Arts & Culture – Page 79

Dancing to Beethoven

ProArteDanza’s The 9th will première in Vancouver before heading home to Toronto. (photo by Alexander Antonijevic)

Ten years after its conception, ProArteDanza’s The 9th, a full-length contemporary dance performance, will have its world première in Vancouver at the Chutzpah! Festival Oct. 26-28.

“We were originally planning to première it in Toronto for November,” Roberto Campanella, co-artistic director of ProArteDanza, told the Independent in a phone interview. “We’re opening in Toronto Nov. 6, which is a week-and-a-half after Chutzpah! And then Mary-Louise [Albert] called and said, ‘How do you feel about bringing The 9th here?’ And I said, ‘Well, it would not be a bad idea for everybody involved to have that opportunity…. We love being at Chutzpah! We’ve been before, we have a longtime relationship with Mary-Louise.” (Albert is artistic managing director of Chutzpah!)

Campanella created The 9th with ProArteDanza co-artistic director Robert Glumbek in collaboration with the dancers. Inspired by Beethoven’s Ninth Symphony and performed to the score, the show has four movements and is about 70 minutes long, with no intermission.

Each dance movement was created and mounted on its own: the first, then the third, the second and, finally, the fourth, which the company performed this past June in Trois-Rivières, Que., for the festival called Dansencore. Regarding the full-length work, Campanella said “it’s one thing to put on one movement at a time separately, and we’re realizing it’s a completely different beast because we have to also layer [each movement] with the concept of a wall or, in this case, the symbol of the Berlin Wall, so it’s taking almost a different life for me and for Robert…. And it’s only eight dancers and it’s going to be incredibly physical and athletic and intense, so we also have to distribute our dancers in a way that we don’t kill them in the first movement.”

Ten years ago, Dansencore commissioned Campanella and Glumbek to create the first movement. At the time, the festival was celebrating its 15th anniversary, as well as the establishment of Trois-Rivières, with Beethoven’s Ninth, said Campanella. “The idea was that there were different choreographers allocated for the four different movements … and we put the whole thing together probably in one day or two with the live orchestra and the live choir, so it was a mega-super-project. It all came together then.

“What we decided to do, with the permission, of course, of the festival, we said, ‘Can we present out first movement only for our company, ProArteDanza?’ We were granted permission and we presented just the movement itself as part of a mixed program the year after, or the same year, here in Toronto. Then we looked at each other, Robert and I, and said, ‘Why don’t we do a long version of it? Why don’t we continue? But let’s take our time. Why don’t we continue on the same path we’re doing, a movement at a time, we present it, we look at it and see what comes out of it?’

“And then, in 2010, I was in Berlin shooting a movie and I had a few days off,” continued Campanella. “I went to the Berlin Wall, which is essentially rubble, it’s just bricks, there isn’t much, but there are these audio-visual stations, where you can put headphones on and have a look at old footage of when they were building it; it’s pretty much the history of the wall. And there was one image that still, I would say, hit the spot, which was these two families on [opposite] sides of the wall waving at each other, probably they were related to each other … and the waving at each other was different from one side of the wall and the other. And then I thought, could it be that this [image] is actually our Ninth Symphony concept? So, I talked to Robert and I said, ‘Can we explore that and see where it goes?’ And that’s when the ball started rolling for us, but always maintaining the idea that we were not going to present the whole thing until we had all the four movements done and presented.”

The timing of The 9th’s completion comes with a few coincidences, said Campanella. Most notably, the final concert date, in Toronto, is Nov. 9 and, he said, “Nov. 9, 1989, is the actual day of the fall of the Berlin Wall,” so the show will occur exactly 30 years after the wall’s fall. He also noted that ProArteDanza’s show, which is called The 9th, ends on the ninth and that, at the 1989 celebration of the fall of the Berlin Wall, Leonard Bernstein conducted the Ninth Symphony.

For Campanella, the fall of the Berlin Wall is “about freedom, it’s about brotherhood, it’s about unity and diversity, celebrating all of that.”

In addition to the challenges of portraying these concepts, Campanella said it’s been fascinating to reimagine the movements that were created in the early years.

“We look at what we did 10 years ago and we cringe,” he said. When he and Glumbek watched videos of the piece, “you should have heard us, we were thinking, ‘Who choreographed that?’”

The pair have broken through many artistic walls since then in their respective careers, said Campanella, that they decided “this is not us anymore and so we are going to revisit it, reassess it, reevaluate what we’ve done and why.”

He pointed out that the original first movement was also created by a different cast. “There is only, I think, one [dancer] left who’s done everything. So, there are things that are born with a certain cast but there is a turnover of cast, [so] it will inevitably take a different direction naturally, as well as us being different now than 10 years ago.”

