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"The Basketball Game" is a graphic novel adaptation of the award-winning National Film Board of Canada animated short of the same name – intended for audiences aged 12 years and up. It's a poignant tale of the power of community as a means to rise above hatred and bigotry. In the end, as is recognized by the kids playing the basketball game, we're all in this together.

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Tag: Amiel Gladstone

New play honours Sugihara

New play honours Sugihara

Yukiko and Chiune Sugihara (photo from Firehall Arts Centre)

It is written in the Mishnah that, “If you save the life of one person, it is as if you save the entire world.” Chiune Sugihara saved 6,000 Jewish lives – 6,000 worlds – in the summer of 1940, despite the dangers of doing so to himself and his family.

A new play about Sugihara sees its world première at the Firehall Arts Centre this month. Written by Japanese-Canadian actor and playwright Manami Hara, Courage Now opens Nov. 19.

Contrary to his government’s strict instructions to not issue visas to Jewish refugees, Sugihara, the Japanese consul in Kaunas (Kovno), Lithuania, handwrote in a 30-day period more than 2,300 visas for Jews trying to escape from Europe via the Soviet Union to Japan. Sugihara was a husband, a father, a career diplomat, a linguist, but, above all, with his strict Samurai upbringing, he believed in respect for, and sanctity of, human life. As he said, “They were human beings and they needed help.”

Sugihara’s actions are responsible for more than 40,000 Jews being alive today. Yet, after the war, the Japanese government dismissed him from diplomatic service and treated him as a persona non grata. However, Israel has honoured his courage and his memory on three occasions – in 1985, by recognizing him as one of the Righteous Among the Nations at Yad Vashem; in 2016, by naming a street in Netanya after him; and, in October 2021, by dedicating Sugihara Square in Jerusalem.

In an interview with the Independent, playwright and actor Hara talked about the journey that led her to write Courage Now.

“About 12 years ago, my mentor from Studio 58, Jane Heyman, approached me and asked if I knew about Sugihara and I said that I did not. She told me his story, that her parents and uncle had been saved by him and that she would not be here if not for his actions. We talked about collaborating on a play. Her story and my being Japanese made it very personal for me, as I was very embarrassed by how the Japanese government treated him after 1945.”

Getting a play from conception to the stage is a long process.

“I heard that a Japanese playwright, Hiraishi Koichi, had written about Sugihara. I got a hold of his play, translated it into English and worked with Jane on it but it just did not seem dramatic enough,” said Hara. “I talked to Koichi and asked if I could adapt the play and he gave me permission. So, I researched the Jewish families who were Sugihara survivors and created more scenes. But it still did not seem to have the theatrical weight it needed to be a success so I put it away for a couple years, as I felt I had lost my vision.

“About five years ago, I traveled to Japan and had a chance to speak to Sugihara’s daughter-in-law and two of his grandchildren, which gave me a firsthand intimate look into his life and that of Yukiko, his wife. Then it dawned on me that the way to tell the story was from two female points of view, that of Yukiko and of a child survivor, Margaret. So, I went back to the story and after many years of writing drafts and workshopping, here we are.”

There are five characters in the play: Sugihara, Yukiko, a young Margaret, an adult Margaret (Jewish community member Advah Soudak) and young Margaret’s father (community member Amitai Marmorstein). Margaret is a fictional character, created from the stories of many survivors. Scenes are set up to move between the Lithuanian summer of 1940 and mid-1980s Vancouver, where an adult Margaret now lives.

Hara does double duty in this production, as the playwright and performing as Yukiko. “It is difficult to switch, wearing both hats, you feel like you have a split personality,” she acknowledged. “However, I take off my playwright hat and then I concentrate on my character in terms of what are her needs, where should I be focused and what is happening with the other characters. So, when I am on stage, I am the actor and I let the director take over from there. If he or the other actors see anything that needs tweaking or fixing, they will let me know. It is a very collaborative process. We are three weeks from opening and still finalizing many of the details.”

