Performing Arts

Bard mounts two comedies

Jennifer Lines as Beatrice and Sheldon Elter as Benedick in Bard on the Beach’s production of Much Ado About Nothing. (photo by Tim Matheson)

For a Vancouver summer experience, almost nothing beats an evening at Bard on the Beach. The appearance of the red and white tents in Vanier Park signals the start of the Shakespearean season. This year, two comedies – Much Ado About Nothing, done in its proper period, and Two Gentlemen of Verona, set in the 1980s – are featured alternating days on the BMO Mainstage.

There was much excitement in the air on Much Ado’s opening night. From the moment I walked into the tent and saw the stunning set (kudos to Pam Johnson), I knew I was in for a treat. The scene is 17th-century Mediterranean Messina with an elevated balcony, vined pillars, terraced gardens and a flagstone wishing well, all drenched in a cornucopia of brilliant colours.

One of the Bard’s most entertaining comedies, the story revolves around two couples, one young and naïve, for whom love is just one romantic whisper away, and one mature and skeptical of what love can bring into their lives. Jennifer Tong and Angus Yam play the young Hero and Claudio while Jennifer Lines and Sheldon Elter, the more experienced Beatrice and Benedick.

The action starts off with a trio of soldiers, Don Pedro (Matthew Ip Shaw), Benedick and Claudio, who, upon returning from battle, stop to rest at the home of Lord Leonato (David Marr), Hero’s father and the governor of Messina. There is instant chemistry between Claudio and Hero, but, while it initially appears that the younger couple will be the main protagonists, it becomes apparent that the play is really about the older two. Lines, with her mass of red hair, comes across as a fiery feminist and is sublime in her role as she exchanges witty bons mots with Elter’s Benedick, a confirmed bachelor. They both mock love and he makes it very clear that marriage is not on his agenda. However, they both “doth protest too much” and it really comes down to “will they or won’t they?”

The journey to their final epiphany is a furious romp through a masked ball (with an erotic pas de deux), mistaken identities, athletic eavesdropping, false allegations of infidelity and a faked death. The language is peppered with double entendres.

Don Pedro attempts to play cupid (“some cupids kill with arrows some with traps”) for both couples but is hindered by his dastardly half-brother Don John (deliciously played by Karthik Kadam), who tries to sabotage the Hero/Claudio nuptials. Cue a motley crew of the local watch, helmed by Bard veteran Scott Bellis as the inept Constable Dogberry, who are tasked with bringing Don John and his co-conspirators, Borachio (Tanner Zerr) and Conrad (Kristi Hansen), to justice. Steffanie Davis, as one of the watch team, entertains with priceless facial expressions and physical antics and, along with her cohorts, injects slapstick comedy into this rom-com.

A prologue precedes the first act, with the inclusion of text written by Erin Shields that is meant to provide a counterpoint to 400-year-old misogyny, including with respect to a woman’s supposed holy grail – the snaring of a husband. Lines challenges the audience with her passionate monologue while Tong mimes the actions from the balcony. As Shields notes in the program, “this additional text both gives an opportunity for a limited character to reach her heroic potential and provides a framework for this incredibly successful comedy to reach contemporary audiences in an even deeper way today.”

In addition to the gorgeous set, the show boasts fabulous costumes by designer Mara Gottler – leather doublets and earth-toned breeches for the men, corset frocks for the women, including frothy gowns and veils for the wedding scene. Jewish community member Mishelle Cuttler provides the sound design.

The production is fun – and it makes a powerful statement. But I have a problem with the script and the suggestion that virginal Hero might risk her marriage to Claudio by having a pre-wedding night tryst with someone else, and with Claudio’s readiness to believe the gossip, leading him to abandon her at the altar. Her subsequent fainting “death” and ultimate resurrection, leading to their reunion, does not account for the wrong that was so easily done to her. Even her final monologue, describing her pain and path to reconciliation, does not ease the blow.

The Much Ado cast shifts gears on alternating nights and pivots to 1980s Verona, with all the colour and decadence that entails.

photo - Matthew Ip Shaw as Valentine, Agnes Tong as Silvia, and Tanner Zerr as Turio in Bard’s production of Two Gentlemen of Verona — Matthew Ip Shaw as Valentine, Agnes Tong as Silvia, and Tanner Zerr as Turio in Bard’s production of Two Gentlemen of Verona. *(photo by Tim Matheson)*

In Two Gentlemen of Verona, best friends Proteus (Jacob Leonard) and Valentine (Ip Shaw) separate, as Valentine goes to Milan to find excitement while Proteus stays behind to be with his girlfriend Julia (Tess Degenstein). However, Proteus’s parents, Antonio (Craig Erickson) and Ursula (Jennifer Clement), think it best that he follow his friend to Milan, to stay out of trouble. So, off he goes with his manservant Launce (a terrific Bellis) in tow and Crab, Launce’s dog (Mason in real life and artistic director Christopher Gaze’s own yellow Lab). As expected, Crab steals every scene he is in, without making a sound. On opening night, he even stopped to nuzzle some front row patrons as he exited the stage.

