, an umbrella covering 400,000 unionized workers in the province, under the not-so-gentle guiding hand of the B.C. Federation of Labour. A parallel group, the Solidarity Coalition, was a motley amalgam of community groups and activists, less hierarchical and disciplined than the trade union groups. (The names were lifted from the nascent Polish anti-communist movement emerging at the time, but the ruptures in the B.C. movement make the moniker somewhat ironic.)

The first big rally took place in Victoria’s Memorial Arena, attracting 6,000 protesters. This was where the initial idea of an all-out general strike gained currency – and the seeds of the movement’s destruction were planted. A massive rally followed in front of the old CN station at Thornton Park on Main Street in Vancouver, on July 23. Organizers had hoped for 2,000 attendees but 25,000 showed up.

As is common in activist circles, Jewish individuals played an outsized role. The author, who is Jewish, comes by his credentials naturally – his grand-uncle was a good pal of Dave Barrett’s dad, Sam, in East Vancouver. One of the most visible faces of the movement was Renata Shearer, a Jewish refugee from Nazi Germany who was fired as the province’s human rights commissioner. Feminist and union leader Marion Pollock and Carol Pastinsky, who grew up in a left-wing household that hosted meetings of the United Jewish People’s Order, are featured in the book. And, of course, Barrett, who, despite his recent defeat, led the charge in the legislature against the onslaught, was the province’s first, and so far only, Jewish premier.

Another Jewish person, Stan Persky, launched and edited the movement’s publication, Solidarity Times. The newspaper, funded by organized labour, provides one of many examples in the book about bitter feuds within and between the disparate factions in the Solidarity mishpachah (family). A bunch of young, idealistic journalists who were working under Persky got a taste of censorship that they might have expected in a career with the bourgeois press but perhaps had not anticipated from their comrades in the movement. “Remember who writes your checks,” a union apparatchik warned them after spiking a story that didn’t toe the union line.

One of the most visible schisms in the mass movement occurred at a huge rally where most of the rank-and-file attendees were apparently champing at the bit for a general strike, but the more cautious leader of the movement, Art Kube, instead urged everybody to get a copy of a petition, have their neighbours sign it and send it in to the government in Victoria.

Said one activist reflecting his response that day: “We want militant action. We want to shut down this province. Instead, were being told, ‘Go get a petition signed.’”

But, while Kube was the one who disappointed that day, many in the movement believe it was his illness – a physical or mental breakdown – that led to what many or most view as the ultimate betrayal of the entire project. The BCGEU and the teachers’ union went on strike, shutting down huge swaths of the province. As pressure built, an unexpected – and largely unwanted – resolution was hatched by one segment of the union movement.

Within the Solidarity movement, there were schisms between the far-left and the comparatively more right-leaning unions, between radicals who wanted transformative change and reformers more narrowly opposed to specific legislation. There were, of course, also a lot of very strong personalities, all packed together and stressed by the pressures of the time.

With Kube sidelined by illness, the B.C. Federation of Labour sent Jack Munro, one of British Columbia’s feistiest, foul-mouthed and most divisive union figures, to meet with Premier Bennett at his home in Kelowna. When other partners in the Solidarity movement found out that the meeting was taking place, they knew they were done for.

“Munro and Bennett reached the quick agreement, settling the BCGEU contract but offering little else to most Solidarity members,” writes Spaner. “Then they stepped out on the premier’s patio to announce their Kelowna Accord.”

“We were all in tears,” recalls one activist. “It was a horrible betrayal.”

Once a big swath of the union movement had pocketed what they wanted from the government, the larger movement effectively fizzled out.

“Some longtime union activists simply don’t have a bigger dream, so it was impossible for them to see the Solidarity drama as a failure. To them, it was just another contract negotiation,” Spaner writes.

But while the movement itself may be gone, the legacy lives on, Spaner argues. Those trenches formed a generation of B.C. activists, not least of whom is John Horgan, who was inspired by the lofty outrage of Barrett and marched down the road to join the NDP for the first time.

Spaner is no impartial observer. His stripes are on full display, but he delivers an insider’s view of the times – times that affect us still.

Solving a family cold case

Wayne Hoffman’s latest book is about his efforts to solve the 1913 murder of his great-grandmother before his mother’s dementia takes full hold of her mind.