Hara sees her character as a spirited, stubborn, strong woman, not as stereotypically subservient, but rather as someone who also was idealistic and who was supportive of her husband in all that he did. “She knew the risk to her family and the sacrifice that would have to be made in carrying out her husband’s plan to save the Jewish refugees,” said Hara. “It is an amazing role and I am so honoured to be able to bring this story to Vancouver audiences. I hope the audience takes away that there is always hope, that there is always a way to find courage to walk towards that hope and one should never give up.”

Director Amiel Gladstone got involved in the project, having worked with Hara before.

“She was looking for the right kind of collaborative director for the show and she reached out to me because I work so much with new plays,” said Gladstone in a telephone interview with the Independent. “She told me that she had been hoping for a Jewish director…. I told her that my father was Jewish.”

As to the play, he said, “It is a memory play dealing with two women trying to piece together what happened to them years ago during those dark times. We had to create a space that includes both 1940 and present-day locations: a Japanese home and garden, a Jewish refugee apartment, the Kaunas consul office, a park, the train station, with all the locations in view at the same time. It becomes a dream world, where the actors move from set to set as they go back and forth in time. Itai Erdal’s lighting design will inform the audience as to the change in time and place.” (Erdal is also a member of the Jewish community.)

Soudack’s character, in her 50s, is going through a difficult separation and divorce. In an interview with the Independent, Soudack explained, “She realizes that she has a big hole in life, as she does not know what happened to her parents. She travels to Japan to seek out Sugihara and to ask about her father but learns that Sugihara is dead (he died in 1986) so she looks to Yukiko for answers. At the same time, Yukiko is also going back and remembering that time through her interaction with Margaret.”

Soudack had to grapple with capturing the essence of Margaret’s psychological issues, including post-traumatic stress disorder.

“She has broken pieces of memory that she wants to fit together. She has had a difficult life,” said Soudack. “It must have been terrifying to be leaving your family, everything you know and being put on a train and sent off on your own. She has a lot of anger, sadness and abandonment and betrayal issues. She does not form close loving relationships very easily, as she learned that people closest to her disappear. She has to work through all this as she seeks the truth.”

Working with Hara has been a treat, said Soudack. “It is fabulous with the playwright right there so, when a question comes up, she can give us the explanation. It is a beautiful sense of collaboration, respect, joy and appreciation of what she wrote and it is a gift to be right there with her working through this project.”

As to being a Jewish actor in this role, she said, “As a Jewish person, you grow up with the Holocaust and the plight of the Jews – it is so part of our DNA that, when you come across a story and people that you never heard of, it makes you have such gratitude and respect for these non-Jewish heroes who, in the face of so much antisemitism, still found the courage to do the right thing. If I could meet Mr. Sugihara, I would hug him, look him in his eyes and thank him for his bravery and courage.”

Courage Now runs to Dec. 4. For tickets, visit firehallartscentre.ca or call the box office, 604-689-0926.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Format ImagePosted on November 11, 2022November 14, 2022Author Tova KornfeldCategories Performing ArtsTags Advah Soudack, Amiel Gladstone, Chiune Sugihara, Courage Now, Firehall Arts Centre, Holocaust, Manami Hara, memorial
craigslist cantata returns

craigslist cantata returns

Josh Epstein and Amanda Sum in do you want what i have got? a craigslist cantata, written by Veda Hille, Bill Richardson and Amiel Gladstone, and presented by the Cultch and Musical Stage Company. (photo by Emily Cooper)

Welcome back the cast of wild and wacky characters from the Craigslist community as they attempt to buy and sell online, all the while longing and searching for human connection – this time with a fresh, new perspective on social isolation, and livestreamed from all around the Cultch. The production features the original songs “300 Stuffed Penguins,” “Chili Eating Buddy,” “Decapitated Dolls,” and more. Joining actors Epstein and Sum in the cast are Meaghan Chenosky, Kayvon Khoshkam and Andrew Wheeler. Showtimes are Feb. 5-6, 4:30 p.m. and 7:30 p.m., and Feb. 7, at noon. Tickets ($25/$29/$58) can be purchased from 604-251-1363 or thecultch.com/event/a-craigslist-cantata.

