Performing Arts – Jewish Independent

Dancing with purpose

Vanessa Goodman (photo by David Cooper)

One could be forgiven for thinking there was a Jewish dance festival coming up, as there are so many community members participating in this year’s Dancing on the Edge, which takes place July 2-11.

Adapting to the circumstances of the pandemic, which limits public gatherings, DOTE festival producer Donna Spencer recently announced that, while it won’t be possible to present the initially planned 30-plus live performances, the festival “will be offering instead some specially curated digital programming with live-streamed performances, premières of dance films, dance discussions, four outdoor live performances in the Firehall’s courtyard and one dynamic theatre performance at the Firehall Arts Centre theatre (all live performances for very limited audiences with safety precautions in place).”

Among the featured dance companies and choreographers are, in alphabetical order, Action at a Distance (Vanessa Goodman), All Bodies Dance (Naomi Brand, with Carolina Bergonzoni), Ben Gorodetsky, Ne. Sans Opera and Dance (Idan Cohen), Radical System Art (Shay Kuebler), the response. (Amber Funk Barton) and Tara Cheyenne Performance.

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Action at a Distance is presenting Solvent, a new work created in collaboration with musician Loscil (Scott Morgan).

“I have been incorporating video footage into my work for years, and the recent time at home has provided an opportunity to generate material and experiment with new editing techniques,” said Goodman. “In some ways, this is an extension of our previous work together. Our first video collaboration was for a song on his album, Monument Builders. Since then, we have built four works together for my company Action at a Distance, including Never Still, which was presented by the Firehall Arts Centre in 2018.”

When the pandemic hit, Goodman said, “At first, I found myself grasping for something substantial to hold onto and tried to reschedule all the tours and premières that were being canceled. It was challenging to let go of everything. Eventually, I came to terms with the downtime and embraced the slow pace as best I could.”

When the need to isolate began, she said, “I started making short dance films for myself and my 96-year-old grandmother to help us stay connected. At times, it has been tough to stay motivated during the shutdown, and this was a simple way to stay creative.

“There’s no way to compare these sketches to a staged dance performance,” she said. “However, when I shifted my frame of mind and started to approach video as a whole new medium instead of an altered version of an existing piece, I became more comfortable with the idea of sharing work this way. I am very grateful to DOTE for bringing the community together to share work right now.”

Even in such times, arts and culture are “absolutely vital,” said Goodman. “Without them, we’re living in the dark ages. It is essential to have creative outlets for expression. Right now, finding connections through creativity can help cut through the isolation. Art can provide much-needed escape and levity in challenging times, as well as reframing current issues and inspiring insight around movements of essential social change.”

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Naomi Brand (photo by K. Ho)

All Bodies Dance Project (ABDP) is bringing Ho.Me to the festival. “The film was commissioned by F-O-R-M, Festival of Recorded Movement, last year … and is a collaboration between longtime ABDP company members Carolina Bergonzoni (choreographer/director), Peggy Leung (dancer), Harmanie Rose (dancer), Mathew Chyzyk (dancer) and Vancouver-based artist Gemma Crowe (cinematographer/editor) and Alex Mah (composer),” said Brand. “Ho.Me explores themes of belonging and comfort in relation to inhabiting one’s own body. The film is comprised of three personal solos shot inside the dancers’ own apartments. In the piece, we get to see these three very different bodies dancing within the privacy of their own homes among the objects that have meaning to them.

“While the film was created long before the pandemic, the significance of moving inside our homes feels really different now since we’ve all been spending so much time inside. Many dancers have been figuring out how to turn our living spaces into places where we can also practise, explore and move, as studios haven’t been an option.”

Since the start of the pandemic, ABDP has moved some of its community dance programming online.

“We also started a weekly virtual gathering for our community of dancers in order to prevent social isolation,” said Brand. “Many of our projects have been on hold. There is so much about what we do as a company that just isn’t compatible with the necessary restrictions of COVID life. Our work is based on bringing people with different bodies, backgrounds, experiences and abilities together to move, share and make in real-time. We’ve been thinking a lot about what kinds of things translate into the digital space and what things just can’t be replaced.”

She said, “Now more than ever we need community and collective experiences, as so many have been isolated during these past few months. People with disabilities in particular have experienced a lot of isolation and so we are even more committed to our purpose at All Bodies Dance Project.”

She added, “Dance is about each of our essential relationship to our own bodies. During COVID times, many of us have learned a lot about our own physical experience of moving through the world and the social choreography of physical distancing. There has been so much choreography on the sidewalks, grocery stores and, of course, in the streets during the incredible protests during this pandemic.”

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Ben Gorodetsky hangs on to an RV’s ladder in There Yet by Edmonton’s Mile Zero Dance. (photo by Marc J. Chalifoux)

Gorodetsky, who is Russian-Canadian, is one half of the political comedy duo Folk Lordz, with Cree co-creator Todd Houseman. The pair tackle racism, among other social ills, and have created a 15-part series “[r]eflecting urban-Indigenous, immigrant and activist perspectives through the lens of biting satire.” A second series of sketches is on its way, but Gorodetsky is bringing a very personal work to this year’s DOTE.

“It’s a movement video piece honouring my grandfather, Dolik (David) Lutsky. He died on April 3, 2020, and, since we could not gather for his funeral due to the pandemic, we were left to sort through our grief alone,” he shared. “One small relief was my grandmother mailing me a box of his clothes. Using these garments as performance artifacts, I created a digital video piece reimagining grieving rituals in the age of COVID.

“I explore the ceremony of wearing Dolik’s clothes and reactivating the narrative, cultural and physical threads of his life. Spoken oral histories exploring my grandfather’s immigration (I was born 10 days after they landed in Canada), identity (he was the official communist ‘propagandist’ at the coalmine he worked at in Ukraine) and faith (he went from being an ardent anti-religious communist to a practising Lubavitcher Jew) provide textual counterpoint to the dance video. The visuals themselves were all created through aerial drone photography, creating a fluid visual style for this interdisciplinary new video work. Country roads, forests and lakes frame this physical score exploring grief, memory and family history.”

Gorodetsky said, “I think if I had been able to grieve, remember and connect with my family after Dolik’s death, I would have no need to explore these ideas artistically. But, since I have not, I have a nagging need to articulate this particular pain through movement, story and visual composition.”

Since COVID, Gorodetsky has become the fulltime caregiver for his 2.5-year-old son. “Time and energy have become scarce resources,” he said, “so I’ve had to get better at working furiously fast while he naps. Focused blasts of creativity.

“Also, my family has been displaced from our home and all our possessions in Brooklyn, N.Y. We were in Kelowna (where I was teaching on a one-term contract at UBC in the performance program) when the border closed and we could not return to our home as planned. So, we’re in Waterloo, living at my sister-in-law’s house, until [who knows when]. Honestly, my mental health is brutal right now. Anxiety grips me in a way I had never experienced before, and I have had to find tactics for replenishing my depleted stores of happiness and hope. One thing that really helps is long bike rides with my son Gus. We get out of the city and follow country roads – we live near Amish country! It’s a small way to feel free, alive and empowered in the midst of these deeply destabilizing times.”