Valentine, on arrival in Milan, is immediately smitten with Silvia (Tong), the daughter of the Duke (a mafiosi-like Elter). When Proteus arrives, he conveniently forgets about his girlfriend Julia and is equally taken with the glamorous femme. So, when Valentine tells his best bud that he intends to elope with the duchess, Proteus, to have Silvia for himself, tells the Duke. After all, as Proteus states, “in love, who respects friends?” Meanwhile, the Duke wants Silvia to marry Trurio (Zerr), although who knows why, because he comes across as a big, dumb athlete.

Valentine is banished from Milan and Proteus attempts to woo Silvia, who makes it quite clear that she is not interested. Julia arrives, disguised as a man, to check up on her boyfriend and the fun/intrigue begins with swapped rings, torn love letters and a gang of Gothic outlaw rockers armed with various weapons, including a chainsaw, who intervene and provide for a surprising ending.

The production values are high and the designers have done a great job in creating a 1980s vibe, from Johnson’s multi-arched set to Gerald King’s lighting design. Costume designer Carmen Altorre highlights exercise leotards and leggings à la Jane Fonda, padded shoulders, caftans and tennis whites, as well as Miami Vice pastel-coloured suits to clothe the posh crowd. Of course, there is the hair – voluminous back-combed dos for the women and mullets for the men. A lot of the action takes place around the pool house, with props including a floating pink swan, multi-coloured beach balls, boom boxes and skateboards.

Malcolm Dow’s sound design brings back all the 1980s oldies and goldies, including theme songs from Dallas and St. Elmo’s Fire, with some funky choreography courtesy of Nicole Spinola.

Director Dean Paul Gibson has taken liberties with the script and not just a nip and tuck here and there, but major surgery, particularly with the ending. Purists may be appalled but the #MeToo generation will applaud the final scene.

Running on the smaller Douglas Campbell stage are The Complete Works of William Shakespeare (abridged) [revised] [again], a 90-minute romp through all 38 Shakespeare plays and 150-plus sonnets, including a version of Hamlet done backwards, and The Dark Lady, about Shakespeare’s supposed muse, collaborator and lover, Emilia Bassano, a Crypto-Jew.

For tickets, visit the website bardonthebeach.org or call 604-739-0559. The festival runs to Sept. 20.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Enjoy the best of Broadway

“It may sound like a cliché, but I really believe that music is a unique language. You don’t have to know how to read it, you might not understand the lyrics, but it can still touch your heart and soul,” Omer Shaish told the Independent. “At the end of the day, it doesn’t matter what genre you listen to, it will always make you feel something. That’s what I always hope to do when I get on stage – use the music to touch people’s hearts and souls.”

photo - Omer Shaish brings My Broadway Shpiel – stories, Broadway tunes, popular Hebrew songs and original music – to Vancouver Aug. 21 — Omer Shaish brings My Broadway Shpiel – stories, Broadway tunes, popular Hebrew songs and original music – to Vancouver Aug. 21. *(photo from omershaish.com)*

Shaish brings My Broadway Shpiel to Vancouver Aug. 21, 7:30 p.m., at Temple Sholom. In addition to offering a night of Broadway tunes, popular Hebrew songs and his own original music, the performance will raise money for Temple Sholom’s campership program.

While Shaish never attended summer camp growing up, he did talk about growing up in the Jewish community.

“We’re one big family and I love that about us,” said the singer, who was born and raised in Rishon LeZion, which is about 20 minutes south of Tel Aviv.

“I spent most of my teenage years and my early 20s in Tel Aviv, where I was surrounded by great art, amazing people and incredible food!” said Shaish, who knew from a young age that he was going to be a singer.

“My parents say that, as a toddler, I’d pick up anything that could resemble a microphone and sing at the top of my lungs – everywhere. I always loved having an audience,” he said. “Even though, in real life, I sometimes come across as a bit shy and introverted, having an audience to sing for always made me feel at home. Up until today, having an audience, no matter how big or small, brings me to life.”

Shaish started his career as a vocalist in the Israeli Air Force Band, performing on military bases and in Jewish communities in Europe and Canada. He also is an actor, performing in Israel before moving to New York City in 2007 and graduating from the American Musical and Dramatic Academy. He has numerous theatre, vocalist and soloist credits to his name, but mainly has been touring internationally as part of the classical vocal trio Kol Esperanza and with his self-produced, one-person show My Broadway Shpiel.

“Even though I love acting, I’ve been focusing on singing in the past few years,” he told the Independent. “I realized, throughout the years, that I feel more at home just being myself on stage. I enjoy sharing these moments with the audience and it makes every show feel different and so alive. Playing a character can be interesting, too, but, for me, there’s nothing better than simply being myself.”

At the moment, Shaish calls Baltimore, Md., home. Previously, he toured the United States for many years, and lived a few years in Los Angeles and in Miami.

“I absolutely love traveling, seeing the world and meeting lovely, interesting people,” he said. “My friends always make fun of me and say that they never know where I’m at, to which I reply with, ‘neither do I.’ It can be exhausting at times, but it’s always worth it. I feel very lucky to do what I love and that gives me a lot of energy to keep at it.”

He’s looking forward to performing here.

“I love Vancouver!” said Shaish. “I’ve been there many times and I think it’s one of the most beautiful places on earth. The last time was only a few months ago, for rehearsals and a recording session. I’ve performed in Vancouver before and I can’t wait to be back and enjoy the views, the fresh air and, of course, the wonderful people!”

