Arts & Culture – Page 53

Creating life in face of death

A still from the feature film Charlotte, about artist Charlotte Salomon.

The creative drive that some people have astounds me. In about a year-and-a-half, as the Holocaust closed in on her – and her family’s history of depression became known to her – Charlotte Salomon painted hundreds of works, telling her life story in images and words, in what is considered by many, apparently, as the first graphic novel.

Somehow, despite the artist having inspired a live action film, a documentary feature, an opera, a novel, a ballet and several plays, I’d never heard of her, or of her masterpiece, Life? Or Theatre? That is, until I watched the animated feature film Charlotte, a Canada-France-Belgium collaboration that was just released. Featured at the Toronto International Film Festival earlier this month, Charlotte has two screenings at the Vancouver International Film Festival: Oct. 3, 3 p.m., and Oct. 6, 9:15 p.m., at Vancouver Playhouse.

Based on the story and the cast, the Jewish Independent chose to be a media sponsor of the local screenings. And, on these points, the film scores high. Led by Oscar nominee Keira Knightley as the voice of Charlotte, the actors do a formidable job with dialogue that is, at times, stilted and animation that is pretty basic, with the exception of the scenes and transitional pieces that depict Salomon’s artwork. These parts of the film are sumptuous and give the most sense of Salomon as a person and artist.

The film begins near the end of Salomon’s life, as she is handing over her paintings to a man, who we find out later is a local doctor and friend, in what we later find out is the south of France. She asks him to guard the paintings for her, as they are her life, almost literally, given their content. The narrative then jumps to Berlin, to a young Charlotte trying to comfort a woman who is ill and sad. The woman turns out to be Charlotte’s mother, who dies, the young girl is told, of influenza.

Jumping ahead, still in Berlin, Charlotte’s father, Albert, has married Paula Lindberg, an opera singer, through whom, incidentally, a teenage Charlotte meets her first love, Alfred Wolfsohn, who is a singing teacher. He is also a veteran of the First World War.

Wolfsohn has a lot of personal issues, to say the least, and he ultimately betrays Charlotte, but he is also strongly supportive of her being an artist. While she gains entrance to Berlin’s art academy, despite being Jewish – it is 1933 and the Nazis are now in power – she is expelled pretty soon thereafter, though whether that’s because of her nonconformity to the artistic norms taught at the school, her Jewishness or both, is not clear.

What is certain is that, after Kristallnacht, the violence against Jews in Berlin has become unavoidable and Charlotte’s parents send her to the south of France to take refuge, and care for her maternal grandparents. Her grandmother is a troubled woman and her grandfather is, in a word, an asshole, but Charlotte finds beauty in her friendship with a wealthy American, Ottilie Moore, who owns a villa in Villefranche, and in her relationship with fellow refugee Alexander Nagler, whom she marries eventually.

image - In a scene from the film, Charlotte stares into the water, thinking about her aunt, who had drowned — In a scene from the film, Charlotte stares into the water, thinking about her aunt, who had drowned.

When Moore returns to the United States, she offers to try and take Charlotte and Alexander with her, but they stay in France – Charlotte because of her sense of duty to her grandparents. It is in caring for them that she witnesses the tragedy of her grandmother’s suicide and finds out from her grandfather that mental illness runs in the family, having claimed the lives of Charlotte’s mother, aunt and several other relatives.

Spurred on by the potential that she, too, will fall ill, as well as by the Nazis’ proximity, Charlotte turns her focus to creating the almost 800 paintings that comprise Life? or Theatre? She manages to give them (and other works, it seems) to Dr. Georges Moridis, who she had consulted about her own health and who had tried to help her grandparents, before she and Alexander are seized by the Nazis. Both Charlotte and Alexander are killed at Auschwitz; Charlotte five months pregnant.

The film, which isn’t shy about showing some of the brutality of the Holocaust, does step back from showing the deaths in Auschwitz, leaving viewers instead with an image of the idyllic setting in which they lived in France, as we hear the noises of their arrest, then silence.

Before the credits, the filmmakers tell us what happened to Charlotte, Alexander and Ottolie, and show us clips of a real-life archival interview with Charlotte’s father and stepmother, who survived the Holocaust, as well as a sampling of Charlotte’s paintings.

As depressing as Charlotte’s story is, it is not a depressing movie. That she anticipated her demise and created an artistic legacy in the face of death is somehow uplifting. As producer Julia Rosenberg states in the film’s production notes, “… hope isn’t rainbows and unicorns. It’s finding the courage to see beauty despite suffering.

“Charlotte Salomon’s ability to do just that is exceptional and inspiring.”

Indeed, it is.

Charlotte is a worthy introduction to a person we all should know.

For the full Vancouver International Film Festival schedule and tickets, visit viff.org. To potentially get free tickets to the Oct. 6 screening of Charlotte, email [email protected]. Tickets will be available as supplies last (there are 10 to giveaway).

