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Who holds power over you?

Jeremy Goldstein, centre, and volunteer participants in the Newcastle, Australia, performance of Truth to Power Café earlier this month. Members of the Vancouver community will participate in the event here on Nov. 3. (photo by Cassandra Hannagan)

“Who has power over you and what do you want to say to them?” This is the question at the centre of Jeremy Goldstein’s Truth to Power Café, which he will present – with the help of local community members – Nov. 3 at the Rothstein Theatre as part of the Chutzpah! Festival.

“As with all our events, we invite participants to sign up to the project through a combination of open call and personal invites, which we send out in close collaboration with our presenter, who, in this case, is the wonderful Chutzpah! Festival,” explained Goldstein. “We don’t normally confirm the line-up until a week or two before the performance, so it’s a little early to say what people will speak about, but we’re looking for Vancouverites willing to engage in a process of compassionate truth-telling. When we combine this with my own memoir, told through poetry, image, film and music, it makes for fantastic theatre.”

The deadline was earlier this week for local community members of all ages, experiences and backgrounds to apply to be a part of the event. Selected participants will present a short monologue related to the question of who has power over them and what they want to say to that person, whoever it may be, a parent, sibling, boss, politician, neighbour, friend. In a 2022 Total Theatre Magazine article, Goldstein wrote, “Participants’ voices are heard and understood through the political and philosophical beliefs of Harold Pinter and his Hackney Gang.”

“Nobel Prize-winning playwright Harold Pinter wrote about power and occupation. His inner circle, the Hackney Gang, were a group of working-class lads who met in 1947,” Goldstein explained to the Independent. “They knocked about London’s East End in the 1950s, where they took on the bullies and fought with antisemitic fascists. The gang included my late father, Mick Goldstein, and the late poet/actor Henry Woolf, who became known as the ‘King of the Avant Garde,’ and with whom I co-created the show directed by Jen Heyes.

“For 60 years, the Hackney Gang held firm in their belief of an independent media and in speaking their truth to power,” said Goldstein. “They remained on the side of the occupied and the disempowered and their allies. These are the people we invite to appear in the show with me.

“Ultimately,” he added, “the show has become a love letter to the memory of my father Mick, and his friends of 60 years, Henry Woolf and Harold Pinter.”

Goldstein started Truth to Power Café eight years ago.

“Back in 2016, I was presenting New York’s queen of the underground and former Andy Warhol Factory superstar Penny Arcade at Soho Theatre in London,” he said. “I wanted to stage a pre-show event so I opened up my address book and invited 24 Londoners to respond to the question, ‘Who has power over you, and what do you want to say to them?’ Over four nights, I saw the theatre come alive with raw and compassionate truth-telling and was compelled to make a show out of it.”

But there were unexpected challenges.

photo - Jeremy Goldstein brings his Truth to Power Café to the Chutzpah! Festival Nov. 3 — Jeremy Goldstein brings his Truth to Power Café to the Chutzpah! Festival Nov. 3. (photo by Cassandra Hannagan)

“Two weeks before the first night, my face became numb and the doctors told me I had a stage 4 lymphoma,” shared Goldstein. “At the time, I didn’t know if I would live, let alone make it to the Soho Theatre performances. Eighteen months and a stem cell transplant later, I was cured and premièred the show at Festival 18, the arts and culture program for the Gold Coast Commonwealth Games in Australia.

“I’ve been on the road with it ever since, playing everywhere from poor working-class mining communities in the north of England to remote townships in the Australian outback to Queer Zagreb in Croatia and on to Lincoln Centre in New York – Truth to Power Café is a genuine global hit.”

Since it began, the show has had some 800 diverse participants taking part in eight countries.

“Some participants are established writers, artists and community activists, whereas others have never spoken up in public before, let alone centre-stage, under lights in their local theatre, sharing intensely personal life stories in front of their friends and family,” said Goldstein. “I’ve become a vessel through which these stories are told. It’s a very privileged position to be in and I don’t take it for granted. I want people taking part to have a positive experience, so I’m very aware of people’s well-being as part of the process leading up to each performance, and into the show itself. I check in with everyone after the show. Many of our participants have become my friends.”

He is well aware of how confronting power can put a person in a vulnerable position.

“The basic rule in life is don’t rock the boat or to tell a white lie to keep the peace, so whether you choose to speak from the personal, political, professional or even all three, speaking truth to power can put you at risk,” he said. “We, therefore, make the show in a safe space or, in the words of one our recent participants, Ed Wright: ‘To talk truth to power, to find our own power, we need to be able to feel safe. To have our power returned to us when it has gone missing, we need to know we have been listened to.’”

The question being asked – “Who has power over you and what do you want to say to them?” – is meant to challenge ideas of power and give voice to people who don’t normally have a chance to speak out, said Goldstein.

“People from marginalized communities tend to talk about progressive change, whereas those with privilege and power want to maintain the status quo and have more power,” he said. “We live in the post-truth age of the demagogue, where fake news is the new norm. In politics, the oppressed often have to fight for the right to simply say what they are experiencing and, in personal relationships, that artificial barrier is also in place. If you have an approach to allowing the conversation to happen, the chances of change occurring are much higher.”

The Nov. 3 Chutzpah! show is Truth to Power Café’s Canadian première and its 60th performance.

“It’s extremely rare to have two significant milestones back-to-back,” said Goldstein, “so I can’t wait to celebrate this with the good people of Vancouver.”