Well into his book The End of Her: Racing Against Alzheimer’s to Solve a Murder, Wayne Hoffman notes that it wasn’t until his mother was admitted into a nursing home that he began to read books and watch films about the disease, finding comfort in other people’s stories.

Hoffman’s nonfiction account of his mother’s decline – and his search for his maternal great-grandmother’s killer – was released this past February by Heliotrope Books. Perhaps coincidentally, I only cracked its proverbial spine (I have an electronic copy) a couple of weekends ago, the same weekend my father moved into a retirement home.

I was drawn to The End of Her both as the daughter of a parent with dementia and as a former Winnipegger. It was indeed comforting to read about how Hoffman’s family dealt with his mother’s dementia, how her dementia presented itself and how difficult the medical system was to navigate. There were many commonalities with my family’s experience, despite this part of Hoffman’s story taking place in the United States. Originally from Maryland and now living in New York, Hoffman is executive editor of the Jewish online magazine Tablet. He is a journalist, who also has published three novels, which almost guaranteed the The End of Her would be a compelling read.

Admittedly, I did not follow all the connections between Hoffman’s relatives across generations, nor find that part so interesting. But I did understand how Hoffman discovered more family during his research than he knew he had, and that this was a silver lining, though it could never compensate for the lost relationship with his mother.

Hoffman’s mother loved to tell stories and one of the more intriguing ones was of how her maternal grandmother, who had lived in Winnipeg, had been shot by a sniper while sitting on her porch nursing her new baby. Never believing the story, Hoffman kept his thoughts to himself until a video he made at Passover in 2010 revealed that his mother’s memory was failing. He thought about how the Passover story is handed down through generations, and how his family’s stories also become a part of history. He decided to challenge his mother’s – and his aunt’s – narrative about the 1913 murder of their grandmother, Sarah Fainstein. And his mother returned the challenge – asking him to tell her, then, what had happened.

Over the next 10 years or so, Hoffman searched, in fits and starts, for the true story of his great-grandmother’s death, finally finding information when he searches for Feinstein instead of Fainstein. The death certificate notes that it was, indeed, homicide. The amount of information Hoffman is able to piece together from a wide variety of sources, including conflicting newspaper reports and official documents, is impressive. He figures out the mystery to his satisfaction, but its veracity is unlikely to ever be known.

Unfortunately, by the time he reaches his conclusion, his mother’s dementia is to the point where she cannot absorb it. The photos and stories that his mother shared with him throughout his life are now his responsibility. A responsibility he takes seriously.

Recollections of youth – Hatzaad Harishon

Sybil Kaplan, whose food articles often appear in the Jewish Independent, has a broader life experience than those articles would suggest, of course. In a recently self-published memoir, she shares a little of that experience: her time as a youth leader/advisor with the Black youth group Hatzaad Harishon, which translates as First Step.

Hatzaad Harishon: A “First Step” Love Story is as much a labour of love as was author Sybil Kaplan’s time spent in the group, which started in 1965 and ended in 1969. The group itself lasted only from 1964 to 1972.

Hatzaad Harishon is based on notes and articles Kaplan wrote at the time, newspaper articles from which she cites extensively and other research. Many of the group’s key first members and leaders have passed away, so the contemporary voice of the book is Kaplan, with her perspective on the internal politics and ultimate impact of the group. All the names and the various comings and goings of members will mean little to most readers but it’s good to have them on record.

The publication would be mainly of interest to people who were in or encountered the group in their youth. It also would be valuable for researchers of American Jewish community history. There is published research about the group, but not an abundance of it.

Kaplan became involved in Hatzaad Harishon when she was asked to be a dance leader. The group participated in dance and other cultural events in an effort to increase interaction between white and Black Jews. There were other white Jewish leaders in the organization, including its founding director, Yaakov (or Yaacov) Gladstone, who was a Canadian Hebrew teacher. Internal and external politics contributed to the group’s dissolution, including race issues but also disagreements about how much the youth should be able to direct their own affairs, as opposed to taking direction from the adults involved.

One of the more intriguing – and sobering – aspects of Hatzaad Harishon and the period in history that it covers is how much has changed, and how much has not. Black Jews, and Jews of colour in general, still face discrimination and are still questioned about their Jewishness. New groups have formed in recent years in Canada and, no doubt, elsewhere to try and make the Jewish community more inclusive.

