Arts & Culture – Page 86

Could the plague come back?

With his latest novel, We All Fall Down (Simon & Schuster, 2019), Vancouver writer and emergency-room physician Daniel Kalla covers both familiar and new territory. He once again postulates with scary enough realism what might happen if there were an outbreak of a deadly disease, but this time, it’s the plague – the same bacteria that caused the Black Death in the 14th century.

Kalla, who is head of emergency at St. Paul’s Hospital and a clinical associate professor at the University of British Columbia, will talk about his new book on April 17 at Incite: Riveting Crime Tales, presented by the Vancouver Writers Fest and Vancouver Public Library, in partnership with the Crime Writers of Canada. He will be joined by fellow Vancouverite Eve Lazarus, author of Murder by Milkshake: An Astonishing True Story of Adultery, Arsenic and a Charismatic Killer (Arsenal Pulp Press, 2018), about the murder of Esther Castellani by her husband Rene in 1965 in Vancouver, and Toronto-based Kim Moritsugu, whose latest book is The Showrunner (Dundurn, 2018), described as a “Hollywood-noir, darkly humourous suspense.”

We All Fall Down is set in Genoa, Italy. It alternates between current-day events – the site of an old monastery that has been demolished to make way for new condominiums seems to be ground zero for the reemergence of the plague – and the year 1348, when that monastery’s inhabitants are almost decimated by the Black Death, as is much of Europe. There is a link between the two outbreaks and North Atlantic Treaty Organization infectious diseases expert Alana Vaughn, called in from Belgium, is among those who must figure it out, along with a World Health Organization expert, Canadian epidemiologist Byron Menke, and Alana’s former lover, Dr. Nico Oliva, who sounded the alarm when a patient was brought into his hospital, coughing up blood and with a bubo (lump, swelling) in her armpit. The patient had been working on the construction site when she took ill and was dead soon thereafter.

The rapidity with which the plague takes a life drives the urgency to determine its sources and stop its spread. The most emotive chapters of We All Fall Down are short. Kalla briefly introduces readers to various people in the midst of tender or happy moments, who then suddenly feel chilled or choked by phlegm and blood. These scenes add meaning to the consistently provided death tolls, and personalize the suffering. Readers will empathize, and shiver.

As in his previous novels – Pandemic (Forge Books, 2005), about a fictional new flu, more deadly than SARS, and Resistance (Tor Books, 2006), about the outbreak of an antibiotic-resistant bacteria – the disease in We All Fall Down is deliberately being spread. Initially, Alana’s theory is that it is bioterrorism, but eventually the WHO-led team comes to another conclusion and the race is on to find the perpetrator.

In the mid-1300s, one-third to a half of the European population was killed within three years, a character in the novel notes – “The worst natural disaster in all of recorded history.” And the novel offers a glimpse into that horrific time via the diary of a barber-surgeon, Rafael Pasqua, who lost his wife to the plague. His story is graphic at times, and it is he who relates how Jews were attacked and persecuted, as the assumed cause of the devastation. Kalla juxtaposes this persecution and violence with that of Muslims in the modern-day instance of the outbreak, as it is first thought that Muslim terrorists might have developed the plague as a bioweapon. Despite hundreds of years of evolution, people’s fear and desperation still drive them to seek a scapegoat.

Less interesting in We All Fall Down are the romantic storylines: Alana and Nico dealing with their past relationship, Alana’s new relationship with Byron, and Rafael’s with Camilla, the daughter of a Jewish friend and fellow physician. At least the medieval love story adds some tension to the plot, as Jews become more and more at risk as the plague continues unabated. And, in truth, the relationships provide some respite from the death taking place all around the characters.

On the whole, We All Fall Down is a good read. Kalla, being an emergency physician who has researched and written about different pandemics, makes the possibility of the Great Plague resurfacing seem frighteningly possible. There are countless benefits of globalization, but it certainly makes containment of an epidemic that much harder. It is a sobering thought.

Incite events are free, but registration is required. To attend Riveting Crime Tales, which takes place in the Alice MacKay Room at the central branch of VPL downtown at 7:30 p.m. on April 17, fill out the form at writersfest.bc.ca/programs/incite/incite-form.

Cohen dusts off tap shoes

Andrew Cohen takes on the lead role of Don Lockwood in Royal City Musical Theatre’s Singin’ in the Rain, which runs April 4-20. (photo by David Cooper)

“I’m excited for audiences to see Singin’ in the Rain. The film is a classic, and I hope we’re able to bring that same charm and excitement to the Massey Stage,” Michael Wilkinson told the Independent. “It is on the older side of the musical theatre canon, but I think our production – especially Andrew Cohen as Don Lockwood and Tessa Trach as Kathy Selden – do such a beautiful job at bringing these characters to life in 2019, while still keeping the familiarity and charm of the characters and story.”

Royal City Musical Theatre presents Singin’ in the Rain at the Massey Theatre in New Westminster April 4-20. For those unfamiliar with the story, Don Lockwood and Lina Lamont are silent film stars, dashing and beautiful, but their stars will fade unless they can make the transition to talkies, the new technology of the time. The studio decides to change the couple’s latest silent film into a musical but, the problem is, Lamont has a horrible voice – even listening to her talk is painful. The solution? Have her voice dubbed by aspiring actress Kathy Selden.

Filled with humour, eminently singable and memorable music – “Good Mornin’,” “Make ’em Laugh,” and, of course, “Singin’ in the Rain,” to name a few – and incredible choreography, Singin’ in the Rain is one of the most popular musicals of all time, while also being an insightful commentary on the film industry, the impacts of technology and the nature of fame.

Cohen said he was asked to audition for the role of Lockwood last fall, while he was away doing Fiddler on the Roof in Saskatchewan.

“Gene Kelly made this role, this music, famous. He is in every neuron of this show. But I am no Gene Kelly (though I sure do wish I had his moves),” Cohen told the Independent about making such a famous character his own. “I think any actor preparing to take on an iconic role like Don Lockwood needs to find where the character lives within themselves rather than trying to mimic the character’s originator.”

And Cohen has more than the chops necessary to step into Kelly’s shoes. Since the Jewish Independent featured Cohen and his wife, Anna Kuman, in 2017, when they premièred Circle Game: Reimagining the Music of Joni Mitchell – which they co-created and co-directed – the couple has been working on different projects around the world.

“We were on the mass choreography team for the Fifth Asian Indoor and Martial Arts Games opening ceremony in Ashgabat, Turkmenistan, that had us work with a cast of 8,000, not to mention aerialists, horses, dogs, camels,” said Cohen. “It was a crazy experience! I then joined the stage management teams for the Gold Coast Commonwealth Games and the Sydney Invictus Games opening and closing ceremonies, getting to work at the Sydney Opera House and along the stunning shores of the Gold Coast.”