A special open house

Highlights of the Scotiabank Dance Centre’s 20th anniversary celebration include a performance on the outside wall of the building by aerial dance company Aeriosa. (photo by Louise Cecil)

Scotiabank Dance Centre celebrates its 20th anniversary on Oct. 2 with a special edition of its annual open house. Highlights include a performance on the outside wall of the building by dance company Aeriosa; a creative activation of the Granville Street frontage by Company 605 and guests; free classes, events and exhibits; and the online première of a short film by Milos Jakovic and Hossein Fani.

“The Scotiabank Dance Centre is an important and colourful feather in Vancouver’s cultural cap,” said Jewish community member Linda Blankstein, a former Dance Centre board chair and current Dance Foundation board chair. The facility was built “specifically for dance in all its creative forms, from hip hop to ballet and flamenco to contemporary and everything in between,” she said. “Pre-COVID, the building would see approximately 87,000 people pass through its front door every year. It is extremely important for people of all ages, from toddlers to seniors, and amateur to professional dancers, to have a facility where creativity is shared while nurturing a sense of belonging for individuals seeking activity and connection.”

One of the centre’s studios is named after another Jewish community member, Judith Marcuse, who has had her offices and rehearsal space in the building since its inception.

Some of the highlights of the open house – for which all recommended COVID-19 protocols will be in place – include Aeriosa’s Home/Domicile, choreographed by Julia Taffe in collaboration with visual artists Sarah E. Fuller and Stuart Ward. This new aerial dance work is inspired by moths, and the dancers, wearing “moth” cloaks designed by Fuller, will perform on the north wall.

Company 605’s SPLAY comprises a special program of artists who will animate various spaces of the Scotiabank Dance Centre building. Each artist will create encounters for viewers inside and outside, making their process and practice visible, culminating in a sharing of intimate performance experiences across a variety of formats.

There will also be a performance of excerpts of new works in progress from artists Sujit Vaidya, an exponent of Bharatanatyam (a form of Indian classical dance), and Dumb Instrument Dance. Classes include tap and footwork with Danny Nielsen and Shay Kuebler; flamenco with Kasandra “La China” of Al Mozaico Flamenco Dance Academy; hip hop, breaking, waacking and contemporary with Cristina Bucci of OURO Collective; and AfroBeats with AKS Bison.

The documentary by Jakovic and Fani – which has the working title of Our Dance – will also be screened. It captures the impact Scotiabank Dance Centre has had on the dance community over the 20 years of its existence.

Housing six dance studios and a theatre, Scotiabank hosts hundreds of rehearsals, classes, workshops, performances and events every year.

“It has been immensely rewarding to see how Scotiabank Dance Centre, which began as a dream so many years ago, has contributed to the arts scene in our city and the growth of B.C.’s dance community,” said Mirna Zagar, executive director of the Dance Centre, which operates the building and runs programming. “As hub for dance, it provides high-quality studio space, but it is much more than just a building: we have nurtured a stimulating environment that is supportive of the creative potential of dance artists, contributing to a thriving synergy within the arts sector in Canada.”

Oct. 2’s open house runs from 1 to 6 p.m. at Scotiabank Dance Centre. For more information, call 604-606-6400 or visit thedancecentre.ca.

– Courtesy Scotiabank Dance Centre

Novels miss the mark slightly

I was very much looking forward to two recent novels. Both are love stories, but unconventional ones. I enjoyed them, and read them cover to cover – generally, I allow myself to stop reading, watching or listening to whatever it is I’m not enjoying, so that I wanted to know how the stories ended is a compliment to the writers. But I was disappointed in the novels, ultimately. In both instances, I felt a little robbed of emotional impact.

Perhaps, given their protagonists, I shouldn’t have been surprised that the cerebral aspects of the books would outweigh, even quash, the heart-rending effects. Morningside Heights by Joshua Henkin (Pantheon Books, 2021) is about an uber-accomplished, hyper-intelligent professor who is struck by early-onset Alzheimer’s. Never Anyone But You by Rupert Thomson (Other Press, 2020) is about two real-life cultural icons who were in the same social circles as people the likes of Ernest Hemingway and Salvador Dalí.

Love faces adversity

Within the first 20 pages of Morningside Heights, I didn’t particularly like either Prof. Spence Robin or his wife, Pru. He is an all-star academic, winning awards and grants of all sorts; he has ambition and has achieved some power in his world, and carries himself as such. He is Jewish but changed his name early in life, “to escape the Lower East Side.” He is Pru’s teacher, though only six years her senior, and downplays her concerns of being seen on campus as just his girlfriend, not as a person in her own right. And it is only after he semi-proposes that he tells her he has a sister with brain damage, who he visits rarely, and that he’d been married before and has an estranged son from that marriage.

For her part, Pru lets Spence get away with all these things. Worse, she abandons her own beliefs and dreams, basically, to be with him. For example, she keeps kosher before she meets him and in their early days together, but lets that go by the wayside. She has her own promising career that she gives up because her own areas of interest overlap with his award-winning expertise. He lets her become his shadow. He lets her main purpose become supporting him, while not reciprocating or appreciating that support at all, it seems.