Part of what’s great about dance, he said, “is that you have the ability to remount things. A painting, once it’s done, it’s done. You’re going to hang it somewhere and you’ll look at it; it’s done, it’s over. For us, we have that ability to remount and re-look at it and say, ‘Who am I now that’s going to be in this current version of it?’ So, it’s been a very fascinating process.”

Campanella said, in creating The 9th, he and Glumbek “took our time because we really wanted to respect first and foremost the score of this magnificent piece of artwork,” referring to Beethoven’s composition.

In The 9th, more than one version of the symphony is used. Of those that were not chosen, Campanella said, “some of the versions are what we think are excruciatingly slow for us. Maybe they are amazing versions for musicians, for the experts, [but] they’re not conducive to the physical movement part of it.”

For tickets to The 9th, visit chutzpahfestival.com.

Gotta Sing! marks 25

Simone Osborne, left, Tiffany Rivera and Matthew Rossoff are just three of the alumni who will help Gotta Sing! Gotta Dance! celebrate on Nov. 10 at the Rothstein Theatre. (photos from the artists)

“I never thought that Gotta Sing! Gotta Dance! would be so popular and I certainly didn’t think that I would still be involved 25 years later. I love these kids and being involved!” Perry Ehrlich told the Independent.

Ehrlich created the musical theatre summer camp at the Jewish Community Centre of Greater Vancouver in 1995. Its first quarter-century will be celebrated at the Rothstein Theatre Nov. 10, with 3:30 p.m. and 7:30 p.m. shows, as part of this year’s Chutzpah! Festival.

“The two shows,” said Ehrlich, “feature opera sensation Simone Osborne, currently living in Germany, who was the youngest winner of the Metropolitan Opera theatre auditions; Matthew Rossoff, from New York and Toronto, who was dance captain for Jesus Christ Superstar on Broadway; Tiffany Rivera, a pop, jazz and soul singer; faculty members Advah Soudack, who just toured Canada in the hit play Glory, and Meghan Anderssen, star of Annie Get Your Gun and Thoroughly Modern Millie at Theatre Under the Stars); my daughter, Lisa Ehrlich Kesselman, winner of the PNE Star Discovery and National Youth Talent Search; Erik Ioannidis, star of Joseph and the Amazing Technicolor Dreamcoat [at Theatre Under the Stars]; vocalist Andrew Robb; singer and bassist Benjamin Millman; and, of course, my ShowStoppers troupe, who performed with Eric Church and Barry Manilow at Rogers Arena, with the legendary troupe Foreigner at Hard Rock Casino Theatre, [on] Canada Day at Canada Place, [and] singing the anthems for the Canucks and at the PNE.

“Everyone – and I mean everyone, including the kids who will narrate the shows – participated in Gotta Sing! Gotta Dance! in the past. And Wendy Bross Stuart will be on stage with them!”

Since Gotta Sing! Gotta Dance! began, Erhlich said “four things have changed.

“One, the kids are now older. In year one, we accepted 6-year-olds. Now, the youngest are 9 or 10 and over 70% are in high school.

“Two, the curriculum for Gotta Sing! Gotta Dance! has become more intensive each year; the levels of singing, dancing and acting is at an all-time high.

“Three, there has been a great social dynamic among the kids that has increased over the years. I hear over and over again that kids have met lifelong friends at Gotta Sing! Gotta Dance!

“And, four, I am thrilled by the number of non-Jewish kids who participate in the program and love being at the JCC. In early years, I had to explain security and what it means to be Jewish. No more.”

For tickets to the 25th anniversary tribute and other Chutzpah! shows, visit chutzpahfestival.com.

The future requires chutzpah

Inbal Arieli recently published the book Chutzpah: Why Israel is a Hub of Innovation and Entrepreneurship. (photo by Micha Loubaton)

Inbal Arieli has always been fascinated by what motivates and drives people, as well as what blocks their paths. “Throughout my career, which was mainly as a business executive, I always kept an eye on the human factor,” Arieli told the Independent. “And so, the businesses I started were somehow all related to that.”

Arieli, who is also a lawyer, is the owner and co-chief executive officer of Israeli start-up accelerator Synthesis. The company provides leadership assessment, as well as business training and development, in Israel, Canada and the United States.

“It is about the effect of the most critical skills that I think anyone should have today,” said Arieli about her recently published book Chutzpah: Why Israel is a Hub of Innovation and Entrepreneurship. “These are, according to the World Economic Forum, the skills which are required in the future, for anyone, regardless of your profession or future position. These are basic life skills – of critical thinking, decision-making, taking on initiative, etc., etc. There’s a long list of soft skills. The book is about these skills.

“What’s still interesting to me is, when looking at these skills, thinking about the future – the future of my kids, the future of the entrepreneurs here in Israel, the future of the job market in the world – about how can one practise these skills.