For Gorodetsky, who grew up in Metro Vancouver – in Burquitlam – “dance is a way of moving your grief around. It helps me shake the weight and sediment of catastrophe off and meet my grief as an equal, rather than as a victim.

“Gus and I developed a habit of walking to a beach or body of water, finding a big tree stump, climbing on top and dancing to a playlist called ‘Klezmer Dance Party at Home’ (lots of Klezmatics, Michael Winograd, Frank London, Socalled and Di Naye Kapelye). It’s been a real lifesaver.”

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Idan Cohen (photo by Or Druker)

Ne. Sans Opera and Dance’s Trionfi Amore (The Triumph of Love) was commissioned by Peter Bingham for EDAM’s Spring Choreographic Series, April 2019.

“It is a trio created for three phenomenal Vancouver-based performers, Kate Franklin, Jeremy O’Neill and Ted Littlemore,” said Cohen. “Besides being excellent dancers, these three are also trained musicians, and the piece utilizes their many talents.

“The trio is inspired by the opera Orfeo ed Euridice and is a part of my ongoing research on the theme of Orpheus,” he explained. “It speaks of love, and of the power of music and art to move, entertain and touch us. It also speaks of the power of manipulation and control on the individual and, as we prepare it for DOTE during this time, we find that new meanings present themselves to us.”

Cohen said, “The act of presenting something as abstract as the notion of love in a dance performance is quite a challenge by itself, and nowadays even more so – how do you speak of love without being able to touch, to be close to one another? Instead of looking at this as an obstacle, we choose to look at it as a source of inspiration, a new adventure. As artists, we reflect what we experience and then monitor, or direct, those notions into our actions and creative choices. My responsibility here is to stay true to the origins of this piece, but also to protect the viewers and the performers while offering art that speaks of relevant issues and current experiences.”

It hasn’t been easy.

“Ne. Sans had to stop our season and rethink and rearrange our commitments,” said Cohen. “It has been painful to see how many creative ventures that have been in the planning for quite awhile have been postponed or canceled, and to realize the ensuing financial and emotional toll…. I believe in the value and presence of arts in our community and in our lives, in countless ways, and tackle issues that I find not just relevant for myself, but that reflect on many lives. At the same time, I recognize how privileged I am to be here, in Vancouver, and to be safe and healthy.”

Whether theatre, music or dance, one thing common to all forms of live performance, said Cohen, “is that they are alive.” They all involve the human body, both “the performing bodies and the ones watching.”

“As an artist who uses movement as a primary artistic discipline,” he said, “I have a huge love and respect for the human body in its most basic form. When you learn to love and accept your body, you can truly love and respect people. That love is also where my queer identity(ies) meet my Jewish ancestry. So much hate is being inflicted on the body; if we don’t learn to love and appreciate our bodies, how can we truly love and appreciate someone else’s? How can we heal? With so much violence in our history and in our present, in a world polluted with ignorance and hate, how do we learn to love and forgive our ancestors, our pasts? The arts bear a huge responsibility. Artists need to change our priorities, acknowledge our inherited racism and create new stories.

“Ne. Sans is an organization that is centred on Western European music and dance, and my origins are in Western Europe,” he continued. “Our main goal in Ne. Sans is not to present a notion of nostalgia, romanticism and artificial beauty, but to raise the issues of violence and inequalities created by that culture, recreate its narratives and bring those up into the surface.”

In Jewish teaching, there is the concept of tikkun olam, repairing the world. “We can all be involved in tikkun olam at any given moment,” said Cohen, “and we need to keep adapting and correcting our values, individual or systemic. We have a responsibility to help and support one another. We have survived horrible historical events. Looking straight at our bleeding past and present: in the face of injustice, we cannot and will not stay silent.”

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Shay Kuebler (photo by JoyceTorres)

Kuebler, who has performed at the Chutzpah! Festival and is connected to the Jewish community through his sister’s family, will be presenting Momentum of Isolation at DOTE. Started last year, he said, “This first chapter of research is a chain of solos, for seven performers, that was developed by company artists online and in isolation.”

Given the restrictions required to control COVID, this part of “the project has taken on a much more singular focus on each artist’s personal interpretation,” said Kuebler. “As these solos were developed in home spaces and in isolation, the artists are performing their solos in smaller performance spaces – averaging six-by-nine feet – as well as performing these solos in relation to walls and surfaces in their environment.”

Of COVID’s impacts, he said, “There was certainly sadness and stress from losing work and touring opportunities. The company was two weeks away from a European tour when all the social protocols came into place. We were fortunate to receive some support and, after assessing the financial losses, we were able to move forward with a different creative practice for this phase of this project.

“The new creation practice of working online and in isolation actually revealed some very interesting new approaches and beneficial tactics. This online format had us focus on different dance techniques and improvisation tasks that could both challenge our individual movement skills and develop more group unity in movement. It also opened a window for focused study around the social content in the project.”

Kuebler said, “For myself as an artist, this time has offered me some space to ‘fill the well.’ I have been creating, traveling and supporting multiple projects simultaneously for a solid amount of time. This time in isolation, although not in the form that I would have wished for, or for anyone for that matter, has offered me space and time to just research and train…. I’ve found that, with this space, I’ve been more creative and have developed further outlets to express my creativity.”

He said, “I think that art holds a very important place in society. It offers people an escape from certain stresses and can help inspire them to find their own creativity. I believe that being creative can help you live with greater curiosity, humility and awareness of the world around you, which can make you a better member of society…. From this standpoint, I believe that art and artists gain greater relevance during challenging times and times of change.”

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Amber Funk Barton (photo by Chris Barton)

Barton’s company, the response., will host a special-edition, two-day version of Dance Café, which will feature eight Vancouver-based professional dance artists during DOTE.

“Together with my administration assistant, Kaia Shukin, we have been presenting Dance Café since 2017,” said Barton. Originally, it was held once a year as an informal, free event in studio, but, since May of this year, they have been presenting professional dance artists online using Instagram Live, and did so in June, as well. Given the positive response, Barton would like to keep the free event going monthly until the end of the year, but it will depend on resources, and she hopes people will donate to help make that happen.

With the arrival of the pandemic, Barton said, “It felt like many of the things I do changed overnight. At first – and there are still many moments at present – I felt overwhelmed with the learning curve of teaching and rehearsing on platforms such as Zoom. I feel that the act of participating in these online platforms, whether you are ready to or not, forces you to be creative just by showing up. In many ways, the act of applying for grants and the typical administration side of what I and the company do haven’t changed, but the artistic side of it is what I find is in question. How can we continue and how can we share and create work in a safe environment? Those are my biggest questions right now.”

For Barton, “Art can be a reflection of what we are experiencing in the world and can act as a mirror. It can be cathartic. It can also help us escape. We are all listening to music, watching films and trying to make sense of what is happening and/or trying to make time pass by. No one can deny that their consumption of art is interwoven in the daily fabric of their lives.”