Hatzaad Harishon is available for purchase from Kaplan, at [email protected].

The elements of a hit song

I freely admit it, I was one of those angsty teens who wrote bad poetry to express all my big feelings. I also wore a lot of black, but that’s not relevant here. What kind of surprises me about myself is that, despite having taken piano for years, learned various other instruments and sung in choirs since I was in single digits age-wise, it wasn’t until last year that I put some not-bad (not-great) poetry to music and wrote a song. It was inspired by my wife and it must have been beginner’s luck, because I’ve not been able to replicate that success.

This is a long preamble to why I was excited when award-winning songwriter and music consultant Molly Leikin emailed that she had a new book out: Insider Secrets to Hit Songwriting in the Digital Age (Permuted Press). While it’s too soon to say whether it will help me write another song, I did find it informative, easy to read – Leikin has a great sense of humour – and full of practical advice. I’ve just been too busy to do many of the myriad exercises and put in the time necessary to hone any skills.

There is a whole chapter on making the time to write, as well as how to quiet the inner critic, who often stops creative-aspiring people dead in their tracks. Other chapters focus on writing lyrics, composing a melody, picking a strong song title, working with a writing partner, overcoming writer’s block and other aspects of the process. There are also chapters on what needs to be done to get a song published, what royalties are, and what types of jobs you might be able to do to sustain yourself until your music can. Interspersed between the how and what chapters are interviews Leikin has conducted with some of her peers, other songwriters, producers and industry professionals.

Insider Secrets is targeted at writers who want to get into the business. And whether one succeeds at that is as much hard work as it is talent, probably more. One great aspect of Leikin’s approach is that she believes in being kind to oneself, so offers several ideas for how to reward yourself when you do put in the hard work.

“Whatever you do,” she writes, “make a point of acknowledging that you’re doing it as a reward for what you’ve just created. It is a victory in itself, just because you did it, not because your song was downloaded 10 million times. The victory starts with you.”

Ultimately, Leikin says, it comes down to persistence. It is also crucial to understand that a creative life is not a straight path, but an up-and-down one, and you have to learn how to navigate the challenges.

“A writer’s job is to write,” states Leikin. “If you do that, keep raising the level of your craft and write your fingerprint, and hustle your hustle, someday, the world will know your work. But until then, I want you to feel in your bones that you have the magic to go the distance. No Grammy can give that to you. Honestly, you have to give it to yourself, every day, all day, for the rest of your life.”

To purchase the book and for more information on Leikin, visit songmd.com.

Making the best of a mess

Two picture books recently released by Kalaniot Books exemplify the publisher’s mission “to help young children and their families explore the diverse mosaic of Jewish culture and history.”

On the face of it, The Very Best Sukkah: A Story From Uganda by Shoshana Nambi and illustrator Moran Yogev may not seem to have much in common with Mendel’s Hanukkah Mess Up by Chana and Larry Stiefel and illustrator Daphna Awadish. But both charming publications explore the themes of inclusion via the experiences of their youthful protagonists.

The Very Best Sukkah centres around Shoshi, who likes to win any challenge, even when there’s none put forward. For example, despite her brother Avram’s plea for her to wait up, she makes sure to beat the other children to school – again. Shoshi shares, “My grandmother is always reminding me that life is not a competition. ‘Jajja,’ I tell her, ‘it’s not like I always have to win the race. I just like being at the front. The view is better there!’”

Shoshi and her brothers live with their “grandparents in a little house surrounded by coffee trees in the Abayudaya Jewish community of Uganda.” Shoshi races home on Friday nights to help her jajja make the holiday meal, in particular the kalo bread – it’s her job to mix the cassava and millet flour for the dough. The family then walks to synagogue, where the rabbi reminds the kids that their favourite holiday is coming up: Sukkot. The siblings start planning how they will make the best sukkah in the village.

Every family’s sukkah is different, “and each one reflects its builder’s special skills and talents.” For the most part, the differences are respected, but there is jealousy that Daudi, who sells samosas in the village, has enough money saved to buy “fancy battery-operated lights and elegant crochet trim in the big town of Mbale to decorate his sukkah.”