“The book shows the journey of a typical Israeli child from a very young age, as young as 3 or 4, until after military [age], young adult.”

In Chutzpah, Arieli shows how, in the five stages of childhood – infancy, childhood, adolescence, military service and then the big trip after the military – Israeli culture and society have produced principles, a framework and settings to foster these skills.

The book is not about Israel in and of itself. It is designed to help readers develop their own set of skills using the Israeli experience as an analogy.

Chutzpah (audacity), an ingrained trait, is very much nurtured in Israeli kids from a young age, said Arieli.

“From a very young age, chutzpah comes into play everywhere and anywhere,” she said. “Most of those skills, Israeli education and mindset … I think of them like muscles we all possess … only here, in Israel, we have access to the best gyms to practise these muscles.

“When you play at the playground, at age 3 or 4, the fact that you stand for your own opinion and find your own way of using the slide – an example I give in the book – that, in a sense, is a little bit of chutzpah. You don’t necessarily follow guidelines or practices. You bring your own personality [into your decisions and actions] at a very, very young age. So, it starts then, and then it fills up as we grow up here.”

Arieli sees Israeli society as being very open to giving freedom to everyone’s chutzpah – encouraging kids to exercise their chutzpah muscle, to be risk-takers, to stand out from the crowd, encouraging individualism along with a strong sense of collectivism. “Definitely, the framework that exists here, the environment, so many social structures are helping the muscles to remain developed and strong,” she said.

Chutzpah can be viewed as either negative or positive, and can be used in a positive or negative way. In Hebrew, one can differentiate between the two, depending on where the accent is placed. Arieli does not think it is important to differentiate between the two concepts of chutzpah. Rather, she contends that, just like any other muscle, the use of it needs to be calculated.

“Chutzpah is not a button you can press on or off,” she said. “It’s a mindset. In the context of innovation or entrepreneurship, I think it’s a very positive thing. And so are the other skills, ideas or principles spoken about in the book. I think it’s all a matter of finding the right balance between using them or not using them, and when to use them. What’s right for certain stages is less relevant for other stages.

“More than anything, I think it’s the combination of having these skills along with other skills is what’s optimal. But, I also think it’s very challenging to create an innovative society or an innovative team or group of people without allowing them to have a little bit of chutzpah.”

According to Arieli, just teaching kids how to work in today’s job market is a recipe for failure, as we have little knowledge of what work will even look like in their generation. The one and only thing we know for sure is that the future job market is uncertain. As such, the only way to prepare children is to equip them with the ability to be highly innovative and creative thinkers, capable of taking on initiatives by shaking things up and changing things.

“I wish for my kids that they will have as much chutzpah as possible when thinking about their future,” said Arieli. “They’ll have to reinvent themselves during their career several times and I want them to be proactive in that.”

Another trait Arieli talks about in Chutzpah is balagan (mess or chaos).

“Anyone who has visited Israel knows what I’m talking about – be it traffic, on the playground, in restaurants – everything is really chaotic here,” said Arieli. “But, that chaos, balagan, propels us toward new order, allowing us to rise every time from that balagan.”

Another factor Arieli discusses in her book is teamwork and “how Israeli society, while sometimes divided, at its core, has a galvanizing mechanism rooted in survival, through our culture … what we endured as a people and our mandatory army service … all of which unite us like no other nation on earth.”

For more information about Arieli or her book, visit inbalarieli.com.

Rebeca Kuropatwa is a Winnipeg freelance writer.

Chutzpah! hosts Bernhard

Sandra Bernhard is at the Vogue on Halloween night, as part of the Chutzpah! Festival. (photo by Brian Ziegler)

“When I was a little kid, I had three older brothers and I got a lot of attention for being cute and funny, and I’ve always had an ability to comment on situations as they unfolded in front of me,” said veteran performer Sandra Bernhard in a phone interview with the Jewish Independent. “I think that’s what kept it going all these years – I find it entirely hilarious when you’re in the middle of something and you’re able to pull it apart and bring the most humour out of it, or the most outrage, and that’s always been the most interesting part of what I do.”

Bernhard is bringing her critically acclaimed show Quick Sand to the Vogue Theatre on Oct. 31 as part of the Chutzpah! Festival, which runs Oct. 24-Nov. 24. The comedian, actor, author and radio host is known for her outspokenness. She said it’s second nature for her to say what’s on her mind. “By being funny and being a character, which I’ve always been,” she said, “that gave me the access to say things that other people wouldn’t say necessarily, or that wouldn’t be heard.”