So, it’s hard to empathize with the individual characters when their lives are completely upturned by Spence’s Alzheimer’s, which begins to affect him in his late 50s. That said, one doesn’t wish ill on anyone. The challenges both Spence and Pru face are severe, and Henkin brilliantly communicates the difficulties on both sides. Spence’s confusions and his not being able to understand fully the state he’s in are as heart-wrenching as his strong will and refusal to step down from work or admit his frailties are frustrating. Pru’s sadness at the loss of her partner and the heavy responsibilities of caring for him are palpable.

Perhaps the weight of these feelings and circumstances is part of what inspired Henkin to give – in my opinion – too much ink to Spence’s troubled son. Spence and Pru’s daughter Sarah doesn’t figure as prominently, but a lot of time is spent on Arlo and, in some respects, Arlo allows readers to get to know more about Spence. But those story threads interrupted, for me, the potential intensity of the Spence-Pru storyline, which, I have to admit, was both a relief and a letdown. I wasn’t surprised that Henkin has personal experience with dementia. In an online interview with the publication Shelf Awareness, he shares, “Although much of Morningside Heights is invented, it is, in many ways, my most autobiographical novel to date. My father, like Spence, was a professor at Columbia who developed Alzheimer’s, though my father developed it much later in life than Spence did. In writing about the ways Pru lost Spence, I was re-experiencing my mother’s loss, and my brothers’ and my loss.”

The rawness of that real pain is tempered in the novel, perhaps out of personal necessity. And perhaps most readers will appreciate that emotional distance, but I was hoping for a more intimate portrayal.

Not-so secret love

Never Anyone But You also lacks intimacy, even though it is about Suzanne Malherbe and Lucie Schwob, who fall in love and become both personal and professional partners. Thomson writes about the real-life French artists in a somewhat didactic and distanced way. He has done all his research but never fully inhabits or gives full life to his characters, who must have been quite passionate and committed people to have accomplished what they did under the circumstances in which they did it.

The women knew each other from childhood but end up becoming stepsisters when Lucie’s father (who was Jewish) connects with and eventually marries Suzanne’s mother (who was Catholic). Suzanne is immediately captivated by Lucie when they meet more formally; Suzanne is almost 17 years old and Lucie a couple years older than that. Never Anyone But You is told from the perspective of Suzanne.

Early on, the two decide to collaborate – Lucie’s words and Suzanne’s drawings. Lucie transforms herself into Claude Cahun before Suzanne reinvents herself as Marcel Moore. But the new persona cannot heal Claude’s bouts of depression and, throughout her life, she struggled to stay alive.

Claude and Marcel were unofficially (because they weren’t men) part of the Surrealist scene in 1920s Paris but their artistic (notably, photographic) success was tempered by the Second World War. They leave Paris in the late 1930s and take refuge in Jersey, where they use their talents to unsettle and educate the Nazi soldiers who occupied the island from 1940. It was their hope that their leaflets would demoralize the soldiers, and even cause some of them to desert. Marcel was fluent in German, so they could make the subversive material appear as if it were coming from one of the soldiers. Eventually, the two would be discovered and arrested. Though they would suffer imprisonment, they survived the war.

The bravery of Claude and Marcel is remarkable, as is their dedication to each other, though Claude is depicted as being unlikeable at times, between her mental health issues and her being more fluid with her sexuality than Marcel, ie. she had other relationships. Nonetheless, for Marcel, there was never anyone but Claude, though it is difficult to see why there was such devotion and loyalty on her side, and Thomson’s novel doesn’t answer that question. Ultimately, the two were together for more than 40 years, until Claude’s death in 1954, so there was, I guess, really never anyone but Marcel for Claude, either.

Tzimmes celebrates 35 years

The Tzimmes sextet, in 2019. Left to right are Saul Berson, Phil Belanger, Tim Stacey, Amy Stephen, Yona Bar-Sever and Moshe Denburg. Also part of the ensemble in the new recording, but not pictured here, is Fabiana Katz. (photo from Tzimmes)

Vancouver Jewish musical ensemble Tzimmes celebrates its 35th anniversary this year. To mark the occasion, the group, led by Moshe Denburg, has released a new album, The Road Never Travelled, its first in 23 years.

Denburg, who is also a classical composer, founded Tzimmes in Victoria in 1986. Throughout that time, the ensemble’s modus operandi has been to incorporate as many types of Jewish music as possible – traditional Ashkenazi, Sephardi and Mizrahi, along with more contemporary and secular styles.

The new album is comprised of two discs. Disc 1 offers secular pieces, while Disc 2, Liturgy Lane, presents listeners with original music based on sacred texts.

The repertoire includes “Hahmi-ini” (“Let Me Hear Your Voice”), which was written in 1966, when Denburg was in his teens; the title track, “The Road Never Travelled,” from 2005; and “other original arrangements of more recent vintage,” such as “Oyfn Veg” (“On the Way”). Some of the songs on Disc 1, including the title track, are English pop/folk/world music. And not all the songs on the album are Jewish. There is, for example, a rendition of the Beatles’ “In My Life.”