Format ImagePosted on January 29, 2021January 27, 2021Author The CultchCategories Performing ArtsTags Amiel Gladstone, Bill Richardson, Craigslist, Josh Epstein, music, theatre, Veda Hille
Understanding Onegin

Understanding Onegin

Lauren Jackson as Olga Larin and Josh Epstein as Vladimir Lensky in Arts Club’s Onegin. (photo by David Cooper)

Generally, I don’t think background research is something that should be required in order to fully enjoy a performance; but every now and then a play really needs context, and the viewer becomes lost without it.

So, I would suggest – even to those with extensive Russian literature under your belts – if you have not read Alexander Pushkin’s dramatic poem, “Eugene Onegin,” start there before you see the musical Onegin. The poem contains descriptions of the characters, homes and countryside that add depth of interest that could simply not be communicated on stage.

That’s not to say that Onegin (pronounced “Onyegin”), the musical interpretation of the poem, can’t stand on its own. The singular creation by Veda Hille and Amiel Gladstone, combining the poetry of Pushkin and the opera of Tchaikovsky, is highly entertaining from start to finish.

The supremely talented group of seven performers, including the Jewish community’s own Josh Epstein, executes so many complex harmonies and moving solos, I certainly wasn’t walking out at intermission.

Set in 1819 St. Petersburg, the poem centres on four main characters: a self-proclaimed rakish womanizer, Eugene Onegin; Vladimir Lensky, a romantic poet; Vladimir’s love interest, Olga; and Tatyana, Olga’s sister, who’s in love with Onegin.

At first, Onegin rejects Tatyana, breaking her heart, and turns his attention to Olga, incurring Vladimir’s jealousy and bringing about a duel. Years later, after extensive traveling, Onegin returns to St. Petersburg and wants to be with Tatyana. But, by then, she’s already married, and Onegin realizes he’s wasted his life chasing women he doesn’t care about.

Taking place primarily in rural vacation homes, these well-to-do look for anything to “deal with the boredom of long winters” and come up with hunting, dancing, dueling and falling in and out of love.

The script includes quite a bit of play-by-play, where explanations of who’s who and what’s going on are interspersed with the action on stage. One by one, we’re introduced, in song, to the characters, with tongue-in-cheek descriptions. At one point, even the details of an impending pistol duel are sung to audience – just in case we were a little rough on the regulations.

These “asides” help with the background and also offer some great comedic breaks, often picking up on the satire that winds its way through Pushkin’s original work.

As an added bonus, guests are encouraged to bring their alcoholic drinks into the theatre and raise a glass for a sip every time someone says lebov (love in Russian). This is even facilitated by the cast handing out cups of vodka during the performance.

But there are also some bizarre non-sequiturs, such as when a singer in what looks like a boudoir is given a mic and electric guitar to continue her performance. Though it provided a chuckle, the reason for that choice went over my head.

While the script tries to provide the context I mentioned, it simply can’t make up for what’s lost from the poem, and I couldn’t help feeling “left out” of the framework.

For example, according to one translation of the poem, Onegin’s house is described: “All of the rooms were wide and lofty/ Silk wall paper embellished the drawing room/ And portraits of czars hung on the walls / The stoves were bright with ceramic tiles / There was no need for these things at all / Because he would yawn with equal distraction / At an ancient pile or a modern mansion.”

This paints such a great picture of the lifestyle and ennui of the main character, but not one that I caught onto in the musical.

Besides detailed description of scenery, the poem delves extensively into philosophical discussions, particularly about love, that would come across far better on stage as verbal jousting rather than a sing-song.

Onegin runs until April 10 at BMO Theatre Centre. Visit artsclub.com.

Baila Lazarus is a freelance writer and media trainer in Vancouver. Her consulting work can be seen at phase2coaching.com.