Chutzpah! runs Nov. 1-10. For the full lineup and tickets, visit chutzpahfestival.com or call 604-257-5145.

New this year for the Chutzpah! Festival: Jewish Community Centre of Greater Vancouver members receive discounted ticket prices and concession purchases at the theatre. Select Student/Senior/JCC Member tickets and ChutzPacks and bring your membership card to the theatre.

Space for love amid messy

Chutzpah! resident artists Livona Ellis, left, and Rebecca Margolick in their debut collaborative piece, Fortress, which is part of a double bill at the Dance Centre next month. (photo by Benjamin Peralta)

Strength, vulnerability, love, pain, joy, healing, creation. Two world premières at this year’s Chutzpah! Festival explore these and other aspects of what it means to be human. The Nov. 8-9 double bill of Fortress and About Time are being presented with the festival’s community partner, the Dance Centre.

Fortress is the debut collaborative piece by Chutzpah! resident artists Rebecca Margolick and Livona Ellis. In it, the dancers and choreographers contemplate femininity, what it means to be strong, what it means to be vulnerable and the balance between the two.

“I draw strength from the resilience and emotional intelligence of the women in my life. My mom, Mary-Louise Albert, and my grandmothers, Phyllis Margolick and June Albert, are key inspirations,” Margolick told the Independent. “I also think of my great-great-grandmother, Rivka Margolick, who fled the pogroms in Latvia in the late 1800s with her nine children. She died a week after arriving in Montreal, but her bravery continues to inspire me. I often think about how that one lucky and bold move to escape and to come to Canada has led to me here, now.”

Margolick’s heritage infuses her creative life.

“Jewish culture encourages asking questions and exploring ideas from multiple perspectives, which mirrors my creative process,” she explained. “I constantly question the work I’m building, not out of doubt, but as a way to deepen and refine it. This openness to possibilities, paired with a focus on collaborative exploration, is something I see as a direct reflection of my Jewish values, and one that I connect to strongly in my culture, my work, and the overall way I operate in the world.”

Born and raised in British Columbia, Margolick recently returned to Vancouver.

“I officially moved back in July, but I had been coming back here more often since the pandemic,” she said. “I was based in New York City for 14 years. For the last 18 months, I was nomadic and traveling around for work without a home base. I chose to settle back in Vancouver to be closer to family, have better access to nature, have a calmer lifestyle, and to strengthen the community and close friendships I have here.”

Margolick’s choreographic work has been presented around the world, and she has danced with various artists and companies, including Sidra Bell Dance New York from 2012 to 2016. She joined Andrea Peña & Artists this year.

Ellis has performed with several groups, including 11 seasons with Ballet BC, and has create works for many companies. She received the Vancouver Mayor’s Arts Award for Emerging Artist in 2017 and the inaugural Louise Bentall Award for Emerging Choreographer in 2023. She is also a dance educator.

The Jewish Independent first wrote about Fortress and Margolick and Ellis’s collaboration in 2021 (jewishindependent.ca/four-solos-and-a-duet).

“It has almost completely changed!” said Margolick of the work’s evolution since then. “We took some base movement ideas from the original work, for example, rocking, and then extrapolated on it. Our themes and original inspiration for the work have remained similar. We’ve let ideas breathe more, creating space for simplicity to stretch, and allowing the work to feel more spacious and exploratory.”

Margolick described how she and Ellis work together.

“Like a lot of creative processes, it feels like we’re building a puzzle,” she said. “We start with throwing out a bunch of ideas (puzzle pieces), trying them out, placing them next to other ideas, and seeing how they work together. Some ideas fit, while some don’t. It’s a constant process of refining, editing and reworking until the picture becomes clear. We aim to craft an arc that makes sense but still leaves room for mystery and space for the audience to create their own experience.”

As for her own journey with femininity, strength and vulnerability, Margolick shared, “Over time, I’ve grown more comfortable in my own skin, learning to embrace my imperfections and express my emotions more freely. I’ve come to understand that there is great power in vulnerability. As I’ve matured, I’ve also leaned into dialectical and critical thinking, which has helped me appreciate the complexity of femininity. Working on Fortress has reinforced for me that true strength lies in allowing space for tenderness and care, even when it feels messy.”

***

About Time choreographer Idan Cohen has also come to better understand messiness – the countless disparate ideas, feelings and events that co-exist at any given moment – in his exploration of time via Philip Glass’s solo piano études.

“It’s been very challenging to create throughout this traumatic year,” he acknowledged. “It feels like, since Oct. 7, one faces two major options: there are those who break and those who assemble, constructing something out of the pain and confusion. I chose to create About Time as a commentary on the ways we consume information, form opinions and lose empathy. Time goes on whether we want it to or not. The question is, with what do we fill that space, the time we are given. My time is filled with both love and pain. I break, but I also feel the urge to create, provoke thought and promote healing.”

Born and raised in Israel, but now an established Vancouverite, Cohen’s career includes seven seasons with Kibbutz Contemporary Dance Company and various international tours, residencies and scholarships. A multiple-awarding-winning performer and choreographer/director, he is founder and artistic director of Ne.Sans Opera & Dance.