Bernhard’s daily radio show, Sandyland, which is on SiriusXM’s Radio Andy channel (created by Andy Cohen), earned her a Gracie Award, an honour given by the Alliance for Women in Media to “recognize exemplary programming created by women, for women and about women in all facets of media and entertainment.” Bernhard also stars as Nurse Judy in the award-winning, boundary-pushing show Pose on FX Networks, about “the legends, icons and ferocious house mothers of New York’s underground ball culture, a movement that first gained notice in the 1980s.”

Bernhard has countless film and television credits, has created and performed several one-woman shows, recorded a few albums and performed with or opened for many artists. She also has written three books.

While she knew from a young age that she wanted to be a performer, it wasn’t until her late teens that the goal started to become a reality.

“I moved to L.A. in the mid-’70s, when I was 18, 19,” she said. “I became a manicurist in Beverly Hills, so I had a day gig, but I didn’t really know how I was going to jump into the waters, because I also wanted to be a singer. I really wanted to be an entertainer, the whole package.

“And then I met up with a group of friends and they thought I was hysterical and then there was this woman I met who, I did her nails and she was a cabaret singer and she would go to the open mic nights and she said, ‘You’re really funny. I know you want to sing, but put your material together and I’ll take you to these open mic nights.’ She took me to one and then I met my friend Paul Mooney and my friend Lotus Weinstock the first night I got up and they took me under their wings. And that’s how I started – I literally fell into it, because I was a natural, and then I started doing the hard work, which was getting up night after night after night to do my act, and I honed my act and the material and then, eventually, I got good at it.”

One of the reasons she remains popular and her material fresh is because she keeps working at it, “finding different ways into it. For me,” she said, “the most important thing is being as authentic as I can, year to year, day to day, because you do change, you evolve as a person, you want to peel the layers of the onion away and get deeper into your core as an artist, as a performer, and I think that’s what continues to inspire you and make you a better performer.”

Describing her style as “edgy, funny, strong, no nonsense, but funny nonsense,” she said, “I don’t feel like I have to really temper anything because you shed your skin as you go along, and certain things just don’t work anymore.”

Born in Flint, Mich., and raised in Scottsdale, Ariz., Bernhard was bat mitzvahed, but, she said, “My father, I don’t think he related to being Jewish much at all, except maybe culturally, and my grandparents – my grandfather went to shul every day but I think that was a little bit later in life. When he came over here from Russia, everybody was busy trying to make a living. And, of course, people ended up in some small towns here and there, and you didn’t always have time for your religion and your traditions.”

Nonetheless, Bernhard said, “I find a certain amount of meditative escape just going to Shabbat and hearing the music and the songs I grew up with, and I like the community. Whether it’s the High Holidays or staying for kiddush and eating a bowl of cholent, there’s something very visceral about it. It connects me with who I was as a kid and my grandparents…. There’s all that emotion, it’s vivid and visceral and it’s just a nice place to calm down and go into and have a little bit of a break from the day to day.”

Saying that she’s “thrilled to be coming back to Vancouver,” Bernhard said the Oct. 31 performance will be “a fun night.” Accompanied by the Sandyland Squad Band, she will combine music, comedy and social commentary in Quick Sand, which, she said, offers “endless amounts of room” for her to go off script.

“I’m always prepared to jump off if something happens or inspires me or the thought process, my mind, and that’s the way it’s always been for me,” she said. “But I also have very set pieces that you want to be able to fall back on and have that continuity to the show, so that you’re not standing up there just talking about a bunch of silliness. I want people to walk away having been entertained.”

For tickets to Bernhard and other Chutzpah! shows, visit chutzpahfestival.com.

Trees bring Zack to life

Michael Seelig is donating the proceeds from his exhibit Trees to the Zack Gallery. (photo by Olga Livshin)

Trees, Michael Seelig’s new solo photography exhibit at the Zack Gallery, opened last week. It is a fundraiser for the gallery, which is located in the Jewish Community Centre of Greater Vancouver.

Such philanthropic initiatives “are of ultimate importance to the gallery and the community, as everybody wins when the gallery is well-supported,” said Zack director Linda Lando. “We have approximately three benefits a year, and they come in different ways. Sometimes, they’re initiated by the artist, sometimes by myself or another staff member of the JCC.”

Seelig’s decision to donate all the proceeds came from the heart, and it’s not the first time. His previous show at the Zack, which was held five years ago, was also a benefit. “This is my way of contributing to the JCC,” he said in an interview with the Independent. “We have a longstanding connection to the centre. My wife was president of the JCC some time ago, and we’ve given several donations to the community over the years.”

Unlike his previous show, which focused on architectural images – Seelig was an architect before he retired – this show is all about trees. A cornucopia of greens dominates the gallery walls.

