comedy – Jewish Independent

Bahr’s many personas

Writer and comedian Iris Bahr performs at the Rothstein Theatre on Nov. 12 and 13, as part of the Chutzpah! Festival. (photo by Gail Hadini)

Award-winning writer, actor, director and producer Iris Bahr delves into serious issues using humour – and by being someone other than herself. She will bring some of her many characters to the Rothstein Theatre stage Nov. 12 and 13 as part of the Chutzpah! Festival.

Bahr hosts the weekly podcast X-RAE, as alter ego Rae Lynn Caspar White. In her one-woman show DAI (enough), she portrays 11 different characters in a Tel Aviv coffee shop. In her comedy series Svetlana, which ran for a couple of seasons, she starred as the Russian prostitute and political consultant. These are but a few examples of the personas she has created.

“I think I was about 6 years old,” Bahr told the Independent about when she did her first impression. “My family went on a trip to Italy and I began to imitate the tour guide, who kept going on and on in a heavy Italian accent about ‘marble from Carrera’ and so, for years after that, I would always be asked to ‘perform my Italian woman’ when my parents had company over.”

Using the example of the character of Rae Lynn, Bahr explained how an alter ego allows for a better conversation.

“I host my X-RAE podcast in character because I find it puts people at ease and they open up about topics they wouldn’t otherwise,” she said. “Rae Lynn flips from highbrow to lowbrow in a heartbeat and talks openly and outrageously about parenting, marriage and various R-rated topics. During my interview with Lawrence O’Donnell, for example, we veered from Marxism to Penn Gillette’s sex parties in a single breath.”

A magna cum laude graduate of Brown University, in Providence, R.I., Bahr studied neuropsychology