About the show he’s bringing with him, My Broadway Shpiel, he said, “As I tell my story and share some anecdotes about the Jewish story of Broadway, I sing some classics from Fiddler on the Roof and West Side Story, and all the way to some surprises by ABBA and Elvis Presley!”

One of his favourite moments in the performance is when he shares the experience of living in the United States with a foreign name.

“I have heard so many variations of my name from so many people that I have met,” he said. “‘Omer’ apparently isn’t very easy to pronounce. So, one day, I thought, why not write a song about it? I took Liza Minelli’s ‘Liza with a Z’ and turned it into ‘Omer with an E.’ At first, I wanted that to be the name of my show, but My Broadway Shpiel felt more fitting.”

As for the importance of music, he said, “This brings me back to how I see music as a language. It has superpowers. It can take us away from one reality and bring us to a completely different one within a split second. It triggers our emotions in such a powerful way. When people talk to me after a show and say that I made them laugh, made them cry, or made them forget about their day, I know I did something right.”

For tickets to My Broadway Shpiel, visit tickettailor.com/events/templesholom/1702794.

TUTS debut for Newman

(photo by Emily Cooper)

Jewish community member Richard Newman, top right, makes his Theatre Under the Stars debut, playing Grandpa Joe in Charlie & the Chocolate Factory, which alternates nights with Legally Blonde until Aug. 16 at the Malkin Bowl in Stanley Park. He is pictured here with, left to right: Bernardo Arana (Grandpa George), Twyla Raffé-Devine (Grandma Georgina), Imelda Gaborno (Mrs. Bucket) and Sophie O’Brien (Grandma Josephine). For tickets to either TUTS show, visit tuts.ca.

Will you help or hide?

Bema Productions’ The Last Yiddish Speaker cast, director and crew: standing, left to right, Tess Nolan, Kevin McKendrick, Andrea Eggenberger, Nolan McConnell-Fidyk and Ian Case; seated, Siobhan Davies, left, and Zelda Dean. The play imagines a world in which the Jan. 6, 2021, attack on the Capitol in Washington, DC, was successful and Christian nationalists have taken over the United States. (photo by Peter Nadler)

Victoria’s Bema Productions is staging the international premiere of Deborah Laufer’s The Last Yiddish Speaker at Congregation Emanu-El’s Black Box Theatre June 18-29.

The drama imagines a dystopian world in which the Jan. 6, 2021, attack on the Capitol in Washington, DC, was successful and Christian nationalists have taken over the United States. In the play, a Jewish father and daughter must be careful and cunning, as any deviation from the norm could be deadly. When an aged Yiddish-speaking woman lands on their doorstep, they must decide whether to take the risk of helping the woman or focus on saving themselves.

Laufer has numerous full-length plays to her credit, as well as dozens of short plays and even musicals (written with composer Daniel Green). Her plays have been produced around the world and she has been recognized with numerous awards.

While The Last Yiddish Speaker focuses on Judaism and the right for Jews to exist, the play could be about any marginalized group, in any country.

“Although the play is set in the USA, the theme is universal: the struggle of good over evil,” Zelda Dean, founder and managing artistic director of Bema, told the Independent. “In this play, Canada is still a safe place for Jews.”

That said, it has a message for Canadian audiences, as well, Dean said. “It is very important that we address social and political issues, particularly with the huge increase in antisemitism in Canada. The play is entertaining, engaging and enlightening. It takes place in 2029, when the fascists have taken over the USA. It is timely and powerful.”

Directed by Kevin McKendrick, The Last Yiddish Speaker features Ian Case, Siobhan Davies, Nolan McConnell-Fidyk and Dean.

McKendrick is an award-winning director, notably being recognized by the Alberta Theatre Projects for significant contributions to theatre in Calgary. Case, a veteran stage actor on Vancouver Island, is also a director and arts advocate. Davies, meanwhile, is a stage and cinematic performer – she will be appearing in the upcoming film Allure, shot in Victoria. McConnell-Fidyk is a local actor who appeared in Survivors, a play aimed at spreading information about the Holocaust to audiences from Grade 6 and up. (See jewishindependent.ca/theatre-that-educates and jewishindependent.ca/survivors-play-brings-tears.)

Before the November 2024 presidential elections, Laufer told Philadelphia public radio station WHYY about her reasons for writing the play, including that she was deeply disturbed by the events of Jan. 6. “I thought, ‘Is this the end? Is our democracy completely ended?’” she said.

“The play reminds us there are times in history when we have the choice to speak out against oppression or choose to remain silent. You get the government you deserve,” McKendrick told the Independent. “How will you respond when faced with outright injustice?”

Tickets for The Last Yiddish Speaker can be purchased at ticketowl.io/lastyiddishspeaker.

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

Opera based on true stories

Arya Yazgan plays young Sophia in Sophia’s Forest, a chamber opera by composer Lembit Beecher and librettist Hannah Moscovitch, which is at SFU’s Goldcorp Centre for the Arts until June 1. (photo by Anya Chibis)

City Opera Vancouver (COV) presents the Canadian premiere of Sophia’s Forest, a chamber opera by composer Lembit Beecher and librettist Hannah Moscovitch, on stage until June 1 at Studio T at SFU’s Goldcorp Centre for the Arts.