Cohen also premièred the new musical Les Filles Du Roi, for which he had to sing in English, French and Kanienké:ha (Mohawk). “Last winter,” he said, “I reconnected to my ancestral roots in the shmatta trade by playing Motel Kamzoil the Tailor in Fiddler on the Roof at Persephone Theatre in Saskatoon. Also, being the show’s music director, this production boasted a cast full of actor/musicians and was extended four times due to popular demand.”

While he’s very excited to return home and “dust off” his tap shoes for Singin’ in the Rain, Cohen won’t be in town long. He’s “heading to Toronto, Tel Aviv and Europe this spring for a tour of the new Canadian show Charlotte: A Tri-Coloured Play with Music that chronicles the life of renowned Jewish painter Charlotte Salomon.”

Singin’ in the Rain marks Cohen’s debut with Royal City Musical Theatre.

“Both my wife and my brother have worked with them before,” he said, “but this is my first time with RCMT, so it’s lovely to get to join the club, especially since RCMT is a theatrical institution for large-scale classic musicals. Seldom do audiences (and actors alike) get to revel in the grandeur of the art form in this town than at the Massey Theatre every April.”

Cohen’s fellow Jewish community member, Wilkinson, certainly enjoys this annual tradition.

“It’s the community that keeps me coming back,” he said. “Obviously performing is very fun, but I’ve also made some great friendships through RCMT. It has become something to look forward to in April, and it’s the people that make it such a wonderful environment.”

Wilkinson is in his final year of studies at the University of British Columbia’s Institute for Gender, Race, Sexuality and Social Justice, so he’s not sure how long he’ll be able to continue performing with RCMT, but he feels “very fortunate to have been a part of five productions over the last few years.” As part of the ensemble in Singin’ in the Rain, he has more than one role.

“The Quartet,” he explained, “is a part of the number ‘Beautiful Girl,’ which is a big showgirl number that is the first ‘talkie’ by Monumental Pictures (the film production studio in the show). Typically, the number only has the tenor soloist and the female ensemble, but our director and choreographer, Valerie Easton, has added four of the male ensemble to create a quartet and have some fun partnering moments in the number. It’s really just a quick snippet of the show, and many of us in the ensemble jump around playing multiple parts. I’m also playing Rod, who is the head of the publicity department at Monumental Pictures, which has been a fun bit role.”

Wilkinson’s favourite scene, he said, “would have to be the number ‘Broadway Rhythm,’ which happens about halfway through Act 2. It’s around eight minutes long, and there is some amazing dancing and singing throughout the number. I think the audience will really enjoy it, especially once we have rehearsed it to perfection!”

For Cohen, the biggest challenge so far with the role of Lockwood has been “the sheer amount of material to learn. Don sings and dances a lot. In Act 1, he barely leaves the stage,” said Cohen. “Prepping for this show has been like training to do a marathon – every day a little further, more lines down, going over and over songs and dance breaks. That said, I grew up tap dancing but haven’t had the chance to tap professionally in a long time. It’s a real privilege getting to tap with some of the amazing tappers in this company.”

Cohen said, “It’s very exciting, seeing it all come together with the sets and the lights and the orchestra. How often do you get to sing with a real 18-piece orchestra?!”

For tickets to RCMT’s Singin’ in the Rain, visit ticketsnw.ca or call 604-521-5050.

Hoffman’s new Crave special

Comedian Robby Hoffman in action. (photo from Bell Media)

Onstage, her energy is barely contained. She delivers lines in a clipped, almost angry fashion, sporting a tight bun and dark clothes. From contemplating pizza’s puzzling popularity, to sharing how one customs officer saw the fire in her that she never knew she had, to musing about what it’s like to be the seventh of 10 children, the fashion choices of antisemites, her sexual prowess and the cost of duotangs, Robby Hoffman is very funny. It is no wonder that Robby Hoffman: I’m Nervous is among the new stand-up comedy specials Bell Media released last month on Crave.

Produced with Just for Laughs and Counterfeit Pictures, Robby Hoffman: I’m Nervous was filmed last September at Toronto’s Longboat Hall during the JFL42 comedy festival.

“It’s huge deal. It was always a dream of mine to have a special, to have a TV special specifically, and to do an hour,” L.A.-based Hoffman told the Independent in a phone interview from London, England, where she was doing gigs, and visiting her girlfriend, writer and director Ally Pankiw, who was there for work. In contrast to her stage persona, Hoffman was relaxed and chatty on the phone.

A lot of comedians self-produce amazing albums or routines in smaller increments of time, said Hoffman, but, “for me, in stand-up, it always felt like the pinnacle to have an hour…. It was a really great way to cap off all the work I’ve been doing since I started, and, to have an hour that was sharp, it felt like everything. And to do it with Just for Laughs, name of all names, it was everything and it was incredibly fun.”

Hoffman’s numerous writing credits include The Chris Gethard Show on TruTV, which just wrapped up last year, episodes of PBS’s Odd Squad (which has won an Emmy for writing), and CBC’s Workin’ Moms and Baroness von Sketch Show. Most recently, she wrote for eight episodes of the series Mind Fudge. The Crave special allowed her to jump back into stand-up full-time.

“To be doing stand-up night after night until this hour was great. And I had never recorded the hour all at once,” she said. “I was doing it in small increments of 10-minute spots, 15-minute spots, seven-minute spots, so when I recorded the hour, it was the first time I had done that hour. I had to nail it, working through all the themes … making sure it all cohesively worked, even though I only really worked on it in portions. So, agonizing over the different portions coming together and working on the transitions from different themes so that they flowed.”

And they do flow, somehow, despite the vast diversity of topics. She said that (apparent) randomness is a signature of hers. She uses it both to take audiences off guard, but also as part of the joke. As well, she uses it to prepare people for what’s coming. For example, she drops hints along the way to warn the audience well in advance that she will be talking about the Holocaust, so that, when she gets there, they will have been with her for some time. Then, she said, when “we’re really in the thick of it together … I’ll reward you with hand-job material or whatever.”

While Hoffman said she doesn’t have any red lines when it comes to comedy, she said, “I talk through my own experiences only. I’m never going to step into a territory that I don’t feel is mine to speak about. But, beyond that…. If it’s something within my realm of what I could talk about and you tell me not to talk about it, that’s what I want to talk about more. For instance, the Holocaust is taboo, and some people are really offended by [jokes about] it. I feel, as a Jew, I’m reclaiming it and, if you’re telling me not to talk about it, I’m going to.”

She said, “I think that Jewish people can talk about Jewish experience. I think black folk can talk about black experience. I don’t think there’s anything off limits within the Jewish community for me. I do think everything is off limits to me with regards to communities I’m not a part of or I don’t have a firsthand experience. My comedy is very firsthand – I’m not doing observational humour that are these one-liners that can relate to anyone. My comedy is unique, such that I’m the only person who could say my comedy…. You hear of big comedians having writers – I don’t feel like that would work for me simply because my comedy is so personal. I’m the only person who can write my own comedy.”

And Hoffman’s background is unique, indeed. Born in Brooklyn, she grew up in Montreal, where her mother raised her and her nine siblings as a single parent, having divorced Hoffman’s father and having left the Chassidic community. Hoffman came out as lesbian in her late teens, left home at 18 and kept kosher until about the same time. She started her working career as an accountant.