The recording and mixing history for the collection stretches 28 years. When it became clear that this was more material than could fit on one album, Denburg decided to turn it into two.

“For a number of years,” he told the Independent, “we had some tracks that were on the back burner, so to speak – unfinished recordings that were begun in 2005-06. Tzimmes kept working in general – some concerts, lots of simchas, but completing a new recording was not in the cards, mainly because my own work was focused on founding and husbanding the Vancouver Inter-Cultural Orchestra (VICO).

“A few years ago, I wound down my administrative duties with the VICO, and started considering, in earnest, completing a new Tzimmes recording. The final impetus occurred when I turned 70, in 2019. I brought the group together, worked on a lot of new, and older, material, and took them into the studio to complete the older tracks and to lay down some fresh ones,” he said.

The Road Never Travelled features many past members, and several other musicians who have collaborated over the past 20 years, to become the Tzimmes of today. Denburg (voice, guitar) is joined by Fabiana Katz (voice), Yona Bar-Sever (lead guitar, voice, electric bass), Saul Berson (clarinet, flute, saxophone), Amy Stephen (voice, accordion, whistle, lever harp), Tim Stacey (bass, electric bass) and Phil Belanger (drums) to form the ensemble. A dozen other musicians, including guitarist Itamar Erez, cellist Finn Manniche and vocalist Myrna Rabinowitz – as well as international instrumentalists Joseph “Pepe” Danza, Yuji Nakagawa and Adel Awad – also appear, among others.

Tzimmes’ last album, KlezMyriad, was released in 1998, though the ensemble has performed at concerts and larger-scale projects since then. While changes have taken place over the past many years, it continues to be a tight-knit group of musicians.

When asked about the ensemble’s longevity and how it has maintained its cohesion, Denburg explained, “I believe Tzimmes has steered clear of the more difficult conflicts that are legion where artistic collaborations are concerned. But, as a bandleader, it has taken the wisdom that comes only with much experience to keep one’s passion alive while allowing for the artistic expression of one’s colleagues. This is what a good bandleader ought to do.

“Tzimmes is more a family than an enterprise, at least that’s the way I look at it,” he continued. “So, as in all families, there is the joy of knowing that everyone is basically rooting for each other and, yet, at the same time, conflicts do occur. We have lived long enough together, and have matured as people together, to have buried most of the hatchets and be guided by our natural affections for each other, and our love of our common purpose – the making of music.”

About the ensemble’s history, Denburg said, “Over 35 years, ensemble members come and go, and, actually, no one who was with me in 1986, when Tzimmes was formed in Victoria, is with me today. Tzimmes has changed and evolved over the years. Of today’s members, some have been with the ensemble for 30 years, some for over 20, and others are newer additions. One of the hallmarks of the new recording is that almost all Tzimmes members, of yesterday and today, are part of the recording.

“Tzimmes has always been dedicated to presenting Jewish music in all its facets,” Denburg concluded. “The challenge has always been to deal with the variety of these musical expressions in a non-superficial way, to make an original contribution to Jewish music-making.”

As the pandemic eventually fades, there are plans for a concert to herald the release of the CD and celebrate the ensemble’s 35 years. And Denburg sees many possibilities in providing musical services of various kinds.

“Speaking for myself, in the longer term, it would be nice to see Tzimmes continue with some next-generation musicians,” he said, “to carry on the tradition of original Jewish music-making in Vancouver.”

For information on buying tracks and sheet music, visit tzimmes.net.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Exploring her family’s past

Afterlife is Isa Milman’s first work of nonfiction. (photo by Shea Lowry)

Midway through Isa Milman’s Afterlight, which came out this week, the author cites Reb Nachman of Breslov, who said, “The whole world is a very narrow bridge.” In Victoria-based Milman’s new work, we encounter bridges of various sorts: those that serve as a crucial lifeline to the survival of the denizens of cities, particularly at a time of war, and the bridges that bring together people from different continents in the pursuit of understanding an unconscionably horrific time in Eastern Europe.

And then there are the bridges that link us poignantly to our past – to those we know through words and photos but have never met. In Afterlight, one such bridge connects Milman to her mother’s twin sister, her aunt Basia, who perished in the Holocaust, and who, like Milman, wrote poetry. (Milman is a recipient of the Canadian Jewish Book Award for poetry.)

Milman’s journey began in 2013, when, following her mother’s death, she sought to find Basia’s poems from the 1930s. The book alternates between the present and the past (the war years), as Milman tries to uncover a layered tale. She travels to Europe where, at times, her quest for information leads to dead ends and, at other times, she finds details in unlikely places – a photograph in Amsterdam, for example.

At one stage, Milman finds poetry written in a Polish publication from the 1930s. She writes, “Reading the children’s poems, I felt a terrible nostalgia rise up – a dangerous nostalgia. Even now it hurts too much, this intense longing for a conversation with Basia, for a meeting, a recognition that we’ve lived on the same planet, come from the same earth, share blood and bone. We share a love of poetry, but I shall never know her, not even as smudged ink on a page.”