Directed by Julie McIsaac, under the baton of COV artistic director Gordon Gerrard, the one-act opera explores various themes through the story of a young girl, Sophia, who flees civil war and settles in a new country.

“In a time when it’s easy to feel overwhelmed by global conflict, Sophia’s Forest invites us to connect to the individual stories behind the headlines,” said Gerrard. “Composer Lembit Beecher and librettist Hannah Moscovitch have created a deeply resonant story – one that speaks to empathy, resilience and the enduring capacity for hope amidst even the darkest circumstances.”

While Sophia’s Forest is not based on a single true story, it draws inspiration from the lived experiences of many who have endured war, loss and displacement. Through the fractured lens of Sophia’s memory, the chamber opera speaks to the human cost of conflict and the strength required to overcome adversity. Its intimate setting and small ensemble help to magnify the emotional intensity, offering audiences a space for reflection and deeper understanding.

The production integrates live performance with projections by Wladimiro Woyno and an array of mechanical sound sculptures, created from bike wheels and wine glasses, that are controlled remotely in real time by the composer Beecher. These sounds and images – accompanied by a live string quartet – conjure memories and dreams from Sophia’s past: the ring of a wine glass becomes a child’s voice; the whirr of a bike wheel evokes fluttering wings.

For its Canadian premiere, Sophia will be performed by soprano Elena Howard-Scott, Anna (Sophia’s mother) by Adanya Dunn and Wes (Anna’s partner) by Luka Kawabata. Young Sophia will be performed by Arya Yazgan and Emma (Sophia’s sister) by Audrey Gao, both members of the Vancouver Bach Family of Choirs. The chamber opera will include sound design by Richard Berg with costumes by Alaia Hamer.

Sophia’s Forest is COV’s first project in a multi-year initiative that aims to showcase and explore the stories and experiences of newcomers to Canada, including celebrating artists who contribute to Canada’s cultural diversity. For tickets and information, visit cityoperavancouver.com.

– Courtesy City Opera Vancouver

A boundary-pushing lineup

Tuskrik Fredericks and Rebecca Margolick in to begin with no end, part of Dancing on the Edge, which runs June 12-21. (photo by Alexander Diaz)

Dancing on the Edge (DOTE), a cornerstone of Vancouver’s contemporary dance season, presents a line-up of established and emerging dancemakers at the Firehall Arts Centre and SFU Woodward’s June 12 to 21.

Spotlighting a range of world and Canadian premieres, as well as works in progress, from Canadian and international artists, the festival offers seven mixed programs, as well as three full-length works. Among the Jewish community members and companies contributing their creativity are Rebecca Margolick, Noam Gagnon, Stefan Smulovitz, Action at a Distance, and others.

“In the turmoil of the world, we look to artists for solace, encouragement and inspiration. For this year’s 37th annual DOTE festival, we are thrilled to present a roster of artists whose works offer a balm for the soul – exploring a pendulum of themes, from isolation to connectivity, from being overwhelmed to feeling joy,” said Donna Spencer, DOTE artistic producer.

Some of this year’s most anticipated performances include the world premiere of the full-length work Lurch from Vancouver’s MascallDance, an evaluation of legacy, in partnership with three commissioned choreographers: Justine Chambers, Ame Henderson and Sarah Chase; the world premiere of a short work, Tunnel 9, from Montreal’s Fila 13 Productions, with dancers Claudia Moore and Sean Ling-Allan, who take refuge in a confined space; and the world premiere from Taiwanese-Canadian dance artist Juolin Lee, Soup of Forgetfulness, a solo inspired by Taiwanese folklore about the afterlife and reincarnation.

Edge 1 (June 12, 7 p.m., and June 13, 9 p.m.) features Gagnon’s being and the work-in-progress My Dance is not a Hobby by Newton Moraes Dance Theatre.

Edge 2 (June 12, 9 p.m., and June 13, 7 p.m.) pairs Windshear / If I were 2 by Inverso Productions with to begin with no end by Tushrik Fredericks and Margolick.

Edge 4 (June 17, 7 p.m., and June 19, 9 p.m) features To Fetch a Pail of Water by Jennifer McLeish-Lewis, with music composed by Smulovitz, and Tidal Wave (Excerpt) by SQx Dance Company.

On June 17, at 9 p.m., Action at a Distance and Belle Spirale Dance Projects present TUNING.

For more information and tickets, visit dancingontheedge.org.

– Courtesy Dancing on the Edge

A funny look at death

David Bloom, left, and Richard Newman share two different roles in Western Gold Theatre’s production of Caryl Churchill’s Here We Go, which is at PAL Studio Theatre until May 25. (photo by Colleen Bayati)

“I love Caryl Churchill – she is quirky,” actor Rosy Frier-Dryden told the Independent. “She makes you think, makes you work. You can’t just rely on lines! You have to bring her lines to life.”

Frier-Dryden co-stars in Western Gold Theatre’s production of Churchill’s Here We Go, which centres around a funeral. Director Kathryn Bracht describes the work as “a deceptively simple, 45-minute exploration on death and dying that is a surrealist meditation wrapped up in her crafty, clever dialogue.”

For the run at PAL Studio Theatre, which goes to May 25, Frier-Dryden is joined by fellow Jewish community members David Bloom and Richard Newman in the cast, which is rounded out by Bernard Cuffling, Kate Robbins and Peihwen J. Tai.