“I wanted to have a Plan B,” she explained, “and I knew that the arts was always something free, that if I wanted to do it, I could do it on my own, and I could find a way that wasn’t with the structure of school to do it. But a financial backup plan was not something as easily attained for me, so I went into accounting. I thought, well, I can always get a good job.”

With a laptop from her employer and a regular paycheque every two weeks, Hoffman said, “I felt like a billionaire. I can’t even explain what it was like…. It was just the best to be able to sleep at night. Being worried about money is not something a lot of my peers thought about. I felt very alone in that sort of stuff.”

Once she “felt safe and comfortable,” that’s when her “creative juices went wild,” she said, and that’s when she discovered stand-up.

“I didn’t grow up with it, I wasn’t somebody who had the albums and all this stuff, but, once I knew about it, I immediately thought, ‘Oh, I feel like I could do that.’ I don’t mean to say, ‘Oh, it looks easy.’ A lot of people think they could do it – I felt like it was me. I felt, ‘Oh, my God.’ It felt like me already. And I got started immediately.”

Thinking that all stand-ups wrote, she started writing. Noting that it was only later that she realized how little comedians also write, she said, “I wrote a pilot and, even though it never got made, it did get me rep and it got me writing on other shows and it started my writing career. But it’s amazing how many times I’ve been the only active stand-up and writer in a writers’ room, which I didn’t know.”

Hoffman is driven by her love of the work.

“What’s so incredible about doing what I do and making a living doing what I do is … I never imagined it possible. I didn’t know these careers as careers. I didn’t know writing was even a thing, let alone what you got paid for a script, nothing like that. But waking up and not dreading where I go to work every day is still something I don’t take for granted.”

She started as a writer’s assistant. “I was first one in, would get there early, have my coffee, enjoy. I was last one out. I was never more motivated – and it’s still to this day. I would have to be literally on death’s door not to go into work because I love it so much.

“I’m also really lucky in that the shows that I do work on, I choose to work on them for a certain reason. There’s something about them that either gives me growth or it gives me a challenge or I really just love it. And it’s a pleasure to work creatively all day, every day, and to be valued for it.”

As for what lies ahead, Hoffman said, “I have so many goals. Think of the biggest goal you can imagine, and that’s what I have for myself. Yes, my own show. Yes, who knows, my own studio. I don’t even know where it could go. I just want to try for the biggest, best thing. I want my life to be as much as I want it to be. There’s no limit on wanting that for yourself. There shouldn’t be a limit on dreaming. I never want to lose that.

“I almost, for a second, lost my childhood curiosity and dreaming and spirit, for a second, because, when you are poor and you want to be normal, and you want to make ends meet, you do give up a lot, and I was never somebody who was able to dream. We weren’t told to dream, we weren’t taught to dream, we weren’t taught we could be anything we wanted to be, almost nothing. There was not a lot of encouragement, so I gave that all to myself…. I always want to tell myself to reach for the biggest, best, whatever that is, and that changes for everyone. Within my career and within my capabilities, I want to continue growing forever.”

Exhibit starts with friendship

Linda MacCannell’s photograph of John T’Seleie. (photo from Drew Ann Wake)

The new show at the Zack Gallery, Crossed Paths – which explores the connection between the Jewish and the Dene peoples – has its roots in the federal Mackenzie Valley Pipeline Inquiry.

“In the 1970s, I was a CBC reporter in the Northwest Territories,” show curator Drew Ann Wake told the Independent. “When the government proposed a pipeline through the area, they sent Justice Thomas Berger to investigate the impact of the proposed pipeline [in 1974]. He talked to over 30 native communities to get their input. When he was finished, he issued a report recommending the government settle all the claims on land that the pipeline would pass through before construction started…. They are still settling those claims. The pipeline hasn’t been built yet.”

As a journalist, Wake accompanied Berger and his team on that historic trip. She taped numerous interviews with the local people participating in the inquiry.

“Ten years ago, I found those old tapes,” she recalled. “Only audio tapes; it was so long ago. I thought it would be interesting to go back and talk to all of them again. And let their children and grandchildren listen to their elders’ voices.”

photo - Linda MacCannell’s photograph of Michael Jackson — Linda MacCannell’s photograph of Michael Jackson. *(photo from Drew Ann Wake)*

She invited a friend, photographer Linda MacCannell, to create portraits of some of the participants of the Mackenzie Valley negotiations. Over several years, they traveled to the villages Wake had visited with Berger. MacCannell took photos and Wake filmed her interviews. “We created a show of Linda’s portraits and the stories I collected and went on the road. By now, we’ve exhibited this show in 50 galleries across North America,” said Wake.

MacCannell’s large-scale portraits of various members of the Dene First Nations, who live along the Mackenzie River, constitute the heart of the exhibit at the Zack.

“Two years ago, we gave a presentation at the grunt gallery, an artist-run centre in Vancouver,” Wake explained. “We showed the films. After the presentation, a man approached me. He introduced himself as Michael Shumiatcher, a local artist and educator. He said he knew Justice Berger at the time of the inquiry. Michael was a high school student then, and Berger was his best friend’s father.”

Shumiatcher suggested they work together and present the exhibit to schools around the province. Wake liked the idea, and invited him to join her on her next trip north. Also joining the summer 2018 trip were artist Melenie Fleischer and her husband, cellist Eric Wilson, as well as composer Daniel Séguin.

“Daniel saw the video I made of the drummers the previous year,” Wake explained. “He wanted to write new music to incorporate the traditional drums.”

The group traveled to Fort Simpson, N.W.T., to study the drumming culture of the Dene in more depth.

“Séguin wrote a piece of music, called Dehcho, for cello and the drums,” Wake said. “That is how the local nations call the Mackenzie River – Dehcho. Wilson performed it at the local gallery presentation of our show. The gallery was packed. People sat in the hall and stood on the stairs. He had to repeat his performance for all who wanted to hear it.”

As well, Fleischer and Shumiatcher produced several paintings.

One of Fleischer’s, a herd of bison, is suffused with wild, tumultuous energy. “They were huge,” she said of the animals. “They looked up casually and continued grazing and drinking water in the shallow puddles. We were cautious and maybe even scared as we huddled close in the van to take our photographs. Thrilled at our first encounter with the ancestors of the ancient bison depicted on the cave walls of Altamira, Lascaux and others, I knew then that I was going to paint bison.”

A painting by Shumiatcher depicts Wilson blowing a shofar on the shore of the Mackenzie River. Fleischer and Wilson brought the shofar on the trip as a gift.

“Once we got our invitation from Chief Gerry Antoine to come to Fort Simpson and collaborate with Liidlii Kue First Nation on our cultural exploration of music – cello and drums – we were very excited. We were in New York at the time, and I wanted to bring Chief Antoine something special,” said Fleischer. “All I could think of was that our nation was thousands of years old, as were the indigenous people. With that in mind, we went looking for a ram’s horn from Israel, a shofar.”