Life has a way of making playing fields level, however, and unfortunate weather one night causes mayhem, even for Daudi and his daughter, especially for Daudi, whose sukkah is destroyed. But the villagers rally around him and, in the end, the most beautiful sukkah is the one to which everyone contributes. A wonderful message, well delivered and boldly and colourfully drawn.

The Very Best Sukkah has a page about the Abayudaya, a glossary of terms and the lyrics of “Hinei Ma Tov” in Hebrew, Luganda and English: “See how good and pleasant it is for brothers and sisters to sit down together.”

Mendel’s Hanukkah Mess Up also features something getting wrecked. In this story, it’s a crashed-up Mitzvah Mobile rather than windblown sukkot. And, whereas it’s nature that destroys Daudi’s sukkah, it’s Mendel who doesn’t notice the bridge that’s so low as to crumple the large chanukiyah on the Mitzvah Mobile’s roof.

Anyone who knew Mendel could have predicted such an outcome when the rabbi asked him to drive the vehicle, as Mendel has a long history of mishaps, including having accidentally left a tray of jelly doughnuts on the rabbi’s chair. “Splat! ‘Oy, Mendel.’”

The unique nature of the vehicle and the accident draw a TV news team to the scene.

“‘What’s the story here?’ asked Rachel, the reporter.

“‘Um, well…’ Mendel’s words mushed like applesauce. ‘I blew it again,’ he sighed.

“Then Mendel thought of the lessons Rabbi Klein taught him. He stood up taller, like the shamash – the special Hanukkah candle that lights all of the others.

“As Mendel faced the camera, his words began to flow like silky sour cream.

“‘Hanukkah shows us the power of every person to make a difference. To rise up like the Jewish soldier Judah Maccabee fighting the mighty Greeks,’” he told Rachel. ‘If a tiny flask of oil can light up a menorah for eight days, we each have a spark to light up the world.’”

Mendel manages to turn his mistake into a win – spreading the story and joy of Hanukkah. It’s a fun story, with illustrations that are imaginative, engaging and detailed.

Mendel’s Hanukkah Mess Up ends with the story of Hanukkah and a glossary, instructions on how to play dreidel, the words to “Oh, Hanukkah” and a recipe for potato latkes, meant to be used by the young readers and their chosen adult.

For more information on these and other books, visit kalaniotbooks.com.

Gili Yalo returns to city

Gili Yalo performs in Vancouver on Sept. 24 for a Chutzpah! Plus event. (photo from Chutzpah!)

Israeli singer-songwriter Gili Yalo returns to Vancouver for a Chutzpah! Plus concert on Sept. 24. It’s his first time back in the city since 2015, when he was part of the band Zvuloon Dub System. Yalo said he can’t wait – “the last time at the Chutzpah! Festival was wonderful!” he told the Independent.

In 2015, Zvuloon Dub was touring the United States and other countries. “Part of the tour was the Chutzpah! Festival,” said Yalo, “and we finished the tour in Montego Bay, Jamaica, performing in the legendary festival SumFest. After being part of Zvuloon Dub for seven years, I felt that it was the right time and the right spot to start something new. I came back to Tel Aviv and started working on new songs for my solo career.”

Yalo’s eponymous first solo album, released in 2017, was very well-received and he followed it up in 2019 with the EP Made in Amharica, on which he collaborated with Dallas-based musicians in Niles City Sound, a studio in Fort Worth. He has released several singles and has played on stages and in festivals around the world.

But, even though he has been a singer his whole life and performing almost as long – including in children’s choirs and during his time in the Israel Defence Forces – Yalo resisted making music a career. Among his alternate endeavours was being a club owner.

“I opened the club for Israeli Ethiopian people, who didn’t feel safe to stand in line at Israeli clubs; back then we got a lot of refusal just because of the colour of our skin,” he explained. “At the club, there were two floors, one of R&B and reggae/dancehall music, the other one was Ethiopian music. It really affected me because I have heard and learned lots of Ethiopian music.

“After several years of running the club, I felt that I needed to do something different in my life … and I told myself, you don’t want to regret not trying to achieve your biggest dream, and I decided that I had to try and overcome my fears. It was natural for me to make a fusion of Ethiopian music and Western music such as jazz, funk, R&B and reggae, because that was my life between home and the outside.”