The original idea to create a piece to Glass’s études came from Cohen’s colleague and friend, conductor and pianist Leslie Dala, back in 2020.

photo - Will Jessup in Idan Cohen’s About Time, an exploration of time through Philip Glass’s solo piano études. In this year’s Chutzpah! Festival, Jessup and Benjamin DeFaria perform the piece with pianist Leslie Dala at the Dance Centre Nov. 8-9 — Will Jessup in Idan Cohen’s About Time, an exploration of time through Philip Glass’s solo piano études. In this year’s Chutzpah! Festival, Jessup and Benjamin DeFaria perform the piece with pianist Leslie Dala at the Dance Centre Nov. 8-9. *(photo by Chris Randle)*

“Even now, between other projects, I find myself continually returning to Glass’s études,” said Cohen. “I have to understand the core of the music. It is more than just the composer’s intention – it’s about tracking and studying their identity, which makes them a cultural phenomenon, that deep essence through which they form a perspective, their cultural DNA. Glass is such a fascinating artist, and I have a tendency to obsess and study things over time – it is a friendship. I am immersed in Glass’s unique understanding and appreciation of time, and in the way he engages with philosophies and perspectives.”

Cohen has learned a few things from this immersion. In particular, he said, “In order to survive, I had to remind myself that no timeline is more important than another – joy and pleasure exist in any given moment, alongside tragedy, weakness and pain. There are multiple realities, and the worst atrocities happen simultaneously with moments of celebration and joy.”

While the music is the foremost inspiration, Cohen said it serves as “the gateway through which a creative world is assembled.”

“In a creative process,” he said, “I need to find my interpretation of the music, to discover where the core connection lies between the music and myself. It is an act of artistic communication – between artists, between Glass and me, the dancers, Leslie Dala, the designers and everyone involved. I find the act of art-making to be an important practice in both creation and healing.”

Dala will perform Glass’s études live during About Time, which features dancers Will Jessup and Benjamin DeFaria.

To the community, “who have endured unbearable pain this year,” Cohen said, “I dedicate every movement and every step of this creation to you, sending you strength and love. I am praying for better times to come.”

***

The Fortress and About Time double bill will take place at Scotiabank Dance Centre. For the full Chutzpah! Festival lineup and tickets, visit chutzpahfestival.com.

Shining a light on early music

The new season of Early Music Vancouver started with a presentation of the Goldberg Variations and continues with DanteNova: Music from Dante’s Commedia Oct. 25.

From the wailing cries and silences of Inferno to the angelic concerts of Paradiso, this program revisits the pages of Dante’s Divine Comedy, where music resounds throughout. Dante wrote Comedy around the time when a new musical style, the Ars Nova (New Art) spread throughout France and Italy. La Fonte Musica, directed by Michele Pasotti, is an ensemble whose artistic journey is to unveil the roots of the music composed during the transition from the Middle Ages to Renaissance humanism. They will take listeners on a musical journey through the Ars Nova and Dante’s timeless masterpiece, to Heaven from Hell, as Bill Richardson provides the narration.

Bahauddin Dagar, world master of the rudra veena, an ancient classical musical instrument of India, makes his Vancouver debut Nov. 23.

Countertenor Iestyn Davies joins the viol consort Fretwork, directed by Richard Boothby, in an exploration of the lament on Nov. 26. A genre of the Baroque era, the lamento’s origins lay in early 17th-century Italian opera, before finding its way into sacred music. It was quickly embraced by German sacred composers and Johann Christoph Bach’s Ach, dass ich Wassers gnug hätte, his best-known work that laments the sinfulness of humanity, forms the foundation of this program.

Blessed Echoes: Elizabethan Lute Songs is next on the lineup, on Dec. 5. Robin Pharo and the ensemble Près de votre oreille (Close to Your Ear) offer a dive into English lute song during the reign of Queen Elizabeth I. Blessed Echoes brings to light other treasures of Elizabethan and Jacobean song in one, two, three or four voices, which still remain unknown or poorly known, composed by famous poets and composers like Thomas Campion or Philip Rosseter.

The first part of Early Music Vancouver’s new season rounds up with Festive Cantatas: Bach & Zelenka, with performances in Victoria Dec. 21 and in Vancouver Dec. 22.

Festive Cantatas returns with a pairing of the Gloria in excelsis Deo cantata BWV 191 by Johann Sebastian Bach with Czech composer Jan Dismas Zelenka’s Missa Nativitatis Domini (ZWV 8) of 1726. The only Bach church cantata set to a Latin text, BWV 191 is based entirely on the “Gloria” from the B Minor Mass (BWV 232), with an unusual première in Leipzig on Christmas Day to celebrate the Peace of Dresden (1745).

Zelenka (1679-1745), whose output consisted mainly of sacred music for the Catholic court at Dresden, was the most important Bohemian composer before Christoph Willibald Gluck. His Missa Nativitatis Domini was found in Carl Philipp Emannuel Bach’s personal effects, giving us a clue that the piece was known to J.S. Bach.

Festive Cantatas will be performed by Hélène Brunet and Suzie LeBlanc, sopranos; Cecilia Duarte, alto; James Reese, tenor; William Kraushaar, bass; Vancouver Chamber Choir and Pacific Baroque Orchestra, directed by Alexander Weimann.

For more information on these performances and the rest of the Early Music Vancouver season, visit earlymusic.bc.ca.

– Courtesy Early Music Vancouver

Heart of the City tribute

Actor Kieran Sequoia (Breaking Bad, Disney’s Night at the Museum) is one of the performers in The Keep It Raw Cabaret: A Tribute to Jay Hamburger, co-presented by the Heart of the City Festival and Theatre in the Raw on Nov. 9 at Russian Hall (photo by Katie Keaveny)

Guided by the theme “Threads of Connection,” the 21st annual Downtown Eastside Heart of the City Festival takes place Oct. 30-Nov. 10, with more than 100 events throughout the Downtown Eastside and online. Several members of the Jewish community are involved.