“Without giving all of the storyline away, the general structure of the play is that it’s in three parts: a funeral scene; a monologue scene, where the deceased speaks; and a final scene without words,” explained Newman.

“We did our first runs today, and it’s quite remarkable how the three scenes build on each other to explore relationships with aging and death,” added Bloom. “It’s startlingly funny and weirdly moving.”

Bloom and Newman share roles, as do the other actors: Frier-Dryden with Robbins, and Cuffling with Tai.

“In half of the shows, I am on stage in the first third playing one of five people attending a funeral,” said Newman. “In the other half of the shows, I play the subject of the funeral, the guy who died, who has a lengthy monologue – six pages of script, to be precise. This monologue is brilliantly written – emotional, scary and, always, funny. Quite a challenge, but such a great scene to play.

“Because of Churchill’s writing and Kathryn Bracht’s direction, each actor has a lot of leeway to interpret their lines and define their characters. Like me, David will have his own interpretation of both roles, and we’ve agreed not to watch each other, so we’ll not be influenced by the other – we’re developing our characters independently. Each of us rehearses alone in the room with the director.”

Frier-Dryden also spoke enthusiastically about the latitude the actors have in this play.

“The most marvellous thing is, you are allowed to create your own character, based on what Caryl Churchill writes and the freedom she gives you,” said Frier-Dryden. “In the first scene, I am playing a character that is older and a big personality. She is a Londoner, upper class, and lives in Eaton Square with a vast array of friends. She had an affair with the guy whose funeral we are attending. In the final scene, she is ill, has dementia and she is slipping away. She and her husband have come to terms.”

photo - Rosy Frier-Dryden’s character in Here We Go had an affair with the man whose funeral the characters have come to attend — Rosy Frier-Dryden’s character in Here We Go had an affair with the man whose funeral the characters have come to attend. *(photo by Colleen Bayati)*

“Caryl Churchill is quite simply a remarkable playwright,” said Western Gold Theatre artistic director Tanja Dixon-Warren. “She has an extraordinary command of language and deep understanding of human nature. Her work is very reminiscent of Pinter and Beckett, in that the text is pared down to its absolute essentials. There is nothing extraneous or gratuitous.

“She has a distinctive, truly singular approach to writing,” Dixon-Warren continued. “Very often there is no punctuation, and lines are not assigned to specific characters, thus allowing the director and actors to find multiple stories and characters within the piece – knowing that they will bring their life experience to the work. This requires that the director, actors, designers really dig into the play, to find all the nuances and be very, very specific about what they are saying. Her material is, essentially, just the beginning of the conversation.”

It certainly has the actors thinking beyond the play and about their own lives: Bloom is 65, Newman is 78 and Frier-Dryden is 90.

“I find myself being grateful for being alive and still being able to move around under my own power,” said Bloom, who commented that the monologue “is both a marathon and a sprint” in which he immerses himself every bus journey, so he’s physically and emotionally exhausted at the end of each day.

“I think about my parents a lot,” he added, “because the play reminds me of their last years and the different ways they faced bodily decline and death. There’s a scene I’m not in that brings up heartbreaking memories of my father’s last years. But, mostly, I’m so delighted to be working on such a beautiful piece of writing with a group of wonderful people, many of whom are even older than I am.”

“You start to think about what’s really important, what I want to do with whatever is left of my life,” said Newman, who has lost many friends in the last year-and-a-half or so.

“What strikes me most strongly is that I am enjoying being here and am looking forward to sticking around to enjoy life as best as I can, as long as I can,” he said. “I consider myself fortunate – I run, work at keeping my body as healthy as I can – and believe my mind will follow…. This play kind of dovetails with my life and the issues and experiences that arise, the things I’m doing and how I’m dealing with life at this age. It’s a kind of serendipity to be in this play.

“At the end of the day,” said Newman, “I’m reminded that life is a gift, a miracle. I have my work, friends both young and old, family. I’m blessed.”

Here We Go also resonates with Frier-Dryden, who recently lost a family member.

“I have lived through the deaths of many, especially recently, and I think of this play and its themes … all the time,” she said. “I am not just going to rehearse – I am going with the knowledge that someone dear has died, and I can send them off and honour them. I love that every day I think of the person I loved, and he is gone, but not gone.”

“Here We Go features some of the best actors in Vancouver,” concluded Newman. “This will be unlike anything you’re liable to see in the Vancouver theatre season! I hope people will come to the show to watch our performances.”

For tickets to Here We Go, visit westerngoldtheatre.org.

Theatre from a Jewish lens

Laen Hershler performing REMNANTS. Hershler brings an interactive version of Dr. Hank Greenspan’s play, which is based on 40 years of conversations with Holocaust survivors, to the Peretz Centre for Secular Jewish Culture on June 8. He will be joined by Vancouver Playback Theatre. (photo from grad.ubc.ca)

In June, Laen Hershler celebrates his first year as artistic director of Theatre Terrific. He also hosts, on June 8, Listening with Survivors, “an evening of deep listening and shared reflection as monologues from Holocaust survivors open into a live, interactive performance with Vancouver Playback Theatre.”

“I was deeply honoured and excited to step in as the artistic director of Theatre Terrific,” he told the Jewish Independent. “This community has always felt like home to me, both as a person and an artist. I look forward to continuing this welcoming tradition.”