Born in Ethiopia, Yalo was 4 or 5 years old when he and his family fled to escape famine in 1984. Traveling by foot, it took them about two months to walk from the Gondar region, in northern Ethiopia, to refugee camps in Sudan, where they stayed for several months, until being airlifted to Israel as part of Operation Moses.

“Lots of the songs that I’m writing are talking about identity, journey and integration into society, so I think all of it came from the experience of making aliyah and the difficulty in the process,” Yalo told the Independent.

There are many things that Yalo would still like to accomplish, but, right now, he said, “I especially want to share music.” He wants to write good songs, collaborate “with musicians that I appreciate, and take my music to a place that it can inspire lots of people.”

Playing in Vancouver with Yalo will be Nadav Peled (guitar), Dor Heled (keys), Billy Aukstik (trumpet), Eran Fink (drums) and Geoffrey Muller (bass).

About coming to the city, Yalo said, “I want to say that Vancouver is one of the best places in the world. I’ve seen so many places thanks to music and, if it wasn’t so far away from my family, I would definitely consider living there.”

For tickets to the Sept. 24, 8 p.m., concert at the Rothstein Theatre, visit chutzpahfestival.com.

Occupying the same space

Megs Gatus’s solo exhibit, Leaves in Space, runs until Sept. 22 at the Zack Gallery. (photo from Megs Gatus)

Megs Gatus – whose solo show, Leaves in Space, opened at the Zack Gallery on Aug. 24 – unexpectedly stumbled onto an artistic path.

“It started for me when I saw a photograph of a butterfly,” she said in an interview with the Independent. “It was in 2010. I was fascinated by that picture. I thought maybe I could be a photographer too.”

She had never taken photos before that day. She came to Canada in 2002 from the Philippines and worked (and still works) for the City of Vancouver. “But there is a creative gene in my family,” she said. “My brother is a contemporary dancer. My sister sings. I decided I wanted to be a photographer.”

In 2011, Gatus signed up for a photography workshop at a local community centre. “I bought my first camera from Craigslist,” she recalled. “It was only a hundred dollars.”

After that, she started taking photos. Portraits, flowers and landscapes were among her favourite subjects.

“I joined an online photography group on meetup.com because I wanted to share my pictures with the others,” she said. “I was amazed when the group picked my photos to display on their website. It was so encouraging. Later, a friend told me I had an eye for composition. I was elated. I wanted to learn more about the photographic art, so I enrolled in the Emily Carr certificate program, evening classes.”

She kept up her daytime job through it all, even as she graduated from Emily Carr University of Art + Design in 2018.

“I never stopped taking photos,” she continued, “but, by that time, I stopped being interested in reality photography. I didn’t want my photos to reflect the objects by themselves, the way they are off camera. I wanted people to see my photographs as an art form, different from reality. I wanted my pictures to invite curiosity in viewers.”

Gatus began experimenting with her camera settings. She also tried to move the camera while taking the photos, and the results meshed perfectly with her artistic vision. No recognizable objects manifested in her images when she used the technique called intentional camera movement, combining it with multi-exposures.

Each image is a play of colours and patterns, abstract and bright. The lines and the colours dance together in her photographs, which look more like paintings. She seems to invite viewers to use their imagination, while she herself explores every possible hue and shape to convey her ideas. Her camera is her paintbrush. “I do everything inside my camera. No Photoshop,” she said.

In 2016, Gatus joined Photoclub Vancouver. Since then, she has participated in many of their group exhibitions, including those the group held annually at the Zack Gallery. She liked the energy of the gallery, so, a few months ago, put forward the idea of a solo show and it was accepted.

“This is my first solo exhibition in a gallery space,” she said. “But I had a show recently in the Britannia Art Gallery, together with another photo artist, and I often display my works in several coffee shops.”

photo - “Edges” by Megs Gatus — “Edges” by Megs Gatus.

Gatus created all the work displayed in the current show during the pandemic. “We all felt so isolated, but we all occupy the same space. We are all responsible for our environment: plants, leaves, flowers. That’s why I used the shape of a circle,” she explained. “I took photos of nature: autumn leaves and spring flowers, and the circles enclose them. The circles symbolize all of us. That’s what the name of the show means: Leaves in Space.”