“When Linda asked me to do a show this year, I didn’t have much in mind,” he said. “I started going through my photographs, selected the best 20, and then realized that eight of them were photos of trees. Looking back, I’ve always photographed trees. Maybe I have an affinity for trees. So, I thought I’d make it the theme of this entire show.”

photo - “Garden Kyoto” by Michael Seelig — “Garden Kyoto” by Michael Seelig.

Seelig has been drawn to trees and their unique charm for a long time. “I think my love of trees comes from my childhood, when I was growing up in Israel,” he said. “Jewish people are the only ones I know who have a holiday dedicated to trees: Tu b’Shevat. During that holiday, we cherish trees, plant them, take care of them, so they can take care of us. That tradition probably influenced me from a young age to love trees and photograph them. I take photos of trees wherever I travel.”

In the Zack exhibition, there are pictures of trees from Israel and Scotland, Canada and Japan.

“There is a book I read recently,” Seelig said, “called The Hidden Life of Trees, by Peter Wohlleben. He is a German forester and writer and he knows trees. He says trees form communities. They communicate with each other and with us. It was a fascinating book, and I agree with the author; his book inspired me. Have you noticed that old stumps sprout new growth sometimes? That is because there are other trees around. Trees are life-givers; they create the air we breathe. Without trees, there would be no life on earth.… In Canada, and particularly in British Columbia, we often take trees for granted. Most of us do not pause to look at them and admire their beauty, solidity and permanence. We forget that, without trees, our planet cannot survive. This show pays homage to trees in many parts of the world.”

Seelig’s trees are all different; each one has its own shape and personality. Some are gnarled and twisted, while others stretch up in straight lines.

“I like it that they don’t talk to me,” he joked. “Trees are my models, but they’re more obedient than people when it comes to posing for a photo. I can take my time snapping pictures of trees. They are perfect photography objects. A tree just stands there. You can walk around it, see it from 360 degrees or from underneath. And every view is different. You can’t do this with a person.”

In addition to Seelig’s photographs of trees, the show includes several watercolours, most of which he painted specifically for this exhibit. Only two small works are exceptions. “When I was looking through my archives in preparation for this show, I found a small painting, created by my father in 1940. He painted a street in Haifa, and there is a tree in the image. The second painting is mine; I painted it in 2010, also in Haifa. Seventy years passed between these two paintings, but their colour schemes are surprisingly similar. And there are trees in both paintings.”

The sizes of the images on display vary greatly. While Seelig’s father’s painting would fit in a school notebook, and most of the photographs are the perfect size for a family home, a huge triptych on canvas of one of his Kyoto garden photos would enliven a hotel foyer or a corporate conference room. “I invited some designers to the show,” Seelig said. “Maybe one of them would like it.”

Seelig’s approach to photography is consistently organic. He doesn’t edit his photos with Photoshop, doesn’t even crop them.

“My pictures are exactly what I see,” he said. “And now you see them, too. There are other photographers who manipulate their photos with editing software, many of them wonderful artists, but I don’t do that. I don’t call myself an artist either, even though I use my creativity for many things in my life. I used artistic judgment for my work as an architect, before I retired. Now, I make greeting cards and wedding invitations with my photographs and my paintings. I illustrated a couple of children’s books, written by my daughter and her husband. Even making dinner for our friends is a form of art for me.”

The Trees exhibit runs until Oct. 20.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.

A frantically funny farce

Cindy Hirschberg-Schon, left, as Maria Merelli and Tracy Labrosse as Tatiana Racón in A Comedy of Tenors, at Metro Theatre Oct. 4-19. (photo by Sophie Gardner)

Tracy LabrosseTracy Labrosse“What could possibly be better than escaping life with a frantically funny farce? A Comedy of Tenors has slamming doors, mistaken identities, ridiculous dialects and a very suggestive tongue prop. What else do you need?” said Tracy Labrosse about the upcoming production at Metro Theatre.

Set in 1936, A Comedy of Tenors centres on Henry Saunders’ efforts to put on the greatest concert that Paris has ever seen – The Three Tenors – but he will only succeed if he “can keep an amorous Italian superstar and his hot-blooded wife from causing runaway chaos.” Written by Ken Ludwig, the Metro production, which runs Oct. 4-19, is directed by Kayt Roth.

Labrosse, who works at Vancouver Talmud Torah, plays Tatiana Racón.

“I love to be challenged in each production I’m in [and] Racón has definitely been a fun challenge for me,” Labrosse told the Independent. “I tend to get the ‘girl next door’ roles, so playing a sexy Russian opera singer has certainly allowed me to tackle a type that I don’t normally get the chance to play. She’s bold, she’s vivacious, and she’s a troublemaker.”

Jewish community member Cindy Hirschberg-Schon takes on the role of Maria Merelli, the feisty wife of tenor Tito (played by Carlos Vela-Martinez).