They visited several Judaica stores in New York. “It was funny,” said Fleischer, “my husband Eric blowing shofars outside the stores, on the sidewalk. He is a cellist and very particular about sound.”

The next step for the group was to approach the Zack Gallery for a joint show. The Jewish artists’ paintings complement MacCannell’s photography, showing another facet of the northern experience. Just as power and serenity dominate the portraits and the photographer’s triptych of the river landscape, the paintings add a touch of awe at nature and its symbiotic relationship with humankind.

The Zack exhibit also includes traditional clothing made by several Dene artists. “Last year, we won a grant from the Canada Council [for the Arts] to commission northern artists,” Wake said. Of the pieces on display, each has a story. In some cases, the stories are real; they happened to the artists’ family members. For others, the stories are purely imaginary or are based on local folklore. Regardless, every story has a link to the tapes Wake collected in the 1970s and the people she interviewed.

Linda Wolki, known for her needlework, created a traditional yellow coat after she listened to the recording of her mother telling Wake how she hunted seals when she was young. “The woman’s story was amazing,” Wake said. “She was out hunting in the snow and cold, and four polar bears decided to chase her. She laughed.”

A pair of embroidered moccasins, made by Agnes Mitchell, is displayed in a plexiglass case next to the pair her father wore for years. The embroidery on the old moccasins – made by Mitchell’s mother – and the new ones is equally elaborate.

“One story I asked an artist to illustrate was an ancient northern legend about an abandoned woman,” Wake said. “The tribe abandoned that woman in the forest because of her sharp tongue. She only had a few coals for her fire, but she survived. She made herself two cloaks – one of raven feathers and another of rabbit fur – and many more objects.”

Artist Jeneen Frei Njootli has brought the cloaks to life. Her creations, a black cloak of raven feathers and another of white rabbit fur, hang in a corner of the Zack, one above another, as a tribute to her people’s tenacity and their drive to survive in the harshest conditions.

photo - Raven cloak made by Jeneen Frei Njootli — Raven cloak made by Jeneen Frei Njootli. *(photo from Drew Ann Wake)*

“We were very proud to learn that recently Jeneen Frei Njootli was chosen as one of the five finalists for the Sobey Art Award, an annual prize given to the most promising Canadian artist under 40,” said Wake, who then pointed to a blue coat on display. Smiling, she said, “And that coat belongs to Michael Jackson. But not the Michael Jackson of pop music. Our own Michael Jackson, a Vancouver lawyer who, in the 1970s, was part of Justice Berger’s team.”

When Wake started working on this show, one of the new interviews she conducted was with Jackson. “He worked with many First Nation people,” she said, “and I asked him how come he was so empathetic to their plight. He said it was because he was Jewish. When he grew up in London, England, he experienced antisemitism. He knew hunger as a child in post-World War Two Britain. It made him sensitive to others suffering from discrimination. Made him want to help.”

During the Berger inquiry, Jackson befriended one of the local men, John T’Seleie, who organized his community to meet with the inquiry’s lawyers.

“Their friendship has lasted for decades. They’re still friends,” Wake said. “As a child, T’Seleie was a student at a residential school. Like many others at residential schools, he suffered. As an adult, he became an advocate for his people.”

The portraits of these two friends hang side by side on the gallery walls, and the film Wake made of her interviews with them is also part of the exhibit.

“That’s how our entire show started, so many years ago,” she said, “with those two and their friendship: a Jew and a Dene.”

Crossed Paths is at the Zack until April 7.

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

Glory tour starts soon

The original cast of Glory. (photo by Barbara Zimonick)

I hope Glory inspires audience members to look up the Preston Rivulettes and learn how amazingly driven, committed, skilled and bad-ass these female hockey players were,” Advah Soudack told the Independent.

The Rivulettes were entered into the Canadian Hockey Hall of Fame in 1963. According to the website of the Rivulettes Junior Hockey Club, “The team played an estimated 350 games between 1930 and 1940, tying three and losing only two. In that 10-year span, the Rivulettes were 10 times the winners of the Bobbie Rosenfeld Trophy that was presented each year to the champions of Ontario. They were also six-time winners of the Eastern Canadian championship and the Elmer Doust Cup that went with it. They won the trophy each time they competed for it. The team’s crowning achievement was capturing the Lady Bessborough Trophy as Canadian champions no less than six times.”

“Their determination, their courage, their fight and their passion” were what inspired Tracey Power to write Glory, which starts its touring run March 29-30 at Kay Meek Arts Centre in West Vancouver.

Power was also interested in 1930s Canada, which “presented many personal challenges, a national depression, the growth of international hatred that would ultimately become the Second World War, and how those international relations greatly affected Canadian multicultural relations, antisemitism and sexism, to name just a few.

“Through hard times,” she said, “we often turn to sport or entertainment for escape, for community and for strength. For me, the women on this team and their coach represented not just a team of hockey players, but a country fighting to survive.”

Glory premièred last year, and the touring production brings with it some changes, including two new actors, Andrew Wheeler as the team’s coach, Herb Fach, and Soudack as the character Marm Schwartz.

photo - Tracey Power — Tracey Power *(photo from Gateway)*

“The choreography grows and strengthens with every run,” said Power of other changes. “I’m a huge believer in trying new ideas, and the more detailed we can be in our storytelling, the more exciting it will be for our audience. There may be some new text ideas that come out of rehearsal. I’m always open to a new play exploring new territory each time we go back into rehearsal.”

Kate Dion-Richard reprises her role as Helen Schwartz.

“Tracey reached out to me a couple of years ago to play the part of Helen in a workshop and reading for the show,” said Dion-Richard. “A few months after the workshop, I auditioned formally for the role. That included reading a couple of scenes, as well as taking part in a group dance call. The dance was a new style of ‘swing-skate’ that Tracey had created, which incorporated swing dance moves of the 1930s with hockey skills and plays.”

It is not an accident that Jewish community members have been cast as the real-life Jewish sisters.

“Marm struggles with being able to get the education she wants because of quotas universities had at the time; she fights back against antisemitism and must find ways to deal with her anger both on the ice and off. Helen is confident in her femininity and struggles to figure out how such an aggressive sport fits within the expected view of a woman of that time. It has always been important to me to have Jewish actors play these roles,” explained Power.

“During the development of the play,” she said, “the conversations we had were instrumental in bringing the characters’ truths to the stage. I am not Jewish, but it’s my duty as the playwright to understand the souls and bones of these women and what they went through. I’m extremely thankful to Kate Dion-Richard, Gili Roskies [who played Marm last year] and Advah Soudack for being so open and honest with me about their own Jewish history.

“Bobbie Rosenfeld was one of the most famous Canadian athletes of the 1920s/30s,” she added. “She was an Olympic gold medalist and, among many other sports, played hockey for the Toronto Pats. She inspired many women to follow their athletic dreams – including Hilda Ranscombe, who was the Hayley Wickenheiser of the Preston Rivulettes – and, much like Marm, she also fought against antisemitism in her sport and life.”