No image in the show looks like a standard photograph. One doesn’t see leaves or trees, but rather abstract compositions throbbing with life and fantasy. They could be science fiction illustrations of distant galaxies, visual representations of a soul or screenshots from a computer game. Or just beauty emerging from the artist’s insight.

“I like taking photos of organic matter. Leaves, plants, flowers – they are all alive,” she said. “I take photos in parks and gardens around B.C. I only enhance the colours a little inside the camera. Through my technique, the images become abstract, and I try to find ways to present them differently. I want to engage viewers.”

Besides the images hanging on the gallery walls, Gatus also offers large silk scarves for sale. All the scarves are imprinted with the photographs she used in the exhibit. The same swirls of colours in a different medium look surprisingly different, almost unrecognizable, but still pretty and vibrant.

“Sales are not my motivation,” she said. “I want to show my pictures, to share them with people.” That’s why she enjoys commissions. “A client of mine liked one of the pictures in this show so much, she asked me to enlarge it and she put it in her spa office.”

Gatus has big plans for these works after their run at the Zack Gallery.

“I’d like to exhibit this collection in other B.C. cities: Surrey, Port Moody, Langley. Later on, maybe even in Toronto and Montreal. I’m going to retire soon, and then I will dedicate all my time to my art.”

Leaves in Space continues until Sept. 22. The official opening reception will be held at the gallery on Sept. 8, at 7 p.m. To learn more, visit the website megsgatus-abstract.myportfolio.com.

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

Many reasons to learn improv

Students Adrianne Fitch and Brian Nguyen, with instructor Irwin Levin behind them. Levin and Cass Freeman teach a free workshop on Sept. 13. (photo by Adam Abrams)

“When I teach a series of eight classes, I see people who are quite scared and nervous and sometimes very shy, and watch them become daring and playful improvisers towards the last class, and that is quite satisfying,” Cass Freeman told the Independent.

Freeman and her husband, Irwin Levin, are teaching an improv workshop with a focus on teamwork at Mount Pleasant Neighbourhood House Sept. 13. As well, Freeman is teaching a series at the Roundhouse Community Arts and Recreation Centre that runs eight Tuesday nights, starting Sept. 20.

“We really care about our students’ experiences,” said Freeman, who has taught improv comedy games on and off since the early 1990s. “We really want them to enjoy themselves and relax so they can be spontaneous. We rarely put people on the spot and, when we do, we coach them, so they don’t have to struggle up there alone.”

Freeman was an injured dancer when she found Vancouver Theatresports, now called the Improv Centre. “I saw them perform one night in the 1980s,” she said, “and I thought, ‘I can do that!’ So, I took a series of classes there and ended up performing in their first-ever Rookie Night. I was terrified, but I remember the audience endowing me as embarrassed, so I just hid behind the other players for a whole scene and did OK.

“Improv is such a positive form of theatre,” she added. “The people are really great, very playful and intelligent. I was quite a negative person in some ways, during my 20s especially. Improv really turned around my life. I was much more accepting of other people’s ideas. And I found the work to be really healing.”

Levin first heard about improv from Freeman. “I was doing standup comedy when I met Cass and found out that she was doing improv,” he said. “I was attracted to both Cass and improv simultaneously! (We met in 1994 and were married in 2000.) Now I will be taking a standup course as well as assisting Cass in improv workshops, so I will be getting the best of both comedy worlds.”

The couple has recently started their own improv business.

“We’d like to spread some playfulness, laughter and joy around our little corner of the world,” said Freeman about the venture. “We’d like to teach improv games for teamwork, stress reduction and creativity or just plain fun in as many different organizations as we can. People in the Jewish community have an amazing sense of humour, so we’d love to teach anyone in the community who is interested.”

Cass Freeman teaches an eight-class improv course at the Roundhouse this month, starting Sept. 20. (photo by Irwin Levin)

Freeman has worked as a freelance journalist in radio, television and print since 1987. Her first article in the Jewish Independent, which was then called the Jewish Western Bulletin, was in 1982 – about human rights activist Judy Feld Carr and her efforts over some 30 years to bring Jews out of Syria. Her most recent article was this past April, a profile of Vancouver Playback Theatre.

Local readers may also know Freeman’s name from The World According to Keith, a 2004 documentary for Bravo TV that she co-produced, about Theatresports creator and instructor Keith Johnstone.