“I tried out for both Maria and for Racón,” said Hirschberg-Schon. “I thought I’d keep the options open. But I have a lot more in common with Maria.”

She said, “Maria is her own woman – strong and independent – but she is also very loving. Maria has a lot of me in her. She and Tito have been married for 25 years and I have been married for 27 years. From their fierce love to their fierce fighting, I can relate.”

In addition to her role, Hirschberg-Schon also helped on the costume front.

“I work in fashion as a technical designer, so I know about apparel,” she explained. “I did costumes once before but, being also an actor, it would be a lot to take on. But we needed help so I stepped in…. I measured the full cast, which for me is not a big deal. I helped out when we needed a few extra eyes to find costumes in both the Metro costume closet and also the kindness of Vagabond Players [and their] closet.”

Hirschberg-Schon studied acting before changing career directions.

“I went to college for acting in Toronto for two years,” she said, “but then decided I did not want to be a waitress the rest of my life and went to fashion school. I then concentrated on career, marriage and motherhood. After 20 years, I finally decided it was time to get back to the stage, with the support of my husband and family. So, I guess I have been acting for seven years plus a few.”

“I’ve been in love with theatre ever since I was given my first speaking role in a school play at the age of 9,” said Labrosse. “I went to theatre school after high school, and have been involved in theatre consistently ever since. It’s a lifelong love affair for me.”

Labrosse said she didn’t audition for any specific role in A Comedy of Tenors. “For me,” she said, “if the story is something I’m drawn to – something that I find intriguing – then I want to be a part of it. After that, it’s up to the director. In this case, Kayt saw me as Racón, and I’m so glad she did. It’s such a fun role to play.”

Both Labrosse and Hirschberg-Schon have been in other Metro productions.

“I’ve had the pleasure of acting, producing and directing at the Metro Theatre. A Comedy of Tenors is my 10th production there,” said Labrosse. “There are so many wonderful community theatre organizations in the Lower Mainland and I think I’ve worked with most of them over the years. Some of my favourite previous productions include The 39 Steps, Steel Magnolias, Moon Over Buffalo (also a Ken Ludwig show) and Wait Until Dark.”

Among Hirschberg-Schon’s favourite roles are Evil Stepmother in the award-winning Cinderella panto with Metro Theatre and Lady Edith in Metro’s Robin Hood and Marian panto; Penny in Vagabond Players’ You Can’t Take it With You; Olga in Royal Canadian Theatre Company’s Bedfull of Foreigners; and Yenta in a Toronto production of Fiddler on the Roof.

“Growing up,” said Hirschberg-Schon, “I watched my mother, Marion Hirschberg, on the stage. She was very involved in community theatre and is still on the stage now, at 80. She taught me so much and I am in awe to see her perform. I have theatre in my blood and stage is home to me. But the biggest thrill is to share it with an audience – because theatre does not become alive until there is an audience to share it with.”

To be a part of that audience, tickets can be purchased by leaving a message at the Metro Theatre box office, 604-266-7191, or visiting tickets.metrotheatre.com. Note that A Comedy of Tenors “contains strong language and sexual references.”

It’s Bobby’s birthday

Jonathan Winsby plays birthday boy Robert in Company, which opens Oct. 11. (photo by Nicol Spinola)

For his 35th birthday, Robert (Bobby), a bachelor, has invited a group of his married friends over to celebrate. And, married or not, you can be a part of Bobby’s party by attending Raincity Theatre’s production of Company, which runs Oct. 11-26 at “Bobby’s Apartment,” 2531 Ontario St.

The immersive production of Stephen Sondheim’s Company is being produced by the same creative team that was behind last fall’s award-winning immersive production of Sweeney Todd: The Demon Barber of Fleet Street. Co-producers are Chris Adams (director), Nicol Spinola (choreographer) and Jewish community member Kat Palmer. Also part of the Company creative team was researcher Michael Groberman. And there are other Jewish connections.

“It is only notated in the script that Paul, Amy’s fiancé, is Jewish,” Adams told the Independent. “However, it is mentioned that half of Amy’s friends are Jewish, meaning a few other characters probably are, too – most notably, Larry, played by Jewish community member Warren Kimmel.”

Larry is Joanne’s third husband. Joanne has known Robert for years.

“Larry is extremely wealthy and successful,” said Kimmel. “He is probably the oldest character in the play. His parents split when he was a child but he is fascinated by his wife and very happily married.”

Just now old enough to play the character, Kimmel quipped, “I intend to make him look younger than his real age.”

Company debuted in 1970.

“This piece is all about commitment and partnership and marriage,” said Kimmel. “It was written not long after the pill was invented, which, along with other cultural changes, threw into question traditional ideas around marriage, monogamy and the way men and women in society commit to each other.”