“The awareness of, frustration and personal experience with antisemitism are a big part of Marm’s storyline and journey in this show,” said Soudack. “I personally have not experienced the extent of antisemitism that Marm experiences in this story, however, my close family members have, and I can understand and imagine what it would be like. I feel that I bring my strong sense of Jewish identity to the role of Marm, with all its deep-rooted traditions and expectations. I also share and connect with the concern and, at times, discomfort Marm feels with being Jewish in a world where antisemitism lingers right around the corner.”

photo - Kate Dion-Richard — Kate Dion-Richard *(photo from Gateway)*

Dion-Richard, whose Jewish side of the family is from London, England, grew up hearing stories of living through the war from her grandparents. “Those stories stay with me and in many ways is why this role is so close to home,” she said. “Although Helen is Canadian, the antisemitism felt in Canada in the 1930s was strong and I am able to connect to that through my family’s experiences. Also, on a lighter note, I married a man who isn’t Jewish and so did my character, so that’s a nice similarity.”

And there are other connections for Dion-Richard, who was a hockey fan before taking on this show. “My large extended family of Richards are huge Montreal Canadiens fans due to our distant cousin Maurice Richard (‘The Rocket’),” she shared, “and I grew up on the West Coast, so the Canucks were frequently on the television at home. I have definitely become more of a fan since doing this show – especially of women’s hockey. The Canadian women’s team is incredible and I’d love to meet them and chat about their experiences as women in a traditionally male-dominated sport. I’d also love to know if they know about the Rivulettes!”

Soudack admitted to not having been much of a hockey fan before she started her research and work on Glory. “My husband is a big fan, so I always hear him talking about it, and get dragged onto his computer to watch videos of amazing plays and goals,” she said. However, since Glory, she has become more interested in the game. “I recently went to Thunderbird Stadium to watch the UBC Women’s Hockey playoffs,” she said. “Their commitment, drive and talent were inspiring. I was moved to tears as I sat there, thinking of Hilda, Nellie [Ranscombe], Marm and Helen, realizing and deeply understanding why they loved the game so much.”

photo - Advah Soudack — Advah Soudack *(photo from Gateway)*

About sports and the relevance of the Rivulettes’ experiences for today’s audiences, Soudack said, “It still feels the same, in regard to women not having the same opportunities and not really being seen as equals to men in athletic ability. I find it sad that young girls can fall in love with a sport and be exceptional at it, like Hilda Ranscombe; however, there is no future career they can look toward. Once the war was over, women’s opportunity to play sports vanished, whereas the men’s opportunities and careers took off.”

“Women not only had to fight for ice time – often having to play and practise in the very early hours or very late hours of the day; essentially when the men didn’t need the ice – but they also had to fight to be taken seriously,” said Dion-Richard. “Many of the reports of the women’s hockey games included remarks about the apparent lack of femininity within the game and some even questioned the sex of the players because of how aggressive the women were. Also, women were unable to be professional hockey players. The men were paid and the women weren’t. As a woman living in 2019, I still see the need to fight for equality with pay, representation and respect.”

Directed by James MacDonald, Glory has some minor profanity and is recommended for ages 9+. The Western Canada Theatre production – which includes Katie Ryerson as Hilda and Morgan Yamada as her sister, Nellie – heads to Gateway Theatre in Richmond April 4-13 after the March 29-30 Kay Meek shows, then to Capitol Theatre in Nelson April 16, Vernon’s art centre April 18 and Coquitlam’s Evergreen centre April 23-27. It also travels to Ontario, where it plays in several communities over the course of a few months.

“I’d love to add that this show has something for everyone,” said Dion-Richard. “The Canadian history is so important to know, as well as the fight for respect and equality that these women pushed for. They really paved the way for all of us and I hope we can show how grateful we are to them for that. This is a show that could be a link for people who don’t normally go to the theatre. It fuses sport and theatre with Canadian history, and the story is as relevant today as it was in the 1930s.”

JNF gala features comic Gold

Elon Gold performs in Vancouver on April 14 at the JNF Negev Gala. (photo from elongold.com)

Comedian Elon Gold loves doing charity events, especially Jewish ones. The Independent caught him for a phone interview as he was on the road – with his family – to Las Vegas from Los Angeles to do gigs for the Adelson Education Campus and then the Israeli-American Coalition. On April 14, he will be in Vancouver to co-headline, with Ambassador Ron Prosor, the Jewish National Fund, Pacific Region, Negev Gala. The event raises funds for Sderot Animal-Assisted Therapy Centre.

“I feel like I’m doing a mitzvah by making my people laugh. And I’m also helping this cause that’s really important, and Israel is really important to me,” said Gold. “And we’re living in a highly antisemitic time, it’s dark out there, so anything I can do to bring light into our world and make my fellow Jew happy, I’m there for it.”

Gold’s resumé is impressive. He starred in the television series Stacked and In-Laws, had a recurring role on Bones and on The Dana Carvey Show. He guest starred just recently on HBO’s Crashing and, longer ago, on shows including Frasier and The Mentalist. He has appeared in films, his one-hour Netflix special, Elon Gold: Chosen and Taken, is available on Amazon and his show Elon Gold: Pro-Semite premièred at the Montreal Comedy Festival. He has made multiple appearances on The Tonight Show and his July 2018 segment on The Late Late Show With James Corden – how, like everyone else, Jews love sex, money and food, but just in a different order – has been watched and shared by countless people on the internet, as has his routine on why Jews shouldn’t have Christmas trees and so many others.

Despite all of his accomplishments and his years in the business, Gold still gets excited about his work, and he shared what he described as a “wow” moment, one of the best days of his life, almost immediately when talking with the JI.

“Yesterday,” he said, “I was filming a scene of Curb Your Enthusiasm with Larry David…. It was really, truly a dream come true.”

But Gold didn’t take his being hired by David as a sign that he had “made it.”

“The truth is, I have been a guy with lucky breaks and hard breaks for the last 20 years,” said Gold. “This is another achievement, and one that’s beyond anything I would dream of…. I’m gratified in the sense that I finally feel like I’m in a place, not where I’ve made it, but where I actually have fans, and my clips are viral and people are sharing my bits on Facebook, WhatsApp or whatever. I did the James Corden show and, again, that doesn’t mean I’ve arrived … but what’s cool to me is that I did that set and then everyone’s sharing it, especially Jews. My biggest fans are my people.”

It’s been a 25-year journey, said Gold of his career, “with all sorts of great highs, like yesterday, and huge lows, like having a sitcom that you pitched and created and started get canceled. There are so many lows, and then there is the daily rejection that is show business. And that’s why I’m so glad I’m a comedian and an actor. I get rejected all day in Hollywood at auditions, but then, at night, I’ll go to the Laugh Factory comedy club and I’ll have 300 people roaring, and that will validate [me] – I knew they were wrong! I knew I could do this. See, I’m funny. These people think so, at least.”