The festival opens Oct. 30, 2 p.m., at Carnegie Community Centre Theatre with co-founders Terry Hunter and Savannah Walling as they reflect on their 21-year history with the festival, express gratitude to fellow artists, residents and organizations, and “pass the paddle” to new leadership. Special guests include, among others, Bob Baker/S7aplek (Squamish Nation); Chinese-Canadian rap artist Gerry Sung (Scope G), who is also a cast member of Props Master’s Dream, which is part of the festival offerings; Pavel Rhyzlovsky (accordion) and Leonard Chokroun (violin), from Strathcona’s Ukrainian Hall; and grass dancers Larissa Healey and Pavel Desjarlais.

Jewish community member Itai Erdal is the lighting designer for The Prop Master’s Dream, which takes place Nov. 2, 2 p.m. and 7 p.m., at Vancouver Playhouse (tickets: bit.ly/3B8rO0w).

This fusion opera produced by Vancouver Cantonese Opera is inspired by the true-life story of Wah-Kwan Gwan (1929-2000), a little-known Chinese opera performer and prop master born to a local Chinese father and Indigenous mother. The Cantonese Opera cast is joined by Sung and Haudenosaunee/Irish actress and singer Cheri Maracle, and features projections by filmmaker Anthony Lee.

photo - Counselor and stand-up comic David Granirer will be joined by comedians from Stand Up for Mental Health on Nov. 2 for a Heart of the City Festival show at Carnegie Theatre — Counselor and stand-up comic David Granirer will be joined by comedians from Stand Up for Mental Health on Nov. 2 for a Heart of the City Festival show at Carnegie Theatre. (photo from Heart of the City Festival)

Also on Nov. 2 – at Carnegie Theatre, 4 p.m. – is Funny Side Up: Stand Up for Mental Health. Counselor and stand-up comic David Granirer will be joined by comedians from Stand Up for Mental Health, to look at the lighter side of taking meds, seeing counselors, getting diagnosed and surviving the mental health system. Jewish community member Granirer’s Stand Up for Mental Health teaches stand-up comedy to people with mental illness. This event is one of the festival’s many free offerings.

On Nov. 9, 8 p.m., at Russian Hall, the festival honours Jewish community member Jay Hamburger, who died earlier this year. Hamburger was a beloved teacher, political activist, radio host and artistic director of Theatre in the Raw, which is co-presenting the event (tickets: bit.ly/4eqs3Cu).

The Keep It Raw Cabaret: A Tribute to Jay Hamburger features choral singers, stand-up comedy, staged theatrical surprises, a taste of Hamburger’s original poetry and writings, and more. Among the participants are Jewish community members Stephen Aberle and Hamburger’s son, Sylvan Hamburger.

The Heart of the City Festival is presented by Vancouver Moving Theatre in association with the Carnegie Community Centre and the Association of United Ukrainian Canadians and a host of community partners. The festival works with, for and about the Downtown Eastside community to carry forward the area community’s stories, ancestral memory, cultural traditions, lived experiences and artistic processes to illuminate pathways of resistance and resilience. For the full lineup and other information, visit heartofthecityfestival.com.

– Courtesy Heart of the City

Eclectic season for Ballet BC

Opening Ballet BC’s 2024/25 season Nov. 7-9 is the world première of Dawn, from French choreographer Pierre Pontvianne. Also featured in the season opener are Heart Drive, from Dutch choreographic duo Imre and Marne van Opstal, with music by Israel-born Amos Ben-Tal, and Frontier, by British Columbia’s own Crystal Pite.

Dawn is Pontvianne’s first work for North American audiences. Known for defying genre and expectation, his movement language is intimate and organic, with a strong capacity for political resonance.

The primal and electric Heart Drive, which had its world première in the 2022/23 Ballet BC season, returns to the stage, inviting audiences to acknowledge the fundamental energies we all possess, energies that allow us to form bonds by entertaining our fantasies of love, commitment and pleasure.

Rounding out the program, Pite’s Frontier is the characterization of dark matter, the personification of shadows. “As a creator, I find a pleasing parallel between what we don’t know about the universe, and what we don’t know about consciousness,” said Pite. “Creation, for me, is about venturing into unknown territory and being in a generative relationship with doubt.” Featuring the full Ballet BC company, this is a rare chance to experience a large-scale work by Pite.

The season continues March 6-8 with an evening featuring a world première by Bogota-born, Montreal-based Andrea Peña, winner of the 2024 Ballet BC Emily Molnar Emerging Choreographer Award; Swedish choreographer and longtime Ballet BC collaborator Johan Inger’s PASSING, set to an original score by Ben-Tal, as well as selections from Erik Enocksson and Moondog, which was commissioned by Ballet BC in the 2022/23 season; and a new commission from Spanish choreographer Fernando Hernando Magadan.

The season closes May 8-10 with a piece created for Ballet BC by Bobbi Jene Smith and Or Schraiber, alums of Israel’s Batsheva Dance Company, founding members of the American Modern Opera Company and current artists-in-residence with LA Dance Project. The duo is known for reflecting everyday experiences through their intense, unexpected and expressive creations, and for their reverence of and collaborations with the world of cinema.