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Tara Cheyenne Friedenberg (photo by Wendy D Photography)

At DOTE, Tara Cheyenne Performance will share two films made in collaboration with Allison Beda/Amuse Productions and possibly a live online performance, said Tara Cheyenne Friedenberg. “These works are a continuation of my solo I can’t remember the word for I can’t remember, which premièred at the Firehall in 2018.”

For Friedenberg, life during COVID has been “up and down.”

“Some days are good – home schooling actually happens (we have an 8-year-old), I might even take an online dance class and have a virtual rehearsal with my dramaturge Melanie Yeats. Other days, making lunch and trying to figure out Grade 3 fractions is too much,” she said. “I’m not loving the many, many Zoom meetings. I feel like our brains and bodies are compromised being in front of screens so much.

“Artistically, it has been invigorating and challenging – also very frustrating and often sad, to be honest – to try to reach my audience. I was recently working on a video of past work and noticed that, in every show, I literally climb into/onto the audience. My focus right now is how do I break the fourth wall when it is a virtual fourth wall.”

When asked the importance of the arts in such a stressful social and economic period, Friedenberg said, “We absolutely need to share stories and experiences right now. I feel like it is my duty to offer levity, commentary and my own feelings in order to facilitate those moments of community and recognition. My grandfather toured Europe playing piano for Maurice Chevalier leading up to the war, then here in Canada during the war. I feel like it’s in my blood to offer what I make, especially during difficult times. I’ve been making these very silly satire videos of my character Laura Lockdown, which people are enjoying I think because they allow us to laugh at the extreme situation we are all living through.”

Friedenberg also has been recording, for almost a year now, the podcast Talking Sh*t with Tara Cheyenne.

“I interview artists about their work, their lives and how they manage,” she said. “These interviews are even more interesting in the time of COVID-19. Creativity, and how we navigate its absence in the face of difficulty is so useful for all of us. Right now, I’m leaning towards interviewing artists of colour – voices, art and ideas that need to be heard.”

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For the full DOTE schedule, visit dancingontheedge.org.

(Note: This article has been edited to reflect that Action at a Distance’s performance at DOTE is called Solvent.)

The festival must go on

SD Holman, artistic and executive director of the Queer Arts Festival, which takes place July 16-26. (photo from QAF)

“Since the very beginning, I said not doing the festival was not an option … because my belief is that they [the arts] are really, really important – I would say essential.”

Sharing their appreciation for the vital work being done by those on the frontlines of the COVID-19 crisis, SD Holman, artistic and executive director of the Queer Arts Festival, said, “art is really keeping people alive, in different ways than the amazing health workers that are taking care of folks right now. Even people who say they don’t like art – if you read a book, if you watch Netflix, you take part in the art world.”

This year’s Queer Arts Festival, which takes place July 16-26, will happen mostly online. This is, of course, not what was initially planned.

By mid-May, Holman said, “we had to have a plan. And, right now, we’re still working on how the delivery is going to look because it’s not all digital. One of the things that was really important to us, to me, is that, not all people have computers, not all people have a stable wi-fi access, people can’t go to the libraries [now] if they don’t have computer, so how do people access it? If they’re not privileged enough to have this little box in front of them, how do we deliver a festival?”

One of the things being considered is billboard art. As well, there is the possibility of using parks as venues.

The planning of such a festival normally starts a year in advance, not the couple of months that COVID has allowed for a reimagined version. Some elements – such as the visual arts show – have been adapted for the new circumstances, while some will have to be postponed, as they do not lend themselves to online viewing, because they are interactive on some level, or the artists can’t make it to Vancouver.

When asked about the process for choosing festival artists, Holman said, “I talk a lot to people, I try and keep abreast of what’s going on. I always want to support local artists and also bring in folks from away, so that there are great conversations that happen of what’s going on in the world, as well as what’s happening here.”

The festival programmer does research and people can also apply to be part of the festival. As well, Holman said, “There’ll be people that talk to me about wanting to do something, and that usually percolates for two or three years before anything ever happens.”

Holman has been with the festival since its beginnings as a volunteer collective in 1998. “Two-spirit artist Robbie Hong, black artist Jeffrey Gibson were the main founders of Pride in Art [Society],” they explained. “I was an artist and then I became involved in the collective in 2005, when Robbie was wanting to step away … and I called in Dr. Rachel Kiyo Iwaasa because she had approached me about something and I said, ‘Come and join me on this.’ And we spearheaded making it professional, making it a festival…. It was a community visual art show up until that point…. As an artist myself, I wanted to pay artists – too often artists are expected to do stuff for free, and that’s impossible.”

According to the festival website, PiA became a not-for-profit in 2006, mounted its first festival in 2008 and rebranded to become the Queer Arts Festival in 2010, obtaining charitable status in 2012.

“Rachel has finally managed to extricate herself,” said Holman, “because we also both have our own arts practices and it’s very hard to run this organization and also have an arts practice; it might have fallen a bit by the wayside, but Rachel is a concert pianist. [She’s] no longer staff with us, [but] she’s still doing some contract work with us and passing over her organizational knowledge.”

While Holman is a photo-based artist, the festival remains their focus. It is the belief that “art changes people and people change the world” that motivates them, “because it’s important work” – “when a country is taken over, the first people they suppress are the artists.… You take over the media and you get rid of the artists because people can be completely destroyed – the first thing they start doing [to recover] is making art, whether it’s in a mud puddle, making a mud pie, they start, that is, expression; that’s what brings them back.

“Art reaches you on a visceral level,” Holman continued. “There’s this thing called confirmation bias, so we take in more what we already agree with, but art can get you in a way that can transform our ways of thinking.”

For Holman, being queer and Jewish are parts of their larger identity. Holman has self-described, for example, as “a queer pagan Jew” and “a Jewish, butch, bearded dyke.”

“I come from L.A.,” they told the Independent. “I was born and raised in L.A., and I have had several Jewish friends be, ‘Oh, you’re too much for Vancouver.’ And I’ve been here for a long time … [but] people are, ‘Why aren’t you in New York, why aren’t you in L.A.? Why aren’t you where you can be more?’ I always get this feeling here … that people are always trying to be, ‘Shh, could you just be a little bit quieter, could you just be not quite so much?’ There’s this too-muchness about Jews. And there’s kind of this too-muchness about queers, too. There’s this assimilation. My family assimilated – I got, from my bubbie and my great-aunt, I would get Christmas cards. We’re Jewish! But we assimilated because that was what was safe for us. And so there’s all this assimilation and erasure that happens with queers and Jews, because, also, many of us can pass; we can pass as straight, we can pass as not Jewish.”

Despite skepticism about the possibility of Jews being fully accepted – the white supremacist rally in Charlottesville a couple of years ago featured chants of “Jews will not replace us,” for example – Holman is completely out there in her Jewishness and queerness, in a seemingly fearless way.