Gold said his resilience, his ability to keep trying, likely comes from stand-up. “Because stand-up is all about bombing and killing, and the killing is so worth it that even the terrible, dejected feeling of bombing [is manageable].”

As far as his career, he said, “I have no other choice. I don’t love doing anything else and I’m not good at anything else.”

Known for his impressions, he said, “I used to impersonate my teachers in eighth grade.” His goal wasn’t to ridicule people, he said, but to make even the teachers laugh.

He enjoyed making people laugh, and writing comedy. One of the first things he wrote, he said, was a Purim shpiel. “And I’ll never forget the feeling of having the entire high school laughing, and thinking, there has never been anything more gratifying than what I just did, I want to do this more. Everybody says it’s like a drug…. It’s so addictive. Once you get a taste of it, that’s it, you’re hooked. And very little can discourage a comedian [so much that they get] out of comedy; certainly not a bad set, because we all know that we all have them.”

A combination of things drives him.

“It’s probably disingenuous to say that I do this because I love to make others laugh,” he admitted. There is a selfish aspect to it, he said. While making people happy is a “key component” of why he does comedy, he said, “I also love everything about it… I love the process of having an observation and then writing it and tinkering with it and working on it. I love doing it and I love the fact that I have so much freedom in my days because I don’t have that nine-to-five job most people have…. I’m always working. At the same time, I’m always on vacation.”

Gold loves getting the laughs, and said that’s probably 70% of the reason he does comedy; the other 30% is making people happy.

“There is so much misery in the world,” he said, “to make people happy is a great thing, but it’s only a part of it.”

On the acting side, Gold said his favourite kind of acting is for sitcoms “with a live studio audience because you’re still getting the laugh but now you’re not looking at the audience and talking to them, you’re looking at your fellow actor … and, peripherally, you hear and see these people cracking up.”

Ultimately, he said, “I just love performing.”

The only “grueling part,” he said, is the memorizing “and the pressure of 200 people staring at you, saying, ‘You better know your lines, pal, because we’re all here and we all want to go home…. Acting is challenging, but it’s also just fun…. It’s fun to get into a character and just play.”

Gold, who is from the Bronx originally, recalled his first open-mic night at the Comic Strip Live in Manhattan; he was 16 years old. “Fortunately, I had beginner’s luck because I was doing impressions – my early act was all impressions – and impressions are like magic tricks, they just wow the audience.”

Despite being a touring comedian by university (he got a bachelor’s in economics at Boston U), it took years, he said, to develop his own voice, to figure out what he wanted to talk about and how to talk about it.

“I’m obsessed with Jewish stuff because I live such a Jewish life,” he said. “I’m an observant Jew, I keep Shabbos and all that stuff, keep kosher. So much of my life is in the Jewish world, I can’t help myself but to come up with observations about our traditions, our holidays, our rituals. A lot of what I talk about is what I live…. The other part of my life is being married, being a dad, so I talk about that.”

Gold and his wife, Sasha, have four kids, two sons and two daughters, ranging in age from 9 to 18. The couple is coming up to their 25th anniversary in June.

As he stopped to fill up his car with gas on the way to Vegas, he told the JI about why he likes performing at Jewish events, while simultaneously directing his kids to be quick about heading into the gas station, as they were running late.

“There are not a lot of comedians out there that will go that deep into the Jewish experience and, for me, there are not a lot of audiences I can share my Jewish experiences with,” he said. “I can’t do lulav and etrog jokes on James Corden…. At the same time, we’re raising money, we’re raising awareness for incredible organizations…. It’s all win-win for me – I’m raising money, I’m making money, I’m getting laughs, I’m getting to do material I don’t do anywhere else…. And I love Jewish audiences; I love connecting on more than just a human level…. We’re connecting about a shared experience that is almost indescribable to anyone else.”

For tickets to the JNF Pacific Region evening event on April 14, which will be held at Schara Tzedeck, call 604-257-5155.

The dangers of drones

An image of drones filling the sky from Reva Stone’s Falling. (photo from Reva Stone)

Multi-awarding-winning Winnipeg artist Reva Stone researched drones for three years and then began creating art to share some of what she had learned about how the technology affects our lives. The exhibit erasure, which comes from that research, features three works – Falling, Atomic Bomb and Erase. It is on display at the University of Manitoba’s School of Art Gallery until April 26.

“I’m very much an observer of what’s going on with new technologies, so when I saw the impact that UAVs [unmanned aerial vehicles] were starting to have – especially with war and changing the nature of war – I applied for and got a Canada Council [for the Arts] grant to do a lot of research and reading about what actually is happening,” Stone told the Independent.

She went so far as to get two quadcopters, to understand what they really sounded like, and hoping to use them in her art, which she has.

“I was working on this, and then I started thinking about our skies filling up with these commercial and militarized drones and how they were basically machines … that could fall out of the sky … that could crash into each other, that could bring down an aircraft. We were filling up our skies,” she said. “And then, about two years ago, I was reading and realized that we were now targeting not other countries, but targeting humans.”

photo - Artist Reva Stone’s exhibit erasure warns about the use of drones in our society — Artist Reva Stone’s exhibit erasure warns about the use of drones in our society. *(photo from Reva Stone)*

Stone ended up making five or six individual pieces that deal with different aspects of the use of drones, but relate to one another. Depending on the exhibition venue, she decides which ones will work best together in a particular space.

Originally, drones were developed for spying purposes for the military. Later versions were outfitted with weapons for protection and assault. More recently, commercial drones have been developed. Now, anyone can buy a drone for as little as $20. This easy accessibility is challenging our society, contends Stone, causing hazards to planes in airports, affecting people at parks and disrupting the peace.

“Drones are becoming these things that fly in the air that have no human controllers … that are almost autonomous,” she said.

Stone often uses computers, movies, motors and speakers to help fully immerse visitors in her art pieces.

The work Falling, she said, “is an animated video that I made that has to do with what I see as a very new future, wherein UAVs are ubiquitous, because of civilian, military, commercial and private use.

“It’s almost slow motion or balletic on a massive screen,” she said. “There’s constant falling out of the skies, sometimes flipping as they fall. Sometimes, there’s a drone that has exploded in the sky … sometimes, small and far away and, sometimes, they’re so big when they fall through the sky that they look almost life-size and you’ll have to back away from the screen … that will be the feeling you get. Then, sometimes, there are these little windows that open up and you look through, into another world, and that world is more about what we’re fighting about – the fact that we are actually using these to make war. Other than that, some of them are commercial, some are cute, some are scary looking … and it’s like a continuous rain coming down.”

Atomic Bomb is also a film.