“Theatre Terrific Society is a trailblazing mixed-ability theatre company that has been championing inclusivity in the arts since 1985,” reads the website. The society is “dedicated to tackling the challenges of accessibility, representation and inclusion in the arts by breaking down stereotypes and fostering empathy across diverse communities. It creates work that resonates with universal human experiences, bridging differences through storytelling. With a compassionate yet bold approach to theatre-making, it cultivates spaces where respect, rigour and risk drive the creative process.”

Theatre Terrific’s last production, called Proximity: The Space Between Us, was well received at the Vancouver Fringe Festival last September. Directed by Hershler and Susan Bertoia, it was created with the cast and is about the struggles of aspiring artists.

photo - In June, Laen Hershler celebrates his first year as artistic director of Theatre Terrific — In June, Laen Hershler celebrates his first year as artistic director of Theatre Terrific. (photo from instagram.com/theatreterrificvan)

Hershler is also an actor and improviser, and he is pursuing a doctorate in research-based theatre at the University of British Columbia. He is part of Vancouver Playback Theatre, as well, and, as an observant Jew, he performs complete with head-covering and tzitzit.

“Since my shift to diligently keeping Shabbat about eight years ago, my acting career moved from mainstream theatre, which almost always necessitates working on Friday/Saturday nights, to applied forms of theatre,” he said. “These include playback theatre, forum theatre and academically situated theatre, which are much less dependent on weekend shows. I love performing in these types of shows since they tend to be very socially engaged and meaningful projects.”

Hershler’s responsibilities at Theatre Terrific include arranging all the classes, courses and productions, and hiring the instructors, directors and other artists for TT’s projects. He teaches, directs and sometimes performs in the company’s offerings, and works on establishing connections with the broader community of theatre companies regionally and internationally, especially all-abilities arts organizations.

“I love the meaningfulness of the work, the creative freedom and the amazing human beings I get to work with,” he said. “I appreciate the opportunity to create work and opportunities for theatre artists of all abilities and to produce meaningful and evocative theatre. The challenge of the work – which is learning to hold a radically inclusive space that allows for high-level artistic work while including artists across spectrums of physical, neurodiverse and cognitive abilities – is also something I cherish.”

Hershler’s theatre career began at the Jewish Young People’s Theatre of Vancouver, which was based out of the Peretz Centre for Secular Jewish Culture. The program was guided by Lynna Goldhar Smith, who he credits as being a huge influence – he began classes with her when he was 8 years old and stayed with YPT until he was 14. He said a large percentage of people that he acted with in YPT are still involved in the arts today.

Since graduating with his master’s at the University of Cape Town in 2011, Hershler has been an instructor in the education faculty at UBC in Vancouver and in the creative studies faculty at UBC in Kelowna. He began his career as a performer and educator touring and giving workshops in France, Korea, Australia, Kenya, South Africa and elsewhere on various aspects and uses of physical theatre for both children and adults.

“I loved my role as the Tooth Prince while performing for 5-year-olds (and their parents) at one of the most prestigious theatres in Seoul, Korea,” he said.

A couple of years ago, at the Peretz Centre and at Or Shalom, Hershler performed the one-man show REMNANTS, which was written by Dr. Hank Greenspan and first produced, for radio, in 1991. Based on 40 years of conversations with Holocaust survivors, the work delves into the survivors’ experiences, exploring themes such as loneliness, rage, storytelling and the dynamics of relationships across generations.

“It was a deeply meaningful project,” said Hershler, who is bringing REMNANTS back to the Peretz Centre on June 8, in a different form.

“In this version,” said Hershler in an email, “these monologues will open into a space for collective reflection, storytelling and discussion through playback theatre – a form of theatre that invites the audience’s voices and experiences into the performance itself, creating a space for deep listening and dialogue. For this, we will be joined by Vancouver Playback Theatre.”

The evening will be about listening to the Holocaust survivors, as well as one another, he said, “to find overlap and connection with our own lives, today, in this moment in time – to learn with, to learn from, to learn alongside.”

Hershler would like to do more Jewish storytelling.

“I would love to create work that brings down the mystical tales of Rebbe Nachman of Breslov, an interest I inherited from my father, who has long been a storyteller of Nachman tales…. Being Jewish is who I am, and it pulsates through all the work I do,” he said. “All my artistic work emerges from this prism, from a Jewish lens, from a Jewish neshamah (soul).”

For tickets to Listening with Survivors, go to peretz-centre.org. For more information about Theatre Terrific, visit theatreterrific.ca.

Cassandra Freeman is a freelance journalist and improv comedy performer living in Vancouver.

Drama teacher back on stage

People of a certain age will have seen the iconic 1980 comedy 9 to 5, starring Jane Fonda, Dolly Parton, Lily Tomlin and Dabney Coleman. Even more will know the eminently singable title song of the movie, written by Parton, which remains popular today, 45 years later. Those of us who enjoyed the story and like (love!) the song will be happy to know that Royal City Musical Theatre (RCMT) is presenting 9 to 5 The Musical – the score of which Parton wrote – April 25 to May 11 at New Westminster’s Massey Theatre.