Format ImagePosted on April 1, 2016March 31, 2016Author Baila LazarusCategories Performing ArtsTags Amiel Gladstone, Josh Epstein, Onegin, Pushkin, Russia, Veda Hille
Laughter guaranteed

Laughter guaranteed

Left to right, Josh Drebit, Donna Soares, Allan Zinyk and James Long in Cinderella: An East Van Panto. (photo by Emily Cooper)

If Canada wants to be an energy super power, it’s going to have to run some pipelines through some plays. Well, some pantos. Starting with Cinderella: An East Van Panto, now on at the York Theatre until Dec. 28.

As with the inaugural East Van Panto last year, which took Jack & the Beanstalk to strange and hilarious new heights, this Cinderella is only loosely based on the fairy tale. In this version, Ella – Cinderella is only a mean nickname given to her by her wicked step-hipsters (not a typo) – loses her mother in a tragic food truck accident. Her father directs his grief to improving safety standards and is awarded for his efforts with the Mike Duffy Food Truck Safety Award, or something along those lines. He falls in love with the Government of Canada representative who presents him the medal. Marriage soon follows, the father is offered a senatorship, which takes him to Ottawa, leaving his beloved Ella – played wonderfully as the straight man to everyone else’s wackiness by Donna Soares – in the hands of her stepmother.

In true panto fashion, Ella’s new family is played by Allan Zinyk as the matriarch and Josh Drebit and James Long as her sisters. As they order Cinderella about, the audience gets to boo every meanness, and cheer Cinderella’s every win. While Jewish community member Drebit ably pulls off the fishnets, his comedic talents really shine as Feral Cat. Drebit, Long (as Rat) and Dawn Petten (as Old Crow) are about as far away from Disney cartoon birds and other forest animals as one can get, but “the other vermin,” three young actors as mice, are absolutely adorable – and, in a panto, the audience is allowed to “ooh and ahh” at their cuteness.

Zinyk also plays bad guy Ronald Grump, costumed in a business suit and an awful wig that’s only marginally worse than that worn by the character’s inspiration, Donald Trump. King Grump decides to hold a ball (there are lots of ball jokes, FYI) to celebrate the opening of Grump Towers (plural, even though there’s only one). At the ball, there will be a beauty pageant – a speed-dating marathon, actually – to find a wife for his son, played by Petten channeling Justin Bieber. (Petten also plays the hippy narrator/canvasser, Len Til, to perfection.)

And this brings us back to pipelines, and the spills that the suit-wearing, hard-hatted forewoman notes “only happen in movies and on the news.” As the chorus (pipe)line is passing through Cinderella’s family home, sadly, there is a spill – a spill that Cinderella must clean up before she can go to the ball. With the help of her vermin friends and, in one of the funniest scenarios to be conceived, a vacuum-harmonica-playing David Suzuki (played by Zinyk, you have to see it to believe it) and her B.C. Ferry Godmother, the belle gets to the ball.

But does she marry her prince? You’ll have to go to the panto for the answer – and for all the witty, weird, Vancouver-specific humor, the inventive costumes (Cinderella’s gown appears like magic), the charming music, the fitting choreography, the inspired sets and props, the bold and beautiful backdrops.

With Cinderella, the creative team of playwright Charles Demers, musician Veda Hille and director Amiel Gladstone have improved on what was already an intelligent, silly, energetic, crowd-pleasing formula. The lead actors in this year’s production are joined by the very talented chorus of Bailey Soleil Creed, Sean Sonier (who rocks a tutu) and Alexandra Wever, as well as the children who share the roles of the mice.

If you’re wondering what to give that person on your Chanukah list who has everything, at least 99 percent of non-Grumps would enjoy this show. For times and tickets, visit thecultch.com or call 604-251-1363.

Format ImagePosted on December 12, 2014December 11, 2014Author Cynthia RamsayCategories Performing ArtsTags Allan Zinyk, Amiel Gladstone, Charles Demers, Cinderella, Dawn Petten, Donna Soares, East Van Panto, James Long, Josh Drebit, Veda Hille
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