The closing program also features a remount of German choreographer Marco Goecke’s Woke Up Blind, in which seven dancers move through a world of sound highlighted by the guitar licks and vocals of late American musician Jeff Buckley; and a world première by Ballet BC artistic director Medhi Walerski, who is known for movement language that embodies the essence of the human spirit through intimate partnering and dynamic group work.

Royal Winnipeg Ballet returns this season, bringing Nutcracker to Queen Elizabeth Theatre Dec. 13-15 and, for the first time, Surrey’s Bell Performing Arts Centre (Nov. 23-24). And Ballet BC Annex returns, a collaboration with Arts Umbrella and Modus Operandi that tours regionally, bringing performances and workshops to schools across the province. The main company will also tour, performing large ensemble works, such as Pite’s Frontier, Shahar Binyamini’s 50-dancer BOLERO X and Walerski’s Chamber, in cities such as Montreal, Ottawa and Los Angeles. The company will continue its MOVE adult classes, and series in dance, pilates and yoga.

For more information, visit balletbc.com.

– Courtesy Ballet BC

International music mix

The Israeli Chamber Project’s semi-staged production of Arnold Schoenberg’s Pierrot Lunaire features soprano Hila Baggio. The Vancouver Recital Society presents the production on Dec. 1. (photo from Israeli Chamber Project)

Celebrating the 150th birth year of Arnold Schoenberg, the Israeli Chamber Project will present a semi-staged production of his expressionist cabaret Pierrot Lunaire on Dec. 1 at Vancouver Playhouse, hosted by the Vancouver Recital Society.

A collaboration with Israeli Opera star Hila Baggio and stage director Shirit Lee Weiss, this production premièred in 2016. The program also includes Igor Stravinsky’s Scenes from Petrushka and Maurice Ravel’s La Valse, both arranged by Yuval Shapiro into chamber versions created especially for the Israeli Chamber Project. Joining Baggio (soprano) in the performance will be Guy Eshed (flute), Tibi Cziger (clarinet), Daniel Bard (violin/viola), Sivan Magen (harp), Michal Korman (cello) and Assaff Weisman (piano).

The Vancouver Recital Society’s 2024-2025 season, which started in September, features performances from a diverse group of artists from Canada and around the world. The next event – Oct. 20 at the Playhouse – features pianist Tamara Stefanovich, whose broad repertoire reaches from before Johann Sebastian Bach to beyond Pierre Boulez.

A two-concert Brahms Fest Nov. 3 at Vancouver Playhouse brings together eight musicians from three countries to celebrate the work of Johannes Brahms. The Castalian String Quartet, violist Timothy Ridout, cellist Zlatomir Fung and pianists Angela Cheng and Benjamin Hochman join forces in various groupings to play iconic works such as the String Sextet No. 2 in G major, and the Piano Quintet in F minor.

Guitarist Raphaël Feuillâtre – born in Djibouti, on the northeastern coast of Africa, and raised in the small city of Cholet in Western France – makes his Vancouver debut Nov. 24 at the Playhouse. Meanwhile, Montenegrin guitar virtuoso Miloš returns to the VRS Jan. 26, also at the Playhouse.

Grammy Award-winning Canadian soprano and conductor Barbara Hannigan will make her VRS debut with French pianist Bertrand Chamayou. At the Chan Centre for the Performing Arts Nov. 30, her performance will feature works by Olivier Messiaen, Alexander Scriabin and John Zorn.

photo - Evgeny Kissin in 2021. The Russian-born Jewish pianist performs here April 16 — Evgeny Kissin in 2021. The Russian-born Jewish pianist performs here April 16. *(internet photo)*

Pianist Tom Borrow made his Canadian debut on the VRS stage in 2023 and wowed the VRS audience with his talent. He returns Feb. 16 for a concert at the Playhouse. And, on Feb. 23, tenThing, an all-female brass ensemble from Norway, led by trumpeter Tine Thing Helseth, will blow the roof off the Playhouse when they play a varied program that includes works by Edvard Greig, George Gershwin and Astor Piazzolla.

South Korean pianist Yuncham Lim will make his Vancouver debut playing Bach’s Goldberg Variations at the Orpheum March 2, while Swedish/Norwegian violinist Johan Dalene, with pianist Sahun Sam Hong, makes his Canadian debut March 23 at the Playhouse.

British pianist Steven Osborne comes to the Playhouse March 30, and cellist Jean-Guihen Queyras and pianist Alexander Melnikov perform there April 6.

Pianist Evgeny Kissin’s April 16 performance at the Chan Centre will feature works by Ludwig von Beethoven, Frédéric Chopin and Dmitri Shostakovich. And, when cellist Yo-Yo Ma returns to the VRS May 6 at the Orpheum, he will play a selection of his favourite pieces and share stories about an extraordinary life dedicated to music.

Full details of the VRS 2024-2025 performances are available online at vanrecital.com. Tickets start at $28 and can be purchased on the website or by phone at 604-602-0363.

– Courtesy Vancouver Recital Society

Humanizing hostages’ plight

Rabbi Jonathan Infeld, left, in conversation with Thomas Hand at Congregation Beth Israel. (Adele Lewin Photography)

Emily Hand was a healthy 8-year-old girl with chubby cheeks on Oct. 7, 2023, when she was abducted by Hamas terrorists from a sleepover at a friend’s home on Kibbutz Be’eri. When she was released, 50 days later, she was a pale, gaunt 9-year-old who would not speak above the faintest whisper.

Emily and her dad, Thomas Hand, were in Vancouver this month, where the father was part of Congregation Beth Israel’s Selichot program Sept. 28. He spoke with the Independent in advance of the conversation he had with Rabbi Jonathan Infeld at the synagogue.