He added, “As is usually the case, Sondheim and his collaborators have created perhaps the most incisive examination of these issues and so they resonate even today. Every song is so specific and true to life that everyone can identify and, if you haven’t had these exact thoughts yourself, you will definitely have a friend or family member who is in just such a situation. Add to that the incredible music and one hell of a cast and what you have from Raincity is another ‘must see’ piece of theatre.”

As for Raincity’s choice to produce Company, Adams said, “Oftentimes, as it goes with equity collectives, it is a group of people who find a great show and want to see it produced. In this case, not only did I know the show was great, I knew we had Jonathan Winsby to play Bobby. Having worked with Jonathan on last year’s Sweeney Todd, I knew he was more than up for the challenge of this role and I knew it was on his bucket list to play. Sondheim is popular with actor/singers because it is difficult. People want to sing it and audiences seem to want to hear it. We are blessed as well that Company comes with such a strong book and brilliant songs.”

As with Sweeney Todd, the audience will be in the thick of things, specifically, in the midst of Bobby’s birthday party. “We have a bar set up to sell drinks, you can purchase birthday cake or come early and play a song on the piano – everything a fun 1969 birthday party should have,” said Adams. “The audience will grab their purchased seating – you can buy a pillow/floor seat, a couch, a chair or a bar stool – and cozy up to enjoy the show. While there is, obviously, no audience participation, they will feel very much included in the festivities and witness this brilliant journey of a man struggling through his 35th year.”

There is limited seating at the party, however, and Adams said the run is already more than 80% sold out. “If anyone is wanting tickets,” he said, “I’d suggest they don’t wait.”

For tickets, visit raincitytheatre.com.

When Chabad turns up

A still from The Rabbi Goes West: one of Chabad-Lubavitch Rabbi Chaim Bruk’s goals is to see a mezuzah on the door of every Jewish home in Montana.

In their documentary The Rabbi Goes West, filmmakers Gerald Peary and Amy Geller have succeeded in a difficult task – providing a balanced, respectful and entertaining glimpse into what happens in a state with a small, minimally affiliated Jewish community when Chabad-Lubavitch arrives.

A branch of Chassidism, Chabad-Lubavitch was started some 250 years ago in White Russia, in what is now Belarus. After the Holocaust, the movement began its outreach in earnest, trying to reach non-religious and unaffiliated Jews almost literally everywhere in the world. There are now approximately 5,000 Chabad emissaries in more than 90 countries.

While emissaries may receive some seed funding to start a new centre, they must raise their own funds to stay active. In 2006, Chabad Rabbi Chaim Bruk ventured from Brooklyn, N.Y. – Chabad headquarters is in Crown Heights – to Bozeman, Mont., to scout it out. Encouraged by the growing population and the amount of tourism, Bruk returned to Crown Heights to get the OK to set up a centre there. Given the green light, he and his wife Chavie did just that in 2007. The rabbi’s goal? To ensure that every one of Montana’s 2,000 Jewish families has a mezuzah on their door. One of the ways in which he makes headway on this task is by traveling all over the state, asking safe-looking strangers (who are the vast majority, he says) whether there are any Jews in the area and then, when he finds them, boldly introducing himself and his purpose.

As charming and open as Bruk seems, his presence, the ultra-Orthodox Judaism to which Chabad adheres and the movement’s expansionist mission – two more Chabad centres have opened since the Bruks arrived – are not universally welcomed by the Montana Jewish community. The Rabbi Goes West includes interviews with fellow rabbis Francine Roston (the first Conservative woman rabbi to lead a large congregation), who came to Montana from New Jersey in 2014; Allen Secher (co-founder of Chicago’s first Jewish Renewal congregation), who came to Montana after he retired in 2000 but retook the bimah when he found out he was the only rabbi in the state at the time; and Ed Stafman (a former trial lawyer), who came to the state from Florida. The film also includes commentary from local Jews from all four congregations.

While Bruk has limited involvement with the other congregations and rarely, if ever, joins their events – he contends that most of them violate some aspect of Judaism, such as the laws of kashrut, for example – the Jewish community does unite, along with other religious and secular groups and individuals in the state, when faced with neo-Nazi threats and cyberattacks.

The Rabbi Goes West is a documentary well worth seeing, both for its content and the way in which that content is presented. Sponsored by the Vancouver Jewish Film Centre, it screens at the Vancouver International Film Festival Oct. 7, 6:30 p.m., at Cinémathèque, and Oct. 8, 11:30 a.m., at International Village 10. For the full festival lineup, visit viff.org.

Much going on for songwriter

Harriet Frost performs at Jacob’s Ladder Festival in Israel last May. (photo from Harriet Frost)

How best to describe Harriet Frost’s music? “Impressionistic poetry, witty wordplay, music that is intimate and universal,” is what CBC Radio had to say. “Folk rock with a jazz funk twist,” read another recent write-up ahead of a performance at the renowned Jacob’s Ladder Festival in Israel this May.