“Oh no, I’m afraid of everything, that’s why I do it,” they said. “Although, that’s not true anymore. Since my wife died [in 2009], I don’t fear anything because the worst thing has already happened to me. But I used to be, I was quite fearful.… [However] I’ve never been able to be in the closet about anything really. And, I guess, for me, that’s kind of Jewishness, [being] more emotive and not afraid to debate, not always trying to please people. For me, it comes from my Jewish heritage.”

Despite the many accolades for their art and for their work with the Queer Arts Festival, including the 2014 YWCA Women of Distinction Award in Arts and Culture, Holman said, “I have been a failure all my life.” Among their reasons for that description, Holman said they are dyslexic. They added, “I’m butch, so that’s a failure as a woman; feminists were called failures as women.” But, they said, they are working with that in their art and, on the positive side, being a failure “frees you up to make your own rules, so make your own rules.”

The theme of this year’s Queer Arts Festival is “Wicked.” The press release quotes Oscar Wilde: “Wickedness is a myth invented by good people to account for the curious attractiveness of others.”

“It’s always really multi-layered the theme and then people take different stuff out of it,” said Holman. “So, there’s also the book Wicked … because Wicked is about it’s not easy being green, it’s not easy being different. It’s not easy being a Jew, it’s not easy being queer. It’s not easy being butch, it’s not easy being an activist. It’s all actually about activism, the book Wicked.”

In addition, there is, as Holman writes in the press release, the question, “What do we lose – who do we lose – if we accept induction into the dominant order, and reframe ourselves as a ‘moral minority’?”

“It’s a bit of a double pun,” they explained to the Independent. “The ‘Moral Majority’ years ago, who were trying to say [what’s acceptable in society], the right-wing, and there’s the ‘model minority,’” the Asian community, whose perceived greater-than-average success and stereotypical politeness are used to downplay the existence of racism. “It totally ties in with what I was talking about ‘too-muchness’ and excess and how we, as queers, work towards justice and inclusion.”

While becoming “more acceptable,” Holman said, “it’s still, ‘please don’t scare the horses.’… So, it’s OK if you want to be gay and lesbian and you want to get married and you want to have kids and you want to buy a house and be part of the whole heteronormative [framework] … be part of society’s morals, but could you leave the drag queens and the leather dykes at home?… Even with gender stuff. We know now that it’s a real spectrum and people are getting [more accepted], trans are really out in the world [for example] and it’s OK if you want to be a ‘real woman’ or a ‘real man,’ whatever that is, but people in between are still, ‘Come on, could you choose a side?’

“There’s this whole [feeling like], we’ve given you these things, we’ve given you marriage rights, you can have children, you can affirm your gender, you can do those things, but could you now just be nicer to us? And, I think, we have to be careful of that – being sanctioned by the state of what’s OK [because] then people get left behind, and that’s what we’re seeing right now … the more privilege you gain, you have to be really careful of that,” of remembering that not everyone is being treated well.

The QAF opens on July 16. “And we’re going to have a binge/party at the end, on the 26th, and there’ll be prizes,” said Holman. “We’re going to play the whole entire festival. I think it’s going to be 12 hours or something – we’re inviting people to get into their best dress jammies.

“Everything is going to be pay-what-you-can, by donation…. Pay as much as you can, please, because we want to support the artists.”

Among those artists are Jewish community members Avram Finkelstein, from New York, who helps open the festival (see jewishindependent.ca/political-art-of-living) and locally based Noam Gagnon, whose work This Crazy Show (July 25-26) is described as “a reflection on the quest for love, through revisiting the worlds of childhood, both real and imagined.” In it, he “choreographs and performs, pushing himself to his physical limit to explore and expose ‘the art of artifice’ in a culture obsessed with pretending authenticity. This Crazy Show explores just how precarious and ambiguous identity can be, through the evolution of the body and the self, as both are continuously morphing, unfixed and boldly celebrated.”

For more information on the festival, visit queerartsfestival.com.

Big Sister available for rental

Those who missed the Vancouver performances of Deborah Vogt’s Big Sister, which is performed by her real-life sister, Naomi Vogt, can rent it online until June 11. (photo from JW3)

Former Vancouverite Deborah Vogt’s play Big Sister is available to rent on JW3’s website until June 11.

Vogt is the arts and culture programmer at JW3, which is described on its website as a “cross-communal hub for Jewish arts, culture, family programming, social action, learning and much more.”

“JW3 opened its doors in October 2013 with the mission to increase the quality, variety and volume of Jewish conversations in London and beyond,” said Vogt of the centre, which is located in north London, on Finchley Road.

“I grew up in Vancouver and lived there my whole life, but decided to move to London three years ago,” she said. “I miss the trees, ocean and sushi in Vancouver, but love the excitement and opportunities in London. I joined JW3 as an employee in September 2019.”

Big Sister is a one-woman show about Vogt’s sister’s 75-pound weight loss, told through Vogt’s perspective, but performed by her sister, Naomi Vogt. It played the Vancouver Fringe Festival in 2018. At that time, Deborah Vogt told the Independent that writing the play was a challenge.

“First of all,” she said in that interview, “it was difficult trying to find the balance between Naomi as my real human sister and Naomi as a character. We wanted this show to be entirely truthful, while still presenting a piece of theatre. And this show touches on painful aspects of both of our lives (in a funny way, of course), so trying to write that without overstepping my place or lying to the audience about what actually happened (two sides to every story, right?) was difficult to manoeuvre.” (See jewishindependent.ca/fringe-mixes-drama-comedy.)

The video that is available via JW3’s website is from a sold-out production at the Cultch in February 2020, said the playwright. Being available online means that the work will be able to reach more people.

“The run at the Cultch sold out by opening night, so there may be people that didn’t get a chance to see it then now have the option,” said Vogt. “Putting Big Sister online in this form also expands on one of our themes: vulnerability.

“We never meant to share our work this way,” she explained. “We filmed it for archival purposes, not for public viewing. The show is meant to be live, and intimate, and present. That’s not an option right now, so, instead, we get to experiment with what it’s like for people to experience Big Sister in their living rooms.

“It also means the show lives on. For both Naomi and I, the show changes as our relationship changes. The filmed show captures our relationship in one specific moment in time. I’m interested to see what the next iteration will be.”

When asked to clarify what she meant by that, Vogt said, “I am speaking about our real-life relationship as well as our work, because the two became intertwined during Big Sister. The show allowed us to talk about things we never knew about one another, so it has affected, and strengthened, our relationship. If we decide to put the show on again, we may have to rewrite parts of it to reflect our current relationship. I have an idea for a sequel, but I haven’t told Naomi yet.”

JW3’s presentation of Big Sister is part of a season of streamed theatre through its virtual platform, said Vogt.

The first released was Wot? No Fish!!, which explores “the issue of the ‘outsider’ as artist, immigrant or disabled family member,” said Vogt. It is available for rental until June 4. Becoming Electra – “a heart-warming and original one-woman drag show about a queer Jewish girl trying to find her voice” – is available until June 21.

“The fourth piece is a West End show that had to end the run early, and more info will be released soon!” said Vogt.