On Oct. 7 last year, Emily was at the home of her friend Hila Rotem-Shoshani. After the terrorists invaded the kibbutz and the murderous rampage subsided, Thomas Hand had no idea where his daughter was. It was almost midnight that evening when the Israel Defence Forces made it to Be’eri and rescued the survivors. In the chaos of the moment, Hand was told that his daughter was dead.

His immediate response was relief.

“It’s a terrible thing to say,” said Hand, “but I was more relieved and at peace that she was at peace and not being terrorized or beaten or threatened or in the hands of the Hamas.”

Eventually, it would become known that, of Be’eri’s approximately 1,100 residents, about 100 were murdered and about 50 taken hostage to Gaza. Be’eri’s surviving residents were removed to a location near the Dead Sea.

After a few days, Hand was informed that there was no evidence that Emily had been murdered. Her remains were not found and neither was any of her DNA. Hand has no explanation for how the misunderstanding occurred. His former wife, however, was found dead. (Emily’s mother died of cancer when Emily was 2.)

Now, Emily was officially missing.

A kibbutz member mentioned to Hand that they had seen Raaya Rotem “and her two children” led away at gunpoint. Hand knew that Rotem has only one daughter – Emily’s friend Hila – and that was his confirmation that Emily had been abducted alive.

“When they told me that she was actually alive, I was in the nightmare of not knowing what the hell was going to happen to her,” he said.

It is now known that Emily, Hila and Raaya were taken to Gaza, moved from location to location for the first couple of days and then held in a house along with several other hostages.

They lived in constant terror and were given very little food – a quarter of a pita a day sometimes, though they could smell the plentiful food their captors were cooking. Their accommodations were squalid, they were watched while using the toilet and warned to remain totally silent.

Doing what he could to raise global awareness of his daughter’s situation, as well as those of the other hostages, Hand launched a campaign, beginning with a trip to Ireland. Hand had made aliyah from Ireland and Emily, as a result, is a dual citizen. Hand then traveled to the United States and appeared on American TV, further humanizing the plight of the hostages and their families.

In November last year, during the temporary ceasefire, Emily was one of 105 hostages freed. She was released along with Hila. Hila’s mother Raaya was released a couple of days later.

Hand has no clear memories of their reunion, except that he would not allow himself to believe it would happen until they locked eyes.

“Anything could go wrong,” he said of the temporary ceasefire negotiations and promised release of the hostages. “Not until the very last second did I really believe that she was coming back, only when I saw her eyes.”

The joy of reunion was mixed with the harsh reality of what she had endured.

“She came back a different child,” Hand said, reflecting on her transformation from an innocent 8-year-old to a much-matured child shaped by trauma. The changes were most immediately noticeable physically. “Her cheekbones were sharp, her body much thinner.”

The effects of being threatened for more than two months to remain silent did not dissipate immediately either.

“When she came back, she was whispering, just moving her lips,” he said. “Her confidence was shattered.”

Since Emily’s release, the Hands – she has an older brother, 29, and a sister, 27 – have been working to help her recover. Therapies, including horse riding, dog training, theatre and singing, have played a crucial role in rebuilding her confidence. Regular psychological support in Tel Aviv, despite being a two-hour drive, has also been essential.

“She’s very strong, very resilient,” said her father.

The Hand family has relocated to a semi-permanent residence near Be’er Sheva while they await the reconstruction of Be’eri, to which he is determined to return.

“It’s been my home for over 30 years. I raised my eldest kids and Emily there,” he said. “It’s paradise. I want to go back home.”

Not all kibbutz members feel the pull to return, he acknowledged, though he estimates that 75% of the surviving members hope to rebuild there. Security, of course, is the foremost concern.

“The government needs to be different, and Hamas needs to be as weak as we can possibly make them because I need to feel safe in my own home before I would ever bring Emily back there again,” he said.

Reflecting on the international response to the crisis, Hand expressed frustration.

“Why is the UN or all the governments in the world not putting the pressure on Hamas to stop?” he asked.

To critics of Israel’s actions in Gaza, he is defiant. “We have to defend ourselves, and we will defend ourselves,” he said, “no matter what the world says or thinks.”

As Emily continues her recovery, Hand remains focused on a mission.

“Our primary concern now is getting the hostages back,” he said.

Kibbutz residents returning

The medical centre at Kibbutz Be’eri, where at least five people were murdered Oct. 7, 2023. (photo by Melanie Preston)

I’m sitting in the dining hall at Kibbutz Be’eri, as people begin to enter for their Sunday lunch at 11:39 a.m. Sunday is like Monday here in Israel, the work week being Sunday through Thursday.

I’d never spent time on a kibbutz until now, except for a few days on my Birthright trip, which was my introduction to Israel. But now, I’m not only on a kibbutz, but on Kibbutz Be’eri, less than five kilometres away from Gaza, less than a year after the worst terror attack on Israeli soil.

On Oct. 12, 2023, in the Times of Israel article “Be’eri’s residents are gone, but their homes attest to the horrors they endured,” there was this incredible statement by Doron Spielman from the Israel Defence Forces’ Spokesperson’s Unit: “In the same way that Auschwitz is the symbol of the Holocaust, Be’eri is going to become the symbol of the [Oct. 7] massacre. The level of inhumanity of Hamas fighters surprised even us, Israelis who had no illusions about what Hamas is.”