“My music explores personal, topical, political and spiritual landscapes. They can be humorous, joyful, painful, ironic, beautiful and not so beautiful. It’s poetry, folk, jazz, rock, spoken word, ancient and postmodern,” she says in her own words.

What is not open to interpretation is that the Vancouver singer, songwriter and musician has had a busy spring and summer. In addition to her Israeli performance, she has been organizing local house concerts in town and working on a new album.

Music is an integral part of what she does outside of being on stage or in a studio, as well. Her work at the Louis Brier Home and Hospital has shown the therapeutic effects music has on people regardless of their age. “You can reach people, even those in deep states of dementia, through music,” she said. Frost also teaches Judaic studies, trains youth and adults to chant from Torah, and has been exploring cantorial music.

The Israel connection

Jacob’s Ladder is more than a music festival to Frost – it is the title of a song she wrote and dedicated to her father, who escaped Nazi Germany for Palestine in 1939. He witnessed the birth of the Israeli state in his decade living there. The song is featured in the Lucy McCauly documentary film Facing the Nazi Era.

Canada ultimately became home for the Frost family, yet the connection with Israel remained. When it was time for university, Harriet chose four years at Hebrew University in Jerusalem – a student by day and a musician playing in the cafés at night. She was the musical director of the groundbreaking theatre troupe, the Gypsies, made up of Palestinian, Israeli and North American artists who performed peace-themed musicals for Israeli and Palestinian youth. Her personal musical biography is so resonant with Israeli content that when a friend told her last year about Jacob’s Ladder and urged her to look into it, she couldn’t resist. The invitation from its organizers came a few months later.

Founded in 1976, Jacob’s Ladder is the longest and most established music festival in Israel, featuring a wide selection of folk genres and international music presented each spring and fall. Located in the north, on the Sea of Galilee, Frost said her first feeling upon arrival was like being at the Vancouver Folk Festival at Jericho Beach Park, due to the proximity to the water.

“It was 45 degrees,” she recalled. “I had no idea what to expect. When I was first introduced as a Vancouverite and the only Canadian performing at the festival this year, people started cheering. It was so welcoming and fantastic.”

She played in an air-conditioned 250-seat hall filled to capacity with an audience comprised of Americans, Israelis, Europeans, Canadians and fellow musicians “of all ages,” she said, “teenagers, families with kids, millennials, a full arc of generations.”

At the Ginosar Kibbutz and Hotel, which hosts the famous event, she met numerous performers who had come to the festival and were playing music in the hotel lobby between their own sets. It was an extraordinary opportunity to connect with some of the country’s most notable folk musicians, she said.

Concerts and album

Through November and beyond, along with other venues, Frost is organizing a series of house concerts, given the positive response to one she held in April in advance of her Jacob’s Ladder appearance. As the name suggests these are concerts hosted in someone’s home, where, according to Frost, “musicians have an opportunity to present their original material in a concert situation, unlike in a café or club where folks may be eating, drinking and socializing.

“There is an intimate concert vibe that is created in the home. You have the freedom to play a full night’s worth of material and really connect with a small audience (between 30 and 50). People attend specifically to listen to new music.” Currently, Frost has been collaborating at these concerts with Vancouver multi-instrumentalist Martin Gotfrit.

And a new album is in the works. Working title: Jacob’s Ladder.

For more information about the album and upcoming concerts, visit harrietfrost.com.

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

About the cover art – Rosh Hashanah 2019

This year’s Jewish Independent Rosh Hashanah cover photo features a bumble bee on a heartleaf oxeye daisy flower – it was taken in Saanich, B.C., by David Fraser. Many native bumble bees are in decline, a concerning trend given the role they play in pollination of plants, including many food crops. Pesticides, habitat loss and introduced bee parasites and diseases are thought to play a role in this decline.

Apples are one of the main symbolic foods we eat on Rosh Hashanah, as we wish for a sweet year, with the help of some honey. Apples are the fruit of choice for this wish perhaps because Rosh Hashanah coincides with the sixth day of creation, when humans – Adam and Eve – were created and they ate the fruit (apple) of the Tree of Knowledge in the Garden of Eden. It could also be that apples symbolize the relationship between God and the Jewish people, as poeticized in the Song of Songs, or that the Zohar (kabbalah) describes paradise as a holy apple orchard.

Regardless of the reason for the fruit selection, apple production is dependent on bees and other pollinators. It would be fitting then for us to wish for more than a sweet, fruitful year, when we are dipping our apple slices into honey. We might consider our role in the decline of not only the bumble bee populations but of the environment at large, and what we can do to reverse it.