About the online theatre presentations, she explained, “When JW3 had to physically shut our doors, the whole team worked incredibly hard to adapt and continue bringing programming into people’s homes. This means classes are online, we have a brand new website, and have had to come up with other creative ways to provide community during this difficult time. While we figure out the next steps for theatre and performance, we wanted to share a season of filmed versions of shows that have a special relationship to JW3. Big Sister is the first time I’ve been able to share my own theatre work with my programming work.”

While JW3 closed its doors to the public in March, Vogt said, “The building is now being used as a food bank, cooking and delivering meals to vulnerable people in Camden. The team has delivered over 5,000 meals already. So, while the building has closed to the public, the space is still being used to support the community. And that reflects the aims of the wider organization: everyone is working really hard to provide entertainment, education, community and connection during these isolating times.”

To find out more about JW3 and its programming, including various arts and culture rentals, visit jw3.org.uk.

Gotta Sing! Gotta Dance! deadline April 1

(photo from Gotta Sing! Gotta Dance!)

The deadline to apply for Gotta Sing! Gotta Dance! at the Jewish Community Centre of Greater Vancouver July 7-30 and Aug. 4-27 is April 1. With participants ages 9 to 19 from various parts of Canada and elsewhere in the world, director and creator of the program Perry Ehrlich will be joined this year by faculty including musical directors Wendy Bross Stuart and Diane Speirs; director Chris McGregor; choreographers Jason Franco, Keri Minty and Meghan Anderssen; acting coach Amanda Testini; and Mariana Munoz, set construction and costume co-ordination. The final production of each session will be Wild Wild West Side Story, featuring an original script and a repertoire from Broadway and movie musicals. Also being offered is the finishing school, for serious musical theatre students attending Gotta Sing! Gotta Dance!, and a boot camp dance program. Scholarships are available.

The comics rise again on Feb. 20

Kyle Berger, left, and Scotty Aceman, co-producers of Rise of the Comics. (photo from Rise of the Comics)

The outer limits of the laugh-o-meter will be tested on Feb. 20 at the Jewish Community Centre of Greater Vancouver’s Rothstein Theatre, when a group of Canada’s top funny people step on stage for A Night of Shticks & Giggles, presented by local comedy producer Rise of the Comics. This will be the third Shticks and Giggles show to raise money for the JCC Maccabi Games.

Headlining the event is Julie Kim, a two-time Canadian Comedy Award nominee for stand-up, who has performed at comedy festivals around the continent and appeared on CBC’s The Debaters and Laugh Out Loud. Her YouTube videos have amassed millions of views and, in 2018, she released her debut comedy album, Outside Voice.

Among other topics, Kim’s routine delves into modern parenting and various cultural issues, sometimes involving life seen from an Asian perspective. Yuk Yuk’s comedy club co-founder Mark Breslin called her “smart, funny, with enough self-awareness to deconstruct her life in a very sophisticated way.”

Other acts in the show, which Rise of the Comics describes as its “best line-up to date,” include Robert Peng, who bills himself as “an unemployed engineer who turned to stand-up comedy out of desperation”; New Zealander Sophia Johnson, “the one who keyed your car but probably shouldn’t have told you that”; Sean McDonnell, who Canadian comedy star Norm MacDonald has praised as “a fantastic talent”; and Brett Nikolic, a maven on Mountain Dew-flavoured weed.

Rise of the Comics is the brainchild of Vancouver stand-up comedian Scotty Aceman, who will also be on stage at Shticks & Giggles. Starting off as a weekly 30-minute program on Shaw Cable with the same name in 2015, the show has highlighted the work of many stand-up comedians who got their start on the local scene, such as Dino Archie and Ivan Decker, who has appeared on Late Night with Conan O’Brien.

Aceman, a University of British Columbia and B.C. Institute of Technology graduate, switched to comedy five years ago, after a 20-year stint in a sales job with Rogers in the corporate wireless phone department.

“Leaving the cellphone business after 20 years was a tough call,” he said. “But you have to chase your dreams. People would ask me, ‘What about my dignity and respect?’ I’d say dignity and respect went out the window the minute I had a Thursday morning bar mitzvah!”

In 2019, Aceman brought in Kyle Berger as co-producer of Rise of the Comics. Berger, sports coordinator at the JCCGV, will be the master of ceremonies for the Feb. 20 Shticks & Giggles.

Before joining the crew, Berger, in his role as JCC Maccabi Games delegation head, had hired Rise of the Comics for a fundraiser. He credits Aceman for allowing him to get his stand-up feet wet, with a debut performance at the Charqui Grill in Kitsilano in 2018.

“Stand-up was one of those things on my bucket list to do by the time I turned 40,” Berger told the Independent. “Scotty (and my then-girlfriend, now fiancée) were both big helpers in getting me up there on stage for a five-minute routine. My fiancée had had enough of me saying I was going to do it.”

Berger said, “Scotty’s reputation within the local comic community is a great asset. Nowadays, Rise of the Comics does all sorts of things, including parties in people’s living rooms. And, last year, we were hired by the Chutzpah! Festival to put on a show.”

Rise of the Comics currently works with a roster of more than 50 stand-up performers of all styles and experiences, and tailors its shows to any situation. They have created performances at such diverse venues as Hy’s Steak House, the Jericho Arts Centre and Ronald McDonald House, among others. Their gigs can cover everything from clean to dirty, social commentary to observational, but always, they say, with an emphasis on the funny.

Berger promises that he and fellow Shticks & Giggles comedians are likely to make mention, in one way or another, that their show is backed by the foundation created by Dr. Neil Pollock, a leading Vancouver male sexual health and circumcision expert, and his wife Michelle.

The show starts at 7:30 p.m. Tickets are $20 and can be purchased at m.bpt.me/event/4499277. For more information about Rise of the Comics, visit riseofthecomics.com.

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

Loves making people laugh

Esther Povitsky performs at the Biltmore Cabaret on Feb. 22 as part of JFL NorthWest. (photo from JFL NorthWest)

Chicago-born comedian, actor and writer Esther Povitsky is one of several Jewish community members performing in the Just for Laughs NorthWest comedy festival, which takes place around Metro Vancouver Feb. 13-25. Her credits include being co-creator and star of the show Alone Together, a recurring role on Crazy Ex-Girlfriend, parts on programs such as Brooklyn 99 and Parks and Recreation, stand-up on The Late Late Show and Comedy Central, as well as host of the podcast Glowing Up. The Jewish Independent spoke with her in advance of her Feb. 22 show at the Biltmore Cabaret.

JI: When did you first start doing stand-up and what motivated you to do it?

EP: I love comedy. I love watching it, I love laughing and making people laugh. I also liked the idea of being able to do something creative where I only relied on myself.

JI: Before you started stand-up, what were you working toward education- or career-wise?

EP: I thought I was going to be a professional dancer, and majored in dance in college.

JI: What is it about performing that you most enjoy, in stand-up and in acting?

EP: Having an excuse to drink too much coffee.

JI: When did you move to Los Angeles, and was it for a specific job or more opportunity for work in general?

EP: I did not have any specific jobs lined up! I moved here to pursue stand-up and worked as a babysitter, worked at a gym, a juice bar, and other random gigs.