And, yet, here I am, bearing witness as approximately 200 kibbutz members of the 1,100 total, have returned to live here. This does not include any children, due to the war next door in Gaza, and, of course, the traumatic memories of Oct. 7.

The majority of Be’eri’s residents have just been moved from the Dead Sea-area hotels that housed them for the past year to Kibbutz Hatzerim, 45 minutes away from Be’eri, a wonderful community who rushed to build a new section of homes to accommodate them. This is where the families with children are now settling in and where school has just begun.

But there are many residents, couples with grown children, or singles without children, who have chosen to return to Be’eri. At first, they only commuted here to work during the week, but they are now choosing to stay full-time. They are determined to be back at home, to establish new routines, care for the grounds, hang out at the local pub and prove to the world and to the enemies who tried to destroy them and their spirit that they have done anything but that. The spirit in Be’eri is hurting, yes, but it is also fierce, and it will not be extinguished.

Last week, Israel’s Channel 12 aired a new documentary showing the horror that took place here on Black Saturday. It included footage from cameras all over the kibbutz, and the camera they kept returning to was right outside the dining hall in which I am writing right now.

How different it was to watch this documentary, how odd to watch the silent camera footage, how chilling, when I knew the reality on Oct. 7 was sirens blaring the entire day, due to thousands of rockets overhead, and screams from those being attacked all over Be’eri, in neighbouring communities and all over the nearby desert and forests, as young adults ran to try and escape the Nova music festival, many meeting a violent death.

I watched the tick, tick, tick of the digital clock in the corner of the TV screen on this documentary as Hamas terrorists methodically made their way through offices and the kibbutz’s medical centre, where at least five workers were massacred, and homes and children’s rooms, trapping people together and smoking and burning people to death, shooting them if they attempted escape, like Narkis Hand was forced to do when an RPG hit her home, setting it instantly on fire.

Narkis Hand was Thomas Hand’s former wife and the mother of his older children, Natali and Aiden. Thomas Hand’s younger daughter, Emily, then age 8, was kidnapped by Hamas terrorists with her friend Hila and Hila’s mother Raaya for 50 days, though he was originally told she had been killed.

The first and only time I had been to Be’eri before now was last February, when I visited with a different resident, Adam Rapoport, whose older brother Yonatan was murdered at some point between “6:29 a.m. and the end of day,” noted the documentary, as the silent clock in the upper left-hand corner went tick, tick, tick on Oct. 7.

photo - Adam Rapoport by the Dead Sea — Adam Rapoport by the Dead Sea. *(photo by Melanie Preston)*

Like many others from these communities, Adam will never know exactly what happened to his brother that day, other than that he saved his kids’ lives by ordering them under the bed, where they would spend 11 hours listening to the horrors taking place in the peaceful community they’d grown up in. Six-year-old Aluma and 9-year-old Yosef would later tell their uncles that Dad had said he was going out to get the terrorists money at the ATM.

“There were just too many … bodies … to learn what happened, and that was just at Be’eri,” Adam told me back in February, at the Dead Sea hotel where he and other evacuees were staying, the day before he brought me here to bear witness.

This was an invasion into homes that lasted an entire day and involved such gore that I hesitate to go into detail.

It involved shooting a 3-month-old baby in the head, in front of her mother, in Kibbutz Be’eri, and burning an entire family alive from neighbouring Kibbutz Nir Oz, including all three young children.

It involved murdering parents in front of their children and then kidnapping the children – and these sons and daughters have still not returned home. Some are confirmed dead in Gaza and are bodies waiting to be brought back, like Adam’s best friend Itay Svirsky, which was how I initially met Adam and began learning about this community, while others are likely still alive in captivity, starving and suffering in ways human beings should not be permitted to suffer. But the Red Cross has done nothing for the hostages since the very beginning.

In Israel, we have waited, prayed, hoped and fought. We have gone to weekly rallies in Tel Aviv and Kiryat Gat, saying the hostages’ names and counting the days, chanting “Achshav, achshav, achshav.” (“Now, now, now.”)

We have had to silence our phones, as constant notifications appear, notifying us of the nonstop rockets entering our airspace and our cities from Hezbollah in Lebanon, the Houthis in Yemen and other groups in Iraq and Syria, while ongoing predictions about whether Iran will or won’t do something big (and when they will or won’t do it) are discussed and analyzed.

But, since arriving on Kibbutz Be’eri last month, I have felt a shift.

It’s a unique kind of optimism I have never quite seen. It’s pride and it’s love and it’s strength and it’s resolve and it’s “F—- you, we’re not leaving.” It’s coming from returning Kibbutz Be’eri members, it’s coming from people like myself who have come to Be’eri since Oct. 7 to help with the land and to work, to add to the life being rebuilt here and to help heal the collective broken heart of this community.

I fell in love with Israel because I fell in love with its people. I am here in Israel to tell the stories of what happened on Oct. 7, 2023, and is still happening, at every moment of every day for these incredible people, these people of Kibbutz Be’eri and elsewhere, who have come back to their lives and are attempting “normality” on their beautiful land.

Melanie Preston is a Canadian-born, American-raised, Jewish writer and traveler who discovered Israel at the age of 26, immigrated to the country and stayed for seven years. She flew to Israel alone on Nov. 16, 2023, from her home in Charlotte, NC, and was there to March of this year. She returned to Israel last month to continue writing about the hostages and impacts of October 7th on Israeli society. She intends to spend more time with the survivors of Kibbutz Be’eri as it is rebuilt. To support her work and read more of it, go to melanie-preston.com, or visit her GoFundMe (Raising Awareness on Israel’s War).