At one point in her exploration, Milman pens a poem to her aunt. “How many tiny flowers make one lilac sprig? / How many stars in the night sky have names? / How many yet to be seen? They disappear with morning sun too soon but in darkness or in light tucked in their beds they remain,” the poem reads.

Basia’s story is but one piece of the book. Afterlight also traces the journey of Milman’s parents and her other surviving aunts through the Holocaust and examines questions about the trauma, displacement and identity caused by the Holocaust to succeeding generations.

“I’d lived my life in a black hole of absence, of never having the experience of grandparents, of feeling rooted and at home with extended family. And this was not because of a tsunami, an earthquake, forest fire or plague. It was because of tribal hatred,” Milman writes.

As well, she explores the issue of reconciling the Poland that Jews thought of as their home with rampant antisemitism and the brutality of the war years. “Why couldn’t I choose how to think about Poland, even if it meant going against most everything I’d learned?” Milman asks. “Why couldn’t I revise my notion and accept that Poland is a place that I can love as well as despise and fear? Why must it be either/or? Was it possible to live in the uncomfortable in-between, where both realities coexist?”

Afterlight is Milman’s first work of nonfiction. At first, Milman, whose collections of poetry include Prairie Kaddish, Between the Doorposts and Something Small to Carry Home, was reluctant to write a nonfiction account of the Holocaust. However, recent surges in antisemitism around the world led her to change her mind.

“The lessons of the Holocaust need to be taught, and not just by citing facts and reportage,” she said. “Telling stories about real people and their experiences is the most effective way of reaching and teaching people about how evil can happen, and how we must fight our worst human inclinations and speak out against hatred and inhumanity.”

A big part of her decision to write a memoir was realizing that her family’s story did not match a more common Holocaust narrative. Hers is a lesser-told account of Jews from eastern Poland, some murdered in what’s known as “the Holocaust of Bullets” and others, like her parents, who survived because of deportation by the Soviets to the Gulag.

“I loved entering the world of creative nonfiction,” she said. “Using my imagination to create scenes where I clearly was not present enabled me to inhabit the places and people I needed to describe. Everything became more real as I entered into the minds of my characters, who happened to be my parents and close family.”

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Several shows to watch at Fringe Fest

Ariel Martz-Oberlander wrote and co-stars in on behalf. (photo from Julia Lank)

In the Aug. 20 issue of the Jewish Independent, there was a short article on the Vancouver Fringe Festival show A Coveted Wife of East Van, which “tells the story of Samantha Cohen as she navigates friendship, men and dating apps while making some very bad decisions along the way.” Playing at the Picnic Pavilion venue on Granville Island, the creative team includes Jewish community members Marn Norwich (poet), Ariel Martz-Oberlander (director), Itamar Erez (musician) and Hayley Sullivan (actor). Martz-Oberlander is also involved in the show on behalf, with fellow Jewish community members Tamar Tabori and Julia Lank (co-stage manager). And there are other Jewish community members to watch in this year’s festival, as well. Here are the broad strokes of the productions that were in touch with the JI.

on behalf

Martz-Oberlander’s on behalf is a conversational, humorous and lyric conversation between a young woman (Martz-Oberlander) and an ancient goddess (Tabori).

“on behalf challenges assumptions about what it means to survive and to be a survivor,” said Martz-Oberlander. “Rather than framing ‘healing’ as an individual, linear journey, the show frames it as a collective political and cultural act – messy, strange, circular, ancestral, shattering, transformative and ongoing. Our identities affect our visions of justice, and diaspora shapes our ability to find belonging on stolen land and within a system that views justice only as punishment.”

The inspiration behind on behalf came out of Martz-Oberlander’s own healing journey, and lack of a road map. She began looking back into her own cultural inheritance and to mine the stories of women who have survived dispossession and sexual assault across time and space, with bravery, creativity and the strength of rituals.

After three years in development, on behalf has shifted in focus and form many times. Now in a filmic state at the Fringe, it moves again. Shot in a single take with a shifting camera, the show runs less than 20 minutes. The film format invites audiences to engage with the tactile and sensory experiences linked to traditional ritual work – like handwashing and bread baking – to highlight how healing extends beyond the individual, because our wounds too extend beyond the individual experience.

on behalf is a digital presentation and can be watched anytime during the Fringe.

Everybody Knows

In this semi-autobiographical, one-woman musical, set to nine Leonard Cohen cover songs, Rita Sheena creates a spiraling narrative using contemporary dance, post-modern quirk and the haunting melodies of First Aid Kit’s Who By Fire album, which was released earlier this year.

Everybody Knows is the latest work from Sheena’s Come Emote With Me theatre series. It opens in a bright, primary-coloured hotel room. When we meet the smug captain, we are reminded that “everybody knows the dice are loaded, everybody rolls with their fingers crossed, and everybody knows the war is over, everybody knows the good guys lost….” Next, we meet a woman in a 1960s-style secretary dress who answers every telephone call ringing for death with “… and who shall I say is calling?”

Cohen enthusiasts will appreciate the esoteric nuances that Sheena emotes. Folks who love dance and movement artistry will enjoy the unique style of storytelling.