“Set in 1979, 9 to 5 The Musical follows three co-workers – Violet, Doralee and Judy – as they endure their mundane and demoralizing office jobs at Consolidated Industries, under the thumb of their sexist and egotistical boss, Franklin Hart Jr.,” reads the press release for the production, which is co-directed by Valerie Easton and Chris Adams. “When the women are suddenly given the chance to turn their wildest revenge fantasies into reality, they hatch a plan to kidnap their nasty boss and step into their full potential – ultimately taking control of the company.”

Keri Smith is in Royal City Musical Theatre’s 9 to 5 The Musical, which runs April 25-May 11 at Massey Theatre. (photo from Royal City Musical Theatre)

The RCMT production stars Irene Karas Loeper as Violet, Maia Beresford as Doralee, Madeleine Suddaby as Judy and Dustin Freeland as Franklin Hart Jr. Jewish community member Keri Smith plays Margaret, a secretary in Hart’s office, who drinks a bit, and she is the understudy for Violet.

RCMT’s 9 to 5 The Musical marks a return to the stage for Smith – who trained at the American Musical and Dramatic Academy in New York City – after a long hiatus, during which time she has taught grades 1-7 at Vancouver Talmud Torah.

The Jewish Independent interviewed Smith in advance of the musical’s opening.

JI: Can you tell me a bit about your general background, how you got into education and theatre, when and why you came to Vancouver? Or did you just study in New York?

KS: After completing my studies at theatre school and spending several years working in New York, my visa expired, prompting my return to Vancouver. Upon arriving, I quickly recognized the challenges of pursuing a full-time acting career in the city. As a result, I sought a position that would allow me to continue engaging with theatre while securing a steady income. I found a role as an early childhood educator at Vancouver Talmud Torah, the elementary school I had attended as a child.

Two years into my position, when an opening for a drama instructor became available, I approached the principal and shared my theatrical background … [and] she entrusted me with the role. I quickly developed a deep passion for teaching and decided to pursue a teaching certification to further my commitment to education.

Over the past 19 years at Vancouver Talmud Torah, I’ve had the privilege of helping to establish a vibrant musical theatre program for students aged 10 to 13. I am immensely grateful to be in a position where I can combine my love for theatre with the joy of teaching every day.

JI: What role, if any, does Judaism and/or Jewish community play in your life?

KS: Judaism and the Jewish community hold a deeply cherished place in my life, shaping both my personal journey and my work as an actor and educator. In my daily life, Jewish values of compassion, justice and the importance of education are guiding principles.

In my role as an educator, I am reminded every day of the power of knowledge and the responsibility we bear in passing on these values to future generations. Judaism has a long tradition of asking questions, seeking understanding and fostering growth through learning, which resonates deeply in my approach to teaching.

As an actor, I find that storytelling in the Jewish tradition has influenced my perspective, as narratives in Judaism often revolve around struggles, resilience and the pursuit of justice – ideas that transcend time and place. Whether in a classroom or on stage, I strive to embody the deep sense of connection and responsibility that Judaism fosters, with gratitude for the wisdom that has been passed down through generations.

The Jewish community, with its strength, support and shared commitment to growth, reminds me that we are all part of something much larger than ourselves and that, together, we can bring light into the world.

JI: What attracts you to acting?

KS: What I love most about acting is the profound escape it offers – an opportunity to leave behind my own world and immerse myself fully in someone else’s reality. The process of stepping into a character’s shoes, seeing the world through their eyes, and experiencing their emotions and struggles is not just thrilling; it’s transformative. It’s an addicting experience because each new role is a journey of discovery – of understanding, empathy and expression that goes beyond my own personal experiences.

JI: What’s your favourite part of teaching?

KS: What truly deepens my love for acting is the opportunity to teach it. Teaching drama allows me to share that same transformative experience with others, especially young people. Watching students experience the same magic of stepping into a character’s shoes for the first time is incredibly rewarding. There’s something truly special about guiding them through the process of self-expression, helping them find their voice and watching them take risks on stage. Drama gives students a unique platform to explore their own identities and develop their confidence, creativity and empathy – all essential skills not just for acting, but for life.

JI: What motivated you to audition for 9 to 5 The Musical? What was that process?

KS: I felt it was the perfect time to step out of my comfort zone and challenge myself, so when I saw the opportunity, I didn’t hesitate to audition. The process was incredibly enjoyable! I was given a song and a scene to prepare, and I went in with the goal of giving it my all. Afterward, I felt confident and proud of my performance.

JI: How often do you perform, and approximately for how long have you been a performer?

KS: I first discovered my passion for performing as a Grade 7 student at VTT, where I played Hodel in Fiddler on the Roof. That role was my introduction to acting, and I’ve been hooked ever since. While I “perform” daily in my role as a teacher, engaging with my students, I haven’t had the chance to take the stage in over 10 years. This production marks my return to acting, and it feels incredible to be back!

For tickets to 9 to 5 The Musical, visit royalcitymusicaltheatre.com.

Carousel stages Stuart Little

“When Mrs. Frederick C. Little’s second son arrived, everybody noticed that he was not much bigger than a mouse. The truth of the matter was, the baby looked very much like a mouse in every way. He was only about two inches high; and he had a mouse’s sharp nose, a mouse’s tail, a mouse’s whiskers, and the pleasant, shy manner of a mouse. Before he was many days old, he was not only looking like a mouse but acting like one, too – wearing a grey hat and carrying a small cane. Mr. and Mrs. Little named him Stuart, and Mr. Little made him a tiny bed out of four clothespins and a cigarette box.”