“I started with an early atomic bomb explosion,” said Stone. “It was a 30-second film and I made it into an almost 20-minute video. I really slowed it down and altered the time to give the impression that the person in the exhibition space is looking at a still image caught in time. I show this video together with texts that I found speak to the history of the use of radio-controlled airplanes and UAVs, and to longheld ideas about collateral damage – the relationship between … the use of atomic bombs and the use of drones and collateral damage, which, to me, is a huge issue with the use of drones as military.”

photo - A single frame from Reva Stone’s Atomic Bomb video piece — A single frame from Reva Stone’s Atomic Bomb video piece. *(photo from Reva Stone)*

The first text is from Harry Truman, the American president who made the decision in the Second World War to use the bomb, and it reads: “The world will note that the first atomic bomb was dropped on Hiroshima, a military base. That was because we wished, in this first attack, to avoid, insofar as possible, the killing of civilians.”

The next one is from John Brennan, Central Intelligence Agency director from 2013 to 2017: “There hasn’t been a single collateral death because of the exceptional proficiency, precision of the capabilities we’ve been able to develop.”

According to Stone, “This is just bullshit. But this is part of the cleaning up of the media presentation of all these ideas and all these things I’ve been researching, that I’ve been noticing going on over time. And, it has actually made me change the name of the work. I was going to call all three of them a totally different name. Recently, maybe a month ago, I changed it to erasure because of the erasure of people, the erasure of a lot of critical dialogue that’s been happening since I started researching in 2015 … how we are mediated, what we are presented with as a culture. The info is so mediated by how it’s reported, and if it’s reported.”

Stone wants “her audience to consider how the capabilities of such technology may be turned against citizens and how governments might, and do, get away with employing them in the name of patriotism in ways that ultimately test the ethical and moral values of its citizenry,” notes the exhibit description. “With news cycles moving so rapidly, the reports of deadly events quickly fall from memory, seemingly erased from public consciousness.”

The third piece, Erase, is interactive. Stone said it is based on what, in her view, the Obama administration practised – the targeting of individuals based on algorithms, mostly guilt by association.

“With this one, I’m actually replicating the procedure,” she said. “I have my two quadcopters that are doing the surveillance and capturing people in the exhibition space, unbeknownst to them. Then, they get captured and saved.

“Then, it’s a process that goes on, that they get played back. And you begin to realize that you’re under surveillance, the people in the space. And, every so often, a target comes up over one of them, one of the captured images. It’s really intense and an explosion occurs, and that person actually comes out of my captured list. That person will never show again. They’ve been erased.”

The exhibit erasure opened Feb. 7. For more information about Stone and her work, visit revastone.ca.

Rebeca Kuropatwa is a Winnipeg freelance writer.

Things aren’t a person

Camera in model, from 306 Hollywood. (photo from El Tigre Productions)

Annette Ontell, the New Jersey grandmother at the centre of the glorified home movie 306 Hollywood, lived an ordinary middle-class Jewish existence for six decades at that Newark address.

She didn’t come close to the achievements of RBG heroine Ruth Bader Ginsburg, nor the fame (and heartache) of Love, Gilda star Gilda Radner. Nor did Ontell have the tabloid TV highs and lows of the separated brothers in Three Identical Strangers, yet another documentary with Jewish protagonists that made waves at the box office last year.

Of course, one needn’t get her name in the paper or his face on a screen to live a productive, satisfying life. More to the point, plenty of wonderful and profound documentaries have been made about the small-scale triumphs and travails of everyday people. 306 Hollywood, which received a brief theatrical release in 2018 and airs on PBS’s POV series in the coming weeks, is not one of them.

Siblings Elan and Jonathan Bogarin affect an imaginative and stylized “dig” into their dear grandmother’s objects and possessions to the accompaniment of a kinda whimsical, kinda wistful indie-film score. Their strategy yields a parade of eye-catching images and bizarre set pieces that, individually and collectively, provide no insight into this, or any, American life.

The upshot is that 306 Hollywood combines the lacquered sheen and pastel palette of long-form television with the naiveté-masquerading-as-perceptiveness of a film-school project.

photo - The directors’ grandmother’s silhouette, from their film 306 Hollywood — The directors’ grandmother’s silhouette, from their film 306 Hollywood. *(photo from El Tigre Productions)*

To be sure, the filmmakers’ goals, in addition to crafting a work of commercial art, are worthwhile: to uncover and grasp the meaning in a person’s life, and to honour and preserve the memory of a beloved relative whom they visited (with their mother) almost every Sunday for 30 years.

The Bogarins opt to catalogue and focus on the massive detritus – from radios and vacuum cleaners to rubber bands and fashion magazine clippings – that Ontell amassed over the 63 years she resided in the house, most of it spent with her husband. (Her brother lived with them, but he died in his late 40s.)

Ontell had a career as a dress designer and dressmaker, but the creative person she once was doesn’t emerge in the prosaic interviews that her grandchildren filmed with her over the last decade of her life. Instead, to conjure a person (and a personality) from her inanimate objects, the filmmakers enlist a “fashion conservator.” To invoke the metaphysical resonances of time and memory, they turn to physicist and author Alan Lightman.

Perhaps in a nod to Ontell’s artistic impulses, the Bogarins stage a fashion show with her original evening dresses in the yard at 306 Hollywood, and a ballet of young women modeling mid-20th-century lingerie. These sequences are visually impressive but self-indulgent. They aren’t as misguided, however, as the excruciatingly long home-movie scene of the filmmakers’ mother cajoling Ontell (her mother) into disrobing and donning one of her vintage dresses from the 1950s.

The pained presence of an older woman prodded into revisiting the past through her garments does have one benefit: it frees 306 Hollywood from the bonds of hagiography. But none of this gets us any closer to appreciating Ontell, or any emblematic Jewish mother, or to gleaning significance from the connection that human beings have to their possessions. The filmmakers’ choices are so showily ineffective, in fact, that we only rarely reflect on the emotions triggered by the absence and memories of our own forebears.

The most gifted documentary filmmaker I know at transforming the personal into the universal and the banal into the profound is Alan Berliner. The Jewish New Yorker’s masterful family portraits Intimate Stranger (1991) and Nobody’s Business (1996) can be streamed for free through Kanopy, accessible with many public library cards.

306 Hollywood airs March 30, 11 p.m., on KCTS 9 and on WTVS April 4 (check local listings for the time).

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

Gotta Sing! 2019 registration

(photo from JCCGV)

For the past 24 summers, Gotta Sing! Gotta Dance! has attracted hundreds of enthusiastic and talented participants from throughout Canada, the United States and Israel, many of whom have gone on to successful careers in the performing arts. The deadline is April 1 to apply for this summer’s sessions, which take place at the Jewish Community Centre of Greater Vancouver July 2-25 and Aug. 6-29.

The director and creator of Gotta Sing! Gotta Dance! is Perry Ehrlich, who received an Ovation Award and the Canadian Bar Association’s Community Service Award (acknowledging his dedication to working with children and musical theatre). A composer, pianist, teacher, arranger, producer, adjudicator, writer and talent coordinator, Ehrlich also directs ShowStoppers performance troupe (theimpresario.ca).