Everybody Knows is at the Revue Stage on Granville Island Sept. 11-18.

A Toast to Prohibition

International performer Melanie Gall comes to the Vancouver Fringe with her new historic musical, A Toast to Prohibition. Her previous shows include Piaf and Brel and off-Broadway’s Ingénue.

Celebrate the 101st anniversary of Prohibition with flappers, gin fizz and a speakeasy cabaret. Join Gladys in her secret gin joint, the Tipsy Sparrow, as she tells the story of when intoxicating liquor was forbidden and lawlessness ruled the day. From secret cellars and doctor-prescribed alcohol to a teetotaller attacking saloons with a hatchet, there’s a song about it! This show features, among other songs, forgotten 1920s hits “Lips That Touch Liquor Shall Never Touch Mine” and “Everybody Wants a Key to My Cellar.”

Performances of A Toast to Prohibition take place at Performance Works Sept. 10-19.

The Fringe Festival runs until Sept. 19. For tickets and the full schedule, visit vancouverfringe.com.

To do or not to do (the Bard)

Bard on the Beach’s Done/Undone, written by Kate Besworth, co-stars Harveen Sandhu and Charlie Gallant. (photo from bardonthebeach.org)

Throughout COVID, Vancouver’s Bard on the Beach has been unable to mount its popular summer festival at Vanier Park. However, it is easing its way back into the hearts and minds of Shakespeare fans with its innovative film production Done/Undone, written by Kate Besworth and starring Bard veterans Charlie Gallant and Harveen Sandhu, who take on multiple and diverse roles. The creative team includes community member Mishelle Cuttler as sound designer.

The film raises many probing questions. Is time up for Shakespeare’s works in the #metoo, woke, cancel culture era? Is there room today for plays written 400 years ago that can be interpreted as misogynist (The Taming of the Shrew), racist (Othello) or antisemitic (The Merchant of Venice)? Are the Bard’s works not just the reflections of a white, privileged male, written for colonial audiences to glorify British mores and culture? Or was English writer Ben Johnson, who died in 1637, right when he said Shakespeare was “not a man of his age, but a man for all times?” Should any form of Bardolatry continue or should Shakespeare and his folios be laid to rest as we move forward with contemporary artists telling contemporary stories?

To answer these questions, the film, set against the backdrop of a working theatre, uses snappy vignettes to showcase the pros and cons of the debate with interesting and perhaps unexpected results.

It opens as the two actors arrive at the theatre to prepare for a production of Hamlet, and the question first arises. Sandhu appears as Shakespeare to state that the purpose of writing is to “hold a mirror to humanity,” as she lists off the myriad subjects that the Bard explored – the sea, star-crossed lovers, a donkey in the arms of a fairy queen, an exiled warrior, an emperor of Rome, a triumphant king, how choices matter, and how governments fail us.

We then are spectators to a battle of wits between dueling professors, explaining and emoting from their respective lecterns. Gallant emphatically argues that Shakespeare is a product of a white, patriarchal society, using words as a tool of cultural imperialism written, originally, for white men to perform (women were not allowed to act in Shakespeare’s times, so male actors would take on the female roles) and that there is no place today for his work. Sandhu counters that Shakespeare’s texts still evoke emotions that resonate within the contemporary world – his topics of love, hate, greed and lust are timeless and embedded in the human character, she argues. She sees Shakespeare as remarkably progressive, with many of his characters in gender-fluid roles and with his portrayals of strong women – Rosalind, Cleopatra and Lady Macbeth, to name a few. His works can provide teaching moments, says Sandhu, giving the examples of Taming of the Shrew to show the harm that misogyny causes, King Lear, the scourge of elder abuse, and Othello and Merchant as vehicles to elicit tolerance and empathy in society.

Other vignettes in the film include a Bard board member – a neurosurgeon – who, during an opening night audience address, poignantly recounts the solace he found in the dark spaces of the theatre during a production of King Lear after the loss of a patient. He says that darkness was the escape from the reality of his grief.

Another scenario depicted is a couple taking in a performance of Romeo and Juliet, where the woman is clearly more into it than her male partner, who finds the Shakespearean language highbrow and difficult to understand.

Then there are the gothic, spectre-like creatures who denounce the Bard’s portrayal of women and Blacks in a macabre pas de deux; a talkback session after a Measure for Measure performance, where the female actor embarks on a scathing indictment of colour-blind casting; and the finale, in French, as the two actors attend an inventive Shakespeare festival in Montreal.

Shakespeare’s influence is global. At any given time, somewhere on the planet, one of his plays is being produced, either in its original form or as an adaptation. Do we judge him with our contemporary lens or should we remember the times in which he wrote and appreciate his genius? Done/Undone is a thoughtful and intelligent production that seamlessly blends the worlds of cinema and theatre, and considers some difficult questions. It leaves you to draw your own conclusions.