Relations at low ebb: Shamir

Claudia Goldman, left, presents Bev Corber with the Claudia Goldman Award for Excellence in Leadership. (photo by Pat Johnson)

Diplomatic relations between Israel and Canada have never been worse, according to Israel’s envoy to Toronto and Western Canada.

“The relationship between Israel and Canada is at an all-time low,” said Idit Shamir, consul general of Israel for Toronto and Western Canada. “Canada, according to many, has abandoned Israel, the only democratic ally they have in the region.”

Speaking via remote video link to the opening event of the Vancouver branch of CHW (Canadian Hadassah-WIZO) Sept. 22, Shamir cited, among other things, the Canadian government’s legitimizing of Hamas information, rather than Israeli government sources, when commenting on the conflict.

“Many times, they have been proven as mistaken,” said Shamir. “Not as many times, they have taken the time to correct themselves.”

Canadian Jews are asking themselves if there is a future for their families in Canada, the envoy said.

“This is a question that I don’t think was asked here before Oct. 7, and that’s very, very sad,” said Shamir.

Israelis and Canadians alike were shocked by the alarming spike in antisemitism in Canada and worldwide in recent years, but especially in the past 12 months, she said.

Shamir addressed concerns about the climate on university campuses and even in public elementary and secondary schools. She spoke just after the controversy erupted over an officially sanctioned Toronto public school field trip to what evolved into an anti-Israel rally.

Making Jews unwelcome on campuses will have negative repercussions for the entire society, she said.

“Jews have been instrumental in the university system here, and pushing them out is going to have a serious impact on the future of Canada,” she warned.

Regrettably, Shamir said, Canada has been the launchpad over the years for several negative developments, including Israel Apartheid Week, which began at the University of Toronto before spreading internationally, and, more recently, the concept of “anti-Palestinian racism,” which was adopted as policy by the Toronto and District School Board. The idea, she said, paints any expression that is critical of the prevailing Palestinian narrative as racist.

“When you see that happening already at the elementary school level, we can imagine the depth of indoctrination that is going on in the universities,” said Shamir.

On the positive side, the consul general said, opinion polls indicate that most Canadians support Israel.

“Most Canadians can understand that … we didn’t choose this war,” she said. “We are fighting a war for our survival, for the survival of the only Jewish democracy and country in the world. And now we understand more than ever the need for a safe haven for Jews.”

Among the 101 hostages remaining in captivity, Shamir said, the Israeli government believes more than half remain alive. The body of Judy Weinstein Haggai, a dual Canadian-Israeli citizen who is known to have been killed, remains in Gaza.

“The hostages are the utmost priority,” Shamir said, “releasing the ones who are alive and returning the bodies of those who are not.”

She linked the Gaza conflict to wider geopolitical issues, pointing to Iranian-backed forces launching missiles from Lebanon, Iraq and even Yemen. She was speaking before Iran launched more direct attacks on Israel Oct. 1.

“We cannot forget that Iran is behind this, and we can see that rockets are coming from Iranian-sponsored sources in places we would not have imagined,” she said.

In response to these challenges, the consul general called for unity among the Jewish community and its allies, stressing the need for resilience and solidarity.

Noting that “Jews are coming together and becoming a united force to be reckoned with in Canada,” Shamir said members of the Jewish community must remain vigilant and continue to fight antisemitism and support Israel.

The envoy lauded CHW’s long-standing efforts to empower women and children, provide health care and assist displaced Israelis.

“It’s a labour of love that touches hearts and changes lives every single day,” she said.

The CHW Vancouver event, held at the Richmond Country Club, benefited the Michal Sela Forum, an Israeli organization dedicated to preventing domestic violence through innovative technology and collaboration.

photo - Toby Rubin, president of CHW Vancouver, presents the inaugural Dolly Jampolsky Volunteer Extraordinaire Award to Jampolsky — Toby Rubin, president of CHW Vancouver, presents the inaugural Dolly Jampolsky Volunteer Extraordinaire Award to Jampolsky. *(photo by Pat Johnson)*

Longtime CHW leaders Beverley Corber and Dolly Jampolsky were the honourees. Corber received the Claudia Goldman Award for Excellence in Leadership, and Jampolsky received the inaugural Dolly Jampolsky Volunteer Extraordinaire Award. Sylvia Cristall and Claudia Goldman were inducted into the CHW Lillian Freeman Society by Lisa Colt-Kotler, national chief executive officer of CHW, who spoke at the opening and interviewed the consul general. Toby Rubin, president of CHW Vancouver, emceed the event.

Stilwell joins Weizmann

Left to right: Weizmann Canada national board members Dr. Rose Geist, Dr. Arthur Slutsky (chair), Myra Slutsky and Dr. Moira Stilwell at the Healing Power of Science gala on Sept. 17. (photo from Weizmann Canada)

Former BC MLA Dr. Moira Stilwell recently joined Weizmann Canada’s national board of directors. She traveled to Toronto last month for the group’s first in-person gathering since before the pandemic. While there, she attended the organization’s Healing Power of Science gala, which spotlights the vital importance of science education in building resilience in Israel and around the world.

For 60 years, Weizmann Canada has been the national philanthropic arm representing the Weizmann Institute of Science in Rehovot, Israel, which marks its 90th anniversary this year. For more information, visit weizmann.ca.

– Courtesy Weizmann Canada