JI: You describe your stand-up as just being you. Being Jewish on your dad’s side, where/how/does Judaism, Jewish culture or community fit into that, or your comedy series?

EP: I feel that I was raised very culturally Jewish and it’s a big part of my personality and who I am.

JI: In an interview you talk positively about the immediacy of seeing what works and what doesn’t onstage. How do you handle the highs and lows of comedy?

EP: I try to keep busy, stay active, spend quality time with friends and family, do puzzles, watch TV. I try to really focus on doing as many “normal” things as possible.

Povitsky’s Vancouver show is 19+. For tickets and the JFL NorthWest lineup, visit jflnorthwest.com.

JFL NorthWest returns

Jessica Kirson and Big Jay Oakerson are part of the Just for Laughs NorthWest comedy festival lineup in Vancouver Feb. 13-25. (photos from JFL NorthWest)

The Just for Laughs NorthWest comedy festival takes place around Metro Vancouver Feb. 13-25. Among the performers are several members of the Jewish community, including Andy Kindler, Jessica Kirson, Big Jay Oakerson and Esther Povitsky. The Jewish Independent recently spoke with Kirson and Oakerson.

Kirson is an award-winning comedian. She has appeared on several talk and TV shows, and has her own podcast, Relatively Sane. She was a consultant, producer, writer and actor in the Robert De Niro film The Comedian and will play herself on the HBO series Crashing with Pete Holmes. As part of JFL NorthWest, she will be at the Biltmore Cabaret on Feb. 17, 9 p.m.

JI: Since the JI spoke with you in 2016 ahead of your Chutzpah! show (jewishindependent.ca/gonna-be-a-fun-night), a lot has happened in your world. Could you share some of your professional highlights over the last few years?

JK: So much has happened. I have done a ton of television and movie appearances. I’m loving traveling all over the world doing stand-up. I am executive producing a movie for FX, a documentary about female comedians; it will première this summer. I had a special come out on Comedy Central called Talking to Myself, in addition to a bunch of other projects.

JI: You’ve been in the podcast world for a long time now. What do you particularly like about the medium?

JK: I started Relatively Sane because I wanted to create a podcast that wasn’t just funny and silly. I wanted it to get real also. I wanted to talk about anxiety, depression, etc. I love it. It’s one of my favorite creative mediums now.

JI: What is the difference, if any, performance or prep-wise between working on a radio show versus a podcast?

JK: It’s very similar. I don’t do a ton of prep work with my guests. I love finding things out while I’m talking to them. It’s more real that way.

JI: Can you tell me a bit about your Comedy Central special, how it came about and what it has meant to you career-wise?

JK: I had felt like I deserved a comedy special years ago. It was the one thing I felt I deserved that I didn’t get. I got a call from Bill Burr. He told me he wanted to produce my special. He shocked me. I feel very grateful to him. When comics do things like that for other performers, it’s amazing. We should all do it for each other.

JI: Similarly, The Comedian and Robert DeNiro. How did that happen?

JK: DeNiro saw me performing at the Comedy Cellar in New York City. He was looking for comics to be in his movie. We met up that week, we connected and I became his right-hand person. I ended up being in the movie and getting a producer credit. The hardest part was showing up every day, giving my opinion and not caring what the producers and director thought. It was very intimidating but I had him by my side so it worked out.

JI: Is getting your own television show still something you’d like to achieve?

JK: Yes, I would love to have a talk show.

* * *

Oakerson has appeared on many television shows. He has recorded two specials, one for Comedy Central in 2016 and one for Netflix in 2018, as well as three albums. He was the host and creator of What’s Your F#$king Deal?! and currently co-hosts the podcasts The Legions of Skanks, The SDR Show and The Bonfire with Big Jay Oakerson and Dan Soder. For the JFL NorthWest festival, he will perform at the Biltmore Cabaret Feb. 19-20, 9:30 p.m.

JI: When did you first start doing stand-up and what motivated you to do it?

BJO: I started doing comedy in 1999 at the urging of a friend who caught up with me after high school and expressed her disappointment in me never trying it before.

JI: In what ways has your stand-up style changed since you first started?

BJO: First of all, my level of nerves is significantly down. I think I’ve evolved it into a very comfortable style of storytelling and interaction versus joke writing/telling than I started with.

JI: Did you grow up in a household where you were encouraged to form and express your own opinions?

BJO: I don’t recall anyone in my household being highly opinionated about anything.

JI: Were you a witty or mouthy child?

BJO: 30% mouthy, 70% witty.

JI: What role, if any, does being Jewish, Judaism, Jewish culture or community have in your life and/or your career?

BJO: I thought I’d get a bump in this business because I’m Jewish, and nothing. I guess I’m not that kind of Jewish.

JI: What is it about pushing the boundaries that you most enjoy, and to what purpose do you do it?

BJO: “Edgy comedy” was generally the comedy I was drawn to growing up, so it’s just sort of how my humour developed. If I can make you question things or think about a different perspective on something, great, but, ultimately, I’m just trying to make people laugh.

JI: Are there any red lines you won’t cross?

BJO: Not if I think I can make the subject more funny than offensive.

JI: What do you enjoy most about doing podcasts?

BJO: Freedom.

Both Oakerson’s and Kirson’s shows are 19+. For tickets and the full JFL NorthWest lineup, visit jflnorthwest.com.

In next week’s JI: an interview with Esther Povitsky.

Directing a favourite musical

Malka Martz-Oberlander, left, and Dalia Currie are co-directing Little Shop of Horrors, which is at the Red Gate Revue Stage from Feb. 6-9. (photos from TES Theatre)

At 17, many Jewish Independent readers were probably spending most of their time hanging out with friends, maybe doing a music or art class or two, some sports activities. In addition to being a student, 17-year-old Jewish community member Malka Martz-Oberlander is a filmmaker, writer, film and theatre director, cartoonist, musical theatre actress and photographer. Her latest initiative is a production of Little Shop of Horrors, which is at the Red Gate Revue Stage on Granville Island Feb. 6-9.

Presenting the production is TES Theatre, or Transforming Education, which, explained Martz-Oberlander, was “originally the theatre program at the one-of-a-kind Windsor House School: a democratic, multi-campus, K-12 school in East Vancouver.

“When Windsor House School closed down last year,” she said, “former principal Meghan Carrico decided to start a theatre company for the students, like myself, who wanted to continue to do theatre and musical theatre together. The program that arose after the school’s devastating closure is grounded in the same democratic philosophy. Our mission is to make sure any student who wants to do any aspect of musical theatre can and will be supported by a willing cast and a professional musical theatre teacher.”

Martz-Oberlander is co-directing Little Shop of Horrors with Dalia Currie. Last June, the pair co-directed a production of Much Ado About Nothing that Currie adapted. According to Martz-Oberlander, Currie “loves Shakespeare” and has “co-directed and acted in many of the Bard’s shows,” including playing the role of Theseus in A Midsummer Night’s Dream in 2018, as part of the Carousel Theatre Teen Shakespeare Program.