Done/Undone, with a run time of 76 minutes, is available for streaming online until Sept. 30. Tickets can be purchased at bardonthebeach.org or from the box office at 604-739-0559.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Challenging VIFF Films

Michal Wiets uses her great-grandfather’s diaries as the basis for her film Blue Box. (image courtesy)

At press time, the Vancouver International Film Festival lineup had not yet been announced. But the Independent received the names of some of the movies to be presented, as well as a couple of screeners.

Starting with the more challenging VIFF choices, most Jewish community members will either take a pass – with a roll of the eyes as to what film festivals often consider appropriately provocative fare – or get up the fortitude to watch the disparaging portrayals of Israel, so as to be better prepared to confront the criticisms, and perhaps learn from them. I admit that I have taken both routes in life and it was with great skepticism and high anxiety that I watched Michal Weits’s Blue Box.

Weits is the great-granddaughter of Yosef Weits (aka Weitz), a Russian immigrant to Palestine in the early 1900s who was instrumental in foresting Israel, as well as purchasing land for the Jewish government from the Arabs who owned it at the time (who were mostly absentee landlords and not the people who lived on and worked the land). Depending on one’s point of view, Weits was either a legendary pioneer to be tributed, as “the father of Israel’s forests,” or a notorious pirate of sorts, stealing land from Arabs and expelling them from it, as “the architect of transfer.” His great-granddaughter seems to believe he’s the latter, while he himself was conflicted.

The basis of the documentary is Yosef Weits’s diaries, some 5,000 pages. In them, he expresses his belief in the need for the reestablishment of the Jewish homeland and his fears for Jews’ continued existence (even before the Holocaust). He also details aspects of his work, with whom he negotiated land sales and meetings with David Ben-Gurion and other Israeli leaders. Presciently, he admits to misgivings about the way in which the Arab populations were being treated, predicting that such treatment would end up causing Israel severe problems if not dealt with.

The diary entries are fascinating and reveal some of the complexities of that era and of Yosef Weits’s legacy. The archival footage and photographs are compelling and expertly edited to make clear director Weits’s viewpoint – there is no mention of events that don’t fit her narrative, such as the expulsion of Jews from Arab lands.

Weits interviewed several family members about what she discovered from the diaries and other research. Their reactions are varied, with the generations closer to that of her great-grandfather more defensive and those closer to hers, more questioning, even condemning.

It might be helpful to watch this film with a non-Jew, as I did. In doing so, I found there were a few parts – such as the Israeli government’s relationship with the Jewish National Fund and why Weits named her film after the JNF’s donation box – that could have been better explained to viewers without prior knowledge. As well, a non-Jew is perhaps better able to keep in mind that every country deals with similar issues relating to how they were established, who was displaced, etc., and that Blue Box could be seen not only as a personal tale of one family, but as the beginning of a conversation about nation-building in general rather than as a stifling condemnation of Israel.

The same may or may not be said about The First 54 Years: An Abbreviated Manual for Military Occupation, directed by Avi Mograbi. There was no screener available for this documentary, which is described as “a ‘how-to’ guide to civilian subjugation along ethnic and religious lines, through the example of the Israeli occupation of Palestine. This is jet black, ice-cold political satire. But the harrowing statements of 38 former Israeli military personnel must be taken at face value as eyewitness testimony of decades of state-licensed crimes against humanity.”

Noam Imber plays a pothead teen in Quality Time — Noam Imber plays a pothead teen in *Quality Time. (image courtesy)*

Thankfully, there are at least a couple of more innocuous films in this year’s VIFF. One is the short Quality Time, written and directed by Omer Ben-David. When mom goes on a brief vacation, father (Shalom Korem) and son (Noam Imber) are left on their own together, and the awkwardness of their relationship is highlighted. Imber plays a pot-dealing and -smoking teen who’s just received his draft notice, while Korem is his recently retired – from the defence ministry – father. Both actors are wonderful and the story is quirky and fun, even if it doesn’t hold up logically at the end. While Israel-specific – a gym bag being blown up by the bomb squad is a key element – it has universal meanings.

The JI always sponsors a film at VIFF and, this year, we’ve chosen the animated feature Charlotte, about Charlotte Salomon, a German-Jewish artist who created her masterpiece work – called Life? Or Theatre? (comprising nearly 800 paintings) – between 1940 and 1942. She died in Auschwitz in 1943, at 26 years old. We’ll review that film next issue.

For more on the festival, visit viff.org.

Chutzpah! coming soon

Josh “Socalled” Dolgin leads an evening of Yiddish songs as part of Chutzpah! 2021. (photo from Chutzpah!)

The Chutzpah! Festival returns this November, presenting music, theatre, comedy and dance that reflect the joy of coming back together. For more than two decades, Chutzpah! has been an annual highlight of Greater Vancouver’s arts season. From Nov. 4 to 24, artists will once again grace the stage of the Norman & Annette Rothstein Theatre, the festival’s hub, and share their work in person and online. Tickets go on sale Sept. 15.

The 21st Annual Chutzpah! Festival will include a variety of performances, paired with conversations and opportunities to interact with the artists. Audiences will have the chance to attend in-person shows, with COVID safety protocols in place, or enjoy digital streams from their homes. With an emphasis on artists from across Canada, the festival will also present work from Israel, the United States and the United Kingdom.