Gotta Sing! Gotta Dance! is taught by a faculty of professional instructors, each working in his or her respective field, including musical directors Wendy Bross Stuart and Diane Speirs; director Chris McGregor; choreographers Anna Kuman, Jason Franco, Keri Minty and Meghan Anderssen; acting coach Amanda Testini; and Mariana Munoz and Charlie Weaver, set construction and costume co-ordination.

Peter Birnie, former theatre critic for the Vancouver Sun, commented that the faculty members “are all teaching in a carefully choreographed nesting of studies that takes place all over the JCC and culminates in a big, brassy show. I try to attend every year, and always come away just as thrilled as the parents and families with the level of talent on display. It is about the joy that comes from singing your lungs out and dancing your hooves off.”

This year’s final production in each session – called Shamilton – will take place in the Rothstein Theatre and feature an original script and a broad repertoire of music from Broadway and movie musicals.

The Finishing School will again be offered for serious musical theatre students attending Gotta Sing! Gotta Dance! and it will feature approximately 10 sessions from 3:15 to 5:15 p.m., after the regular program, which will run 9 a.m. to 3 p.m. Finishing School students will receive instruction in audition technique, presentation of songs and scene work, and will participate in intensive dance workshops and meet with well-known professionals in the theatre community.

The Boot Camp Dance – for those either new to dance or wanting to refine their skills – will also be offered.

The cost to attend Gotta Sing! Gotta Dance! is $750 for JCCGV members and $850 for non-members. Scholarships are available through the Babe Oreck Memorial Fund, the Phyliss and Irving Snider Foundation, and others for those with financial need.

For more information and registration, visit jccgv.com/performing-arts/gotta-sing-gotta-dance.

Using absurdity to illuminate

Left to right are GOLDRAUSCH actors Tebo Nzeku, Gray Clark, Karthik Kadam, Matthew Rhodes and Hannah Everett. (photo by Javier Sotres)

GOLDRAUSCH is described as “a comedy with music that journeys through film director Oskar’s efforts to make a film about the man who started the Gold Rush Fever of 1848: the ‘Emperor of California.’ Mixed with classic country and Mexican banda songs, GOLDRAUSCH is the story of rampant jealousy, greed and ambition run amok, as dueling actors fight for their close-ups in Oskar’s magnum opus.”

The University of British Columbia’s theatre and film department presents GOLDRAUSCH at Frederic Wood Theatre March 14-30.

“GOLDRAUSCH follows the story of director Oskar, creating a film on Johann Augustus Sutter, based on the book Gold by Blaise Cendrars,” explained Hannah Everett, who plays the role of Marlene in the UBC production. “Sutter was a German-born colonizer who came to America, set up a farm for himself and became rich – until the gold rush of the 1850s, which destroyed the land he had taken.

“The playwright, Guillermo Calderón, is commenting on how Blaise Cendrar’s Gold is an exaggerated and fictionalized version of Sutter’s life that glosses over his problematic character, and the history surrounding the land and people during this time,” she said. “The play begins months into the shoot when Oskar realizes his film has become boring, and lacking ‘soul.’ He decides to bring in two new actors and shoot a porn scene, much to the other actors’ surprise.”

Marlene is one of the new actors.

“Marlene has been hired by Oskar to perform a porn scene and body double the leading lady, Greta, on set,” said Everett. “Marlene represents Oskar’s ‘fresh start’ to the film, in order to make it more interesting. Throughout the play, we learn she contracted hepatitis from the porn industry and is incredibly poor. She needs this job to make money and survive, which sends Greta into a panic as she learns Marlene is her replacement.”

Appropriately for a play about a film, GOLDRAUSCH is a multimedia work.

“GOLDRAUSCH features real cameras and sound equipment that will project film scenes onto the stage,” said Everett. “We are calling it a ‘meta-theatrical comedy with music’ and, in a way that is somewhat Brechtian, the play often breaks into song and dance, with karaoke tracks projected onto screens. In a final scene, where Oskar and the four actors interview about their film, it becomes clear that these songs are included in the film soundtrack. The multimedia layers to this piece create an effect that continues to take the audiences out of these different worlds of the past and the present, and remind them that they are watching a performance – and that not everything is always as it seems.”

Calderón, a Chilean playwright, wrote GOLDRAUSCH in 2017, “in a continuing time of political upheaval and uncertainty, particularly in United States,” said Everett. “Johannes Augustus Sutter came to America in the 1800s, stole land and enslaved indigenous peoples. His story, Calderón highlights, is unfortunately still incredibly relevant.

“Calderón asks us to think about land ownership, freedom and immigration. He shows us how history repeats itself,” she said. “The play satirizes Cendrar’s book, Gold, demonstrating how we become numb and alienate ourselves from people and politics that attempt to take away basic human rights. This is seen in Oskar’s film, and the ego and greed between the four actors, all struggling for the spotlight…. Calderón has decided to illuminate these issues in a way that is absurd and entertaining, as a way to get audiences to think more actively than perhaps watching or reading a news story.”

Hannah Everett plays the role of the model, Marlene, in UBC Theatre’s production of GOLDRAUSCH. (photo from UBC)

Born in White Rock, Everett grew up in Tsawwassen. She got into acting through various avenues, including Gateway Theatre and high school productions. During a three-year internship with the Riotous Youth program at Bard on the Beach, she helped create A Shakesperience and Shakespeare Unhinged. She also participated in the InTune Young Company Intensive with Touchstone Theatre and with the Stratford Theatre Performance Intensive.

In the course of her university studies, Everett has performed in many theatre and some film productions at UBC, as well as in other theatre productions. In her fourth and final year of UBC’s bachelor of fine arts acting program, Everett graduates in May.

“I’m hoping to get a film agent and, ideally, work in both film and theatre,” she said of what comes next. “I am keen to explore more devised performance, Shakespeare and the contemporary Canadian theatre scene. What I love about this line of work is that it scares me and challenges me to always keep learning, whatever the future may hold.”

Everett’s love of theatre came from her maternal grandmother, Irene N. Watts, who most recently has published Seeking Refuge (2016), a graphic novel, with Kathryn E. Shoemaker, which is a sequel to the graphic novel version of Goodbye Marianne. (See jewishindependent.ca/meet-award-winning-artists.)

“Her most well-known trilogy includes the novel (adapted from the play) Goodbye Marianne, which draws from her experience as a child Holocaust survivor, arriving in England via the Kindertransport from Germany,” said Everett of her grandmother. “In England, she became a teacher and worked in drama education before coming over to Canada in 1968, where she continued working in children’s theatre, acting and directing.

“Her love for theatre trickled down to me, and I was incredibly fortunate to be taken to numerous productions over the years, and given seemingly endless supplies of plays and books. Our shared passion has created such a cherished and close relationship and, as Judaism has had such a deep effect on her life and storytelling, I am always eager to share and learn her stories. Coming from both Jewish and non-Jewish heritage on my father’s side, I have learned to appreciate and be open to different views of the world, especially when it comes to making art.”

Tickets for GOLDRAUSCH – which contains adult themes and language – can be purchased from ubctheatretickets.com or 604-822-2678.