Currie found musical theatre through joining Windsor House in 2018, said Martz-Oberlander. “She played Olive Ostrovsky in The 20th Annual Putnam County Spelling Bee and Gaston in Beauty vs. Beast, an original parody of the tale as old as time.”

For her part, Martz-Oberlander performed with Encore Musical Theatre (formerly Broadway Edge) for four years, then performed in two shows with Windsor House School and, this year, is a member of Arts Umbrella’s Pre-professional Musical Theatre Troupe.

illustration - Crystal, Ronette and Chiffon are the three narrators of Little Shop of Horrors. Malka Martz-Oberlander sketched this image of the trio, which was colourized by Emi Lavoie — Crystal, Ronette and Chiffon are the three narrators of Little Shop of Horrors. Malka Martz-Oberlander sketched this image of the trio, which was colourized by Emi Lavoie. *(image from TES Theatre)*

Martz-Oberlander said she and Currie initially pitched Little Shop of Horrors to the theatre company because they had both grown up watching it, “and we were very excited at the thought of directing our first musical together this year with the mentorship of our new musical theatre teacher, Isabella Halladay, who is a local musical theatre artist.”

The production involves around 30 people, said Martz-Oberlander, “and all but three of them are students. We held auditions for people within our theatre community,” she said. “We made sure that anyone who was interested has been involved in some way, whether it be onstage or in the tech booth. The actors range from age 14 to 19. There is no live band, we have backing tracks.”

Little Shop of Horrors, both a film and a Broadway musical from the 1980s, is now back on Broadway, said Martz-Oberlander. “It’s about an orphan boy taken in and given a job by Mr. Mushnik, a European Jewish immigrant and the owner of a run-down flower shop in the ‘bad part of town.’”

Despite the fact that both writers of the musical were Jewish – Howard Ashman (who passed away in 1991) and Alan Menken – Martz-Oberlander said that she and Currie were concerned about the portrayal of certain characters, in particular that of Mr. Mushnik.

“As a cast and individually, we have discussed when it’s good to bring out stereotypes and when it’s actually really harmful,” Martz-Oberlander told the Independent. “For example, the character Mr. Mushnik seems like a two-dimensional, money-hungry shop owner. The character embodies this Jewish stereotype throughout the whole story. My non-Jewish co-director and I have tried our best to approach this thought-provoking comedic piece with the intention of not perpetuating hurtful stereotypes. When producing a show written in a different decade, when values were different, it’s so important to come at it from an authentic, respectful and knowledgeable way.”

Martz-Oberlander had only praise for the production’s venue, the Red Gate Revue Stage. Saying that the cast and creative team were “incredibly lucky to get to rehearse and perform” there, she added, “I think a place like the Revue is vital at a time in Vancouver where things are less and less affordable – to have arts spaces and small theatres like the Revue is very important.”

As for Little Shop of Horrors, Martz-Oberlander said, “I think it’s a great opportunity to come out and support local youth-directed theatre and watch a fantastic show! This show is really a one-of-a-kind, hilarious science fiction musical that will have you humming tunes for weeks after.”

Tickets to Little Shop of Horrors ($5-$15) can be purchased at the door or online from brownpapertickets.com/event/4481952.

Opera urges “never forget”

The ship’s cabin in Pasazerka (The Passenger), as envisioned by UBC Opera’s creative team. The opera is part of a series of events at the University of British Columbia marking the 75th anniversary of the liberation of Auschwitz. (photo from UBC Opera)

UBC Opera presents the Canadian première of Mieczyslaw Weinberg’s Pasazerka (The Passenger). Opening Jan. 30 at the Chan Centre for the Performing Arts on the University of British Columbia campus, this will be the first time the work has been presented on any university stage in the world.

The Passenger opens on a luxury liner bound for Brazil. A newly married German woman, Lisa, who, earlier in life, had been an aufseherin, camp guard, at Auschwitz, thinks she recognizes a fellow passenger. The passenger is Martha, a Polish Auschwitz prisoner who was thought to have died at the camp. The effect that their meeting (either actual or imaginary – it’s never made clear) has on the two women, and on Lisa’s marriage to the German ambassador to Brazil, is the subject of this dramatic and powerful opera.

UBC Opera’s production is being created from scratch. The opera has proven so popular no sets or costumes are available for rent; consequently, new sets are being constructed and, at this writing, the students were sewing together dozens of striped prison pajamas for the Auschwitz prisoners’ chorus.

After receiving its world première in 2010 at the Bregenzer Festspiele in Austria, The Passenger has seen frequent performances in various German venues, a highly acclaimed production at the English National Opera in 2011 and, more recently, it has been performed successfully in the United States at the Houston Grand Opera and at the Lyric Opera of Chicago. In spring of last year, it was performed at the new Tel Aviv Performing Arts Centre, and it will be performed in Spain later this year.

The UBC production has received funding from various sources, including the Adam Mickiewicz Institute, which promotes Polish culture around the world, and the Consulate General of the Republic of Poland, as well as Poland’s Department of Public and Cultural Diplomacy and Ministry of Foreign Affairs.

When the president of UBC, Dr. Santa Ono, heard about the project, he committed further funding for the production. Other funding has come from UBC’s dean of arts, Gage Averill, and the David Spencer Endowment Encouragement Fund. The production also has received support from the Vancouver Holocaust Education Centre, Temple Sholom and UBC Hillel House.

“In our time, antisemitism and neo-Nazism has become shockingly prevalent again. Even our own neighbour to the south has witnessed a growing social and political climate which has encouraged disrespect for other human beings and blatant racism,” said Prof. Nancy Hermiston, head of the Voice and Opera divisions at UBC and the director of this production of The Passenger, in a recent interview with the Independent. “In my opinion,” she said, “this has, in part, been released as a result of the behaviour and actions of President Trump. His attitude has given those elements of the world’s population promoting discrimination, hatred, antisemitism and neo-Nazism, a sense that they have a licence to do so. Our opera highlights the consequences of this hatred and racism. Now is the time to remind ourselves of respect and tolerance for others and of our humanity. It is the exact time to remind ourselves of the horror of the systematic extermination of millions of innocent people. Genocides continue to plague our world. Have we learned nothing from the past?

“We can never forget the tragic deaths of those millions of innocent souls nor can we forget those who survived that crime against humanity,” she said. “We cannot let another Holocaust occur.”

The Passenger is sung in Polish, Russian, Czech, French, Yiddish, German and English, which offers a particular challenge to the young singers at UBC. Equally challenging for the singers, according to Hermiston, is the difficulty of dealing emotionally with the subject matter, which, in rehearsal, has led to periods of weeping and feelings of deep sorrow, both for the singers and “even for me,” admitted Hermiston, “especially at the end, when the chorus of prisoners comes downstage and challenges the audience to ‘never forget, never forget.’” (Hermiston has engaged a counseling team to help the singers through their own trauma as they reenact this emotional narrative.)

Performances of The Passenger are set for Jan. 30 and 31 and Feb. 1 at 7:30 pm, and Feb. 2 at 2 p.m. Tickets are available online at music.ubc.ca/opera-pasazerka-the-passenger.