So begins EB White’s classic children’s story Stuart Little, which was published 75 years ago. To celebrate the anniversary, Carousel Theatre for Young People is presenting the play Stuart Little, which was adapted from White’s book by Joseph Robinette. Jewish community members Advah Soudack and Stephen Aberle are part of the production, directed by Carousel Theatre artistic and managing director Jennica Grienke, at Waterfront Theatre April 23-May 11.

Soudack and Aberle take on multiple roles, including as Stuart’s parents. Castmates Melanie Yeats and Megan Zong also play several parts, while Katrina Teitz plays the title role.

photo - Advah Soudack in a table read of Stuart Little, which will be presented by Carousel Theatre for Young People at Waterfront Theatre April 23-May 11 — Advah Soudack in a table read of *Stuart Little*, which will be presented by Carousel Theatre for Young People at Waterfront Theatre April 23-May 11. *(photo by Kezi Jacob)*

“I was so excited when Jennica called me to offer me the role of Mrs. Little,” Soudack told the Independent. “I knew being part of Stuart Little would be wonderful and the fact that music was being added to the story made me even more jazzed! I love being part of theatre for young audiences, as I think it is so important for children to get the chance to witness and experience live theatre. I have very fond memories from the theatre productions I saw as a child and I know they were part of what inspired me to be an actor myself.”

“I loved the book when I read it as a child, and the approach taken by this production sounded like fun,” said Aberle of why he wanted to be a part of it. “I have a long history with Carousel, going back to the ’80s and including many years both touring to schools throughout BC and performing at the Waterfront, so it’ll be fulfilling to come back and perform here with the company again. I’ve also had the pleasure of working with director Jennica Grienke in the past, and I’m looking forward to renewing that connection. Finally: it’s work! And I love to work.”

Aberle has performed in Carousel’s Scrooge, Macbeth, Dream Castles, The Taming of the Shrew and other productions over the years. Soudack was in The House at Pooh Corner, directed by Kim Selody, in 2020. “Unfortunately, COVID shut us down, so we didn’t get the chance to finish our run with Carousel, nor did we get to remount with Presentation House,” she said.

In preparation for the play, Soudack re-read Stuart Little, a book she read as a child – “and I remember loving it and putting all this effort into a very detailed title page for a book report I wrote … putting a lot of effort into drawing Stuart Little and trying to get him just right.”

Not only did Aberle read the book – “and Charlotte’s Web, another favourite by the same author” – but he read it “a number of times and loved it.”

“It’s interesting,” he said, “to re-read it now with grown-up eyes and see things I’d forgotten: Stuart’s pluck, and his enduring quest to reconnect with his bird-friend Margalo, for example.”

photo - Stephen Aberle in a table read of Stuart Little — Stephen Aberle in a table read of *Stuart Little. (photo by Kezi Jacob)*

For Aberle, the enduring messages include: “Don’t give up on your dreams – and don’t pout and sulk when things don’t quite go the way you’d planned! Don’t be a pushover, and don’t be a jerk either. It’s OK to be different. It’s OK to love who you love. Everyone – including animals, both human and non-human – matters, deserves respect and has their part to play.”

“I feel that the relevance of the story in today’s world is to not fear differences in one another and to not judge each other by our appearance or stature,” said Soudack.

“The part of the story that I particularly like is how everyone accepts Stuart without judgment or fear,” she said. “His parents love him for who he is and everyone he encounters takes him at face value, shows him respect and treats him like an equal.”

Aberle’s favourite part is Stuart driving off into the north, searching for his love, Margalo.

Rehearsals hadn’t started when the Independent spoke with Aberle and Soudack, so they couldn’t say exactly what playing more than one part would be like, but they explained their process.

“I usually approach playing different roles by working with different character bodies and vocal placement. I like to work off of a first hit that I get from reading the script and various characters and build from there. Some of the roles we get to play are animals, so that will be fun!” said Soudack.

Aberle said “one of the most interesting things about playing several characters is finding the characteristics that distinguish them so that one can step quickly and surely into their shoes – or, in some cases, paws. Vocal qualities, gestures, mannerisms, all that kind of thing.”

Neither actor approaches a performance for younger audiences differently than they do other shows, though both pointed to some differences.

“Children’s theatre is usually quite playful and energetic and requires a different way of storytelling,” said Soudack, “so I keep that all in mind when I start my prep and enter the rehearsal hall.”

“Younger audiences can sometimes be more upfront in their responses, which can teach everyone – actors, directors, playwrights, everyone – a lot,” said Aberle. “Back in the day, when shoemakers moved from laces to Velcro for young people’s footwear, we used to talk about discovering the ‘Velcro moments’ – when the youngest audience members, sitting cross-legged in the front row on the school gym floor, would start to play with the Velcro on their shoes, peeling and re-fastening it, and the sound would fill the air. Usually, these were ‘author’s message’ moments – when the script stopped being the story of the interplay between the characters and started becoming a moral. Young audiences can smell a moral approaching from a mile away, and they have little patience for it. (That’s probably true for older audiences as well, but they’ve grown better at hiding it.)”

For tickets (from $19) to Stuart Little, visit carouseltheatre.ca.