“Artists and arts enthusiasts alike have been eagerly awaiting our chance to come back together to share our stories,” said Jessica Mann Gutteridge, artistic managing director. “With the joy of reconnecting comes the knowledge that our lives have profoundly changed over the past year-and-a-half. The Chutzpah! Festival will explore and celebrate the many ways we tell stories now, with a variety of ways to experience and participate in the work.”

The festival opens Nov. 4 with a screening at the Rothstein Theatre of the Marx brothers classic A Night at the Opera, during which City Opera Vancouver will sing the operatic music parodied in the film. The 1930s cinema experience will include festive treats, glamour and a costume contest.

In the comedy realm – all in-person performances at the Rothstein Theatre – Canadian-born, New York-based stand-up comedian, storyteller and writer Ophira Eisenberg, host of NPR’s comedy and trivia show Ask Me Another, performs Nov. 10. Israeli-American stand-up comedian Avi Liberman is joined by special guest Jacob Samuel and host Kyle Berger on Nov. 20. And Iris Bahr, who impressed Chutzpah! audiences in 2020 with her festival hosting and her solo show DAI (enough), performs her new solo show Nov. 23.

The dance performances at the Rothstein will be in-person events, as well as digitally streamed. Nov. 6 and 7, a Project inTandem double-bill features the works of Calgary producers and choreographers Sylvie Moquin and Meghann Michalsky, which explore the themes of female struggle and empowerment. Nov. 13 and 14, Shay Kuebler/Radical System Art return to Chutzpah! as resident artists with the third “chapter” of Kuebler’s research that began in 2018, after he read about the United Kingdom hiring a minister of loneliness. On Nov. 16 and 18, Ballet BC artist in residence Alexis Fletcher, who was 2019 and 2021 Chutzpah! resident artist, returns to the festival with a solo integrating movement and the visual art of Vancouver painter and HIV/AIDS activist Tiko Kerr, while 2020 and 2021 Chutzpah! resident artist Ne.Sans Opera & Dance, led by Idan Cohen, returns to showcase a new solo drawing inspiration from the myth of Orpheus and Gluck’s opera Orfeo ed Euridice, with co-creator Ted Littlemore (aka Mila Dramatic).

Theatre works featured are Lilach Dekel-Avneri and the Pathos-Mathos Company’s The Eichmann Project – Terminal 1 on Nov. 8 (digital stream available); The Flame – An Evening of Storytelling on Nov. 17, under the stewardship of artistic director Deborah Williams, featuring storytellers including Stephen Aberle, Glenda Zenoff, Eleanor Lipov and Helen Schneiderman, with musical guest Anton Lipovetsky; and Halifax-based Surplus Production Unit’s A Timed Speed-Read of the Triangle Shirtwaist Factory Fire Trial Transcript on Nov. 21 and 22.

Montreal’s Josh “Socalled” Dolgin, accompanied by a local string quartet, leads an evening of rediscovered Yiddish songs, with stories and perhaps a little magic, on Nov. 19, and Israel’s Guy Mintus Trio’s performs A Gershwin Playground Nov. 24. (Digital streams available for both shows.)

Nov. 8-12, Chutzpah! Festival favourite, U.K.-based theatre artist Tamara Micner, transforms her theatrical work-in-progress (workshopped in the 2020 festival) into an audio installation. Audience members will be invited into the Zack Gallery to listen to Micner’s reading of letters written to Paul Simon and Art Garfunkel, reflecting on how their music informs her feelings about friendship, activism, Jewishness and art. There will be opportunities to “meet” the artist via video stream for conversations about her work and ideas.

Throughout the festival, Bahr converses with festival artists, featuring her stand-up and a wide-ranging cast of characters.

Due to COVID-19 safety processes, all tickets must be purchased in advance and will not be available at the door. Visit chutzpahfestival.com starting on Sept. 15 or call 604-257-5145.

– Courtesy Chutzpah! Festival

Bema mounts Wells’ Mazel Tov, John Lennon

Nicholas Guerriero as John Lennon, left, and Perry Burton as his Jewish lawyer, Leon Wildes, in Bema Productions’ rendition of Mazel Tov, John Lennon by David Wells, which had a virtual run at the Victoria Fringe Festival this year (photo from Bema Productions). Based on the true story of the Nixon administration’s attempt to deport John Lennon because of his political activism against the war in Vietnam, it is a fascinating play about a lesser-known aspect of American history. The years-long case ultimately led to various changes in the country’s immigration laws.

“I was so happy to be back in live rehearsal after a year-and-a-half, and had tears in my eyes at the first rehearsal,” director Zelda Dean told the Independent. “Of course, we all wore masks until near the end. This is the 142nd show I have directed in my long career and the first time that I couldn’t see the expression on the actors’ faces while we were working together. Of course, their masks came off at the last few rehearsals and at the filming of the show [by Jason King] and, by then, everyone was fully vaccinated. A new experience and I was delighted to learn much and develop new techniques. I am always grateful to learn from the many skilled artists I am privileged to work with.”