The opera is part of a larger commemoration of the 75th anniversary of the liberation of Auschwitz that is being undertaken by UBC Opera; the UBC Modern European Studies program; the UBC department of Central, Eastern and Northern European studies; the UBC Witnessing Auschwitz International Seminar; and UBC Go Global. During a symposium that runs Jan. 27-30, there will be various symposia and exhibits, and school-outreach programs featuring local survivors and UBC professors and students, as well as the opera The Passenger.

Guest speakers for the symposium include Dr. Michael Berenbaum, Dr. Bozena Karwowska, Dr. Piotr Setkiewicz, Dr. Chris Friedrichs, Aleksander Laskowski, Dr. Richard Menkis, Dr. Dorota Glowacka, Dr. Rima Wilkes, Dr. Anja Nowak, Dr. Peter Suedfeld, Dr. Tricia Logan, Dr. Ilona Shulman Spaar, Janos Benisz, Amalia Boe-Fishman and David Ehrlich, among others. For more information, visit auschwitz75.arts.ubc.ca.

Graham Forst, PhD, taught literature and philosophy at Capilano University until his retirement and now teaches in the continuing education department at Simon Fraser University. From 1975 to 2010, he co-chaired the symposium committee of the Vancouver Holocaust Education Centre.

Searching for a safe harbour

Ben Caplan is narrator and co-creator of Old Stock: A Refugee Love Story, which runs Jan. 24-30 at Frederic Wood Theatre, as part of the PuSh festival. (photo by Stoo Metz Photography)

The 2020 PuSh International Performing Arts Festival opens next week. Among the highlights is Old Stock: A Refugee Love Story, which follows Chaim and Chaya from the pogroms in Romania they are fleeing, to Halifax’s Pier 21, where they meet in 1908, to Montreal, where they end up living. The show, which runs Jan. 24-30 at Frederic Wood Theatre, is narrated and co-created by Halifax-based musician and performer Ben Caplan, with whom the Jewish Independent recently spoke.

JI: How and when did you become involved in the production?

BC: It all started with a phone call from 2b Theatre Company’s artistic co-director Christian Barry in mid-2015. Christian was familiar with my work as a songwriter and performer in the music world and he wondered if I would be interested in collaborating on creating a theatrical production featuring new songs that we would write together.

To be honest, I was skeptical at first. I tend to be a very solitary writer and, though I had a lot of experience in theatre many years ago, it had been a decade since I had performed in theatre. The first few writing sessions were pleasant enough and Christian and I got along great, but we were struggling to find the story that we wanted to tell. As we were searching and exploring to find the substance of what the work would consist of, a confluence of events conspired to show us the story that would become Old Stock.

The first thing was our growing consciousness of the scale of the human tragedy emerging in Syria as a growing number of refugees started trying to find their way out of the violence. Next came Prime Minister Stephen Harper’s comments about “Old Stock Canadians” during the 2015 leadership debate. This othering of “non-Old Stock Canadians” seemed to be vile and absurd. At what point does one get to call themselves “Old Stock”? I am the great-grandson of Jewish immigrants who came to Canada fleeing violence in their own home countries. Was I supposed to think of myself as “Old Stock” or did I fit into some other category in our [then] prime minister’s logic.

Around this time, Christian’s wife, who happens to be the celebrated playwright Hannah Moscovitch, gave birth to their first child, Elijah, and came across the immigration records of her own great-grandparents who immigrated to Canada in 1908 through Pier 2 in Halifax. She realized that, if her great-grandparents hadn’t made the journey to Canada, she would not exist, let alone her infant child. It was then that Hannah asked if she could write the scenes for the show we were trying to create.

With Christian’s vision of the artistic whole, my work as composer and lyricist, and Hannah’s work as playwright, we were off to the races and we worked together to create the show. We thought that the Jewish story from 110 years ago had a striking and tragic resonance with the tragedy unfolding in our own time. I should mention that, of course, the originating cast, musical director Graham Scott, our production manager and designer Louisa Adamson, and many others played a huge role in realizing the vision and bringing the music and the play into the world.

JI: In broad strokes, could you describe how the co-writing process worked?

BC: Christian Barry created the structures and conditions that made it possible for any of these songs to be written. I was probably not always the easiest artist to work with – I tend to desire quiet and solitude when I am writing.

The way it usually worked is that Christian would book a time and a space in whatever city we were able to meet up in (we did writing in Halifax, Montreal, Stratford and Banff) and the day would start with conversations and questions. We would talk, share ideas, listen to music, read texts, Google things, etc.

Out of our conversations and questions, the idea for a song would emerge. The first one we wrote was something for their arrival at Pier 2. We didn’t have a scene or a broader context to work with but, after awhile, Christian would say something like, “We know they are going to come through Pier 2, let’s start there.” I sat at the piano and started mashing out some chords and throwing words into the air. Christian had a wonderfully delicate touch after I got rolling, and would provide helpful comments, critiques, and throw ideas into the room.

JI: What is it about the production that drew you back to performing?

BC: I had stopped performing in the theatre after I became somewhat disillusioned of the possibilities of making a career in theatre. In 2005, the year I did my last theatre performance, I was working on academic pursuits, theatre and my hobby as a singer-songwriter. My life was over-full and something had to give. My logic was something like, in theatre, you need to rely on finding a lot of talented people who are willing to work on a project that takes a lot of time and resources to complete. As a singer-songwriter, there is more room to work solo and bring other people into the project as interest and resources permit. So, that’s the path I chose to express my artistic impulses. I gave up the dream of becoming an actor to focus on the more reasonable and safe path of becoming a songwriter. Ha!

When Christian called me to ask me to make a piece of theatre with him, it was a no-brainer. Being a part of this show has been one of the great privileges of my life. Not only did I get to collaborate with a crazy good team on writing the thing, but I had the opportunity to perform on stages that I wouldn’t have dared to dream of stepping onto when I was making theatre 10 years ago. It’s been an amazing learning experience and one that is sure to influence my work as a performer for the rest of my career.

JI: In what ways does the story and/or themes of Old Stock speak to you as a Canadian in 2020?

BC: What is most meaningful for me about the story and themes of the show is the humanization of the character of the refugee. It has been disturbing to see the ways in which migrants have been portrayed by so many politicians and media outlets around the world. They are often spoken of as hordes, masses and statistics. What is lost are the individual human lives – people with hopes, dreams, fears and trauma searching for a safe harbour.

In Old Stock, we tell the story of Hannah Moscovitch’s great-grandparents coming to Canada. We see their struggles to overcome their past and to generate new and complicated identities. I think that we all, as human beings, have complicated and multi-layered identities. I think that, among other things, this show is about demonstrating layered and sometimes tragic identities with compassion and a healthy dose of humour. That’s basically the most Canadian thing I can think of.

For tickets to Old Stock: A Refugee Love Story and other PuSh shows, visit pushfestival.ca. The soundtrack to Old Stock is available on Spotify, YouTube and elsewhere.