“Keith Johnstone created Theatresports, along with his university students in Calgary, during the late 1970s,” explained Freeman. “He has also taught improv all over the world and there are now more than 150 theatre troupes who perform Theatresports and other formats he has created, like Maestro Impro and his favourite format, called the Life Game. You can see Maestro Impro at Tightrope Theatre in Vancouver.

“Keith trusted me to make a documentary about him because after I watched his righthand man, Dennis Cahill, do a weekend workshop in Calgary, he said to me, ‘You were great, you were like a fly on the wall. We’ve had other journalists here and they were quite obnoxious.’

“Keith became like a second father to me,” said Freeman. “My dad came from England and Keith has the same wicked British sense of humour. We still keep in touch and I have an autographed book from him that says, ‘Be average, Cassandra,’ since he noticed that when I was in his workshops that I tried too hard.”

Another memorable moment in her career came when she was teaching at the Vancouver School Board night school, which she did for about five years. “One night,” said Freeman, “the administrator called me into his office and said, ‘The instructor next door to you is complaining that his students can’t concentrate because your students are laughing too much.’ It was the best insult anyone has ever given me.”

Levin recalled a private workshop he and Freeman did this past July. “One of the students was so inspired,” said Levin, “he has decided to pursue a career in acting.”

But aspirations to be an actor are not the main reason to learn improv.

“Improv can relieve stress, reduce stage fright and improve self-esteem,” said Freeman. “Improv games encourage creativity, quick thinking and communication skills, and are a great tool for breaking the ice, having fun and building team spirit.”

She described improv as a team sport, with almost all the games being about supporting the other person or people onstage with you. This is why it’s a great way to get over stage fright, she said, “because the focus will rarely be on you alone, like it is in standup comedy.”

Freeman and Levin welcome people of all ages, backgrounds and abilities to take their classes, as well as members of the LGBTQ+ community. And, as mentioned previously, fellow members of the Jewish community.

“We’d love to hear someone say ‘oy!’ on our stage. Or any other Yiddish or Hebrew phrases,” said Freeman. “There aren’t many improvisers out there who are Jewish and we’d like to change that.”

There are also not many improv instructors who are Jewish, she said. Nor instructors who have a disability.

“I’m among the many people who have an invisible disability,” she shared. “I’ve had it since I was 19. The way it affects me today, a few decades later, is that I can’t stand in line on pavement and I can’t walk at all unless I’m wearing a very shock absorbing running shoe. So, when I teach, I have to wear runners. At our last workshop, nine out of the 14 people participating said they had something physically wrong with them. We are delighted to be able to teach people with varying physical abilities.”

The free team-focused workshop on Sept. 13, 6-7:30 p.m., is part of Mount Pleasant Neighbourhood House’s Generations Moving Together (GMT) program, which “encourage[s] community involvement, movement, learning and connection between younger and older generations.” To register for the workshop, contact GMT coordinator Daniela Gunn-Doerge at [email protected] or call 604-879-8208, ext. 225. (Refreshments are provided.)

The improv classes at the Roundhouse run on Tuesdays from Sept. 20 to Nov. 8, 6:30-8:30 p.m. It’s $160, but half price for people who have a Leisure Access Card. To register, click here or call the Roundhouse on Sept. 17 at 604-713-1800. Freeman and Levin can be reached at [email protected] or 604-872-4638.

At the Fringe this year …

Rita Sheena (photo by Kristine Cofsky)

After an acclaimed run at the Vancouver Fringe Festival in 2021 and the Edmonton and Montreal Fringes this year, Everybody Knows returns to its creator’s hometown and the Vancouver Fringe Festival. In this semiautobiographical, one-woman musical set to nine covers of Leonard Cohen songs, Rita Sheena creates a spiraling narrative using contemporary dance, post-modern quirk and the haunting melodies of First Aid Kit.

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photo - Jem Rolls — Jem Rolls *(PR photo)*

In 2015, Jem Rolls brought his one-man show about Hungarian Jewish physicist Leo Szilard, The Inventor of All Things, to the Vancouver Fringe Festival. This year, he’s back with another show about a forgotten Jewish nuclear physicist – Lise Meitner. The Walk in the Snow: The True Story of Lise Meitner explores how a shy Austrian, who only graduated high school at 23, opened so many doors and achieved so much; how she pushed against age-old sexism and murderous antisemitism; how she was the first or second woman through a whole series of doors; and how she was one of the very few physicists to refuse work on the bomb.

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photo - ira cooper — ira cooper *(photo from spectheatre.com)*

Vancouver-born, Jewish writer and performer ira cooper of Spec Theatre stars in the one-man show mr.coffeehead, which is arriving at the Vancouver Fringe Festival after a series of successful premières at the Winnipeg, Victoria, Edmonton and Montreal Fringes. In Montreal, the “foot-fueled, slapstick tragedy about bikepacking, dreaming big and giving up in your 30s,” which was written by cooper, was nominated for Outstanding Clown Show.

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For the whole Fringe lineup, including Katherine Matlashewski’s Disclosure (jewishindependent.ca/the-journey-to-healing), visit vancouverfringe.com.

Romeo & Juliet sublime

Ghazal Azarbad and Daniel Fong in Bard on the Beach’s Romeo and Juliet, which runs to Sept. 24. (photo by Tim Matheson)

William Shakespeare’s tragic love story, Romeo and Juliet, about teenaged lovers who come together despite the objections of their families, resonates with contemporary audiences as much as it did with the Elizabethan crowd.

Since it was written in 1595, ˆ has spawned countless adaptations, including the musical West Side Story, the animated feature Gnomeo and Juliet, and even a Palestinian girl meets Israeli boy version. So how do you present this well-known tale from a different angle? You do what director Anita Rochon did for this year’s Bard on the Beach production – start at the end, when Juliet wakes up in the family crypt next to dead Romeo, and flash back to the beginning. As well, tell the story from Juliet’s perspective, as she grapples with the question of how this situation came to be.

Rochon has taken some creative liberties with Shakespeare’s text, nipping and tucking here and there, and leaving out the characters of Lord Capulet and the Montague parents. Purists may not appreciate that surgery but will like that the play is set in its proper era. However, if you don’t know the story, the time line is a bit confusing, as the scenes jump around a bit, unlike the linear unfolding of the original text, so you should read the program summary beforehand.

From the minute you walk into the small tent and are met with the sight of the set, you know you’re in for a treat. Front and centre is an elevated marble-like tomb surrounded by 300 skulls strategically stacked around the macabre crypt, all bathed in flickering candlelight. The crypt’s massive iron doors open and close on an ever-changing backdrop as actors make their entries and exits. The tomb disappears into the ground on scene changes while a balustrade rises from the ground for the iconic balcony scene. Kudos to set designer Pam Johnson for a job well done.

The acting in this production is also first rate. Each and every one of the nine actors gets the job done. Daniel Fong as Romeo, Ghazal Azarbad as Juliet and Jennifer Lines as Lady Capulet are particularly strong in their roles. Fong nicely portrays the naïve confusion of the young swain while Azarbad shows strength of character and resolve not normally seen in depictions of teenage girls. The chemistry between the eponymous duo is palpable.

But it is Lines – morphing from gracious and charming party host to ferocious tiger mother when she gives Juliet the disinheritance ultimatum – who captures the essence of the play’s unspoken dilemma: Do we marry who our parents/families pick for us or do we marry who we love, no matter the consequences.

In a nod to role reversal, which seems to be the flavour of the season for Bard, Andrew McNee plays Juliet’s nurse, Sara Vickruck does double duty as the doomed Mercutio and the Apothecary and Anita Wittenberg plays Friar Laurence. McNee is one of the best comedic actors this city has, and his antics on the boards inject much-needed comic relief into an otherwise dark script.

Raising the production to sublime are the costumes (richly coloured, textured gowns for the ladies and sexy doublets and britches for the men), the dramatic lighting and the trio of choreographed sword fights – all backgrounded by the haunting tones of handheld bells that herald scene changes.

As Rochon points out in the program notes: “We know how their story ends and, in a way, we know how all our stories will end. The way we get there is where the mystery begins.”

You don’t have to be a hopeless romantic to appreciate the beauty of this production, which runs to Sept. 24 on the Howard Family Stage at Vanier Park. For tickets, visit bardonthebeach.org or call 604-739-0559.

Tova Kornfeld is a Vancouver freelance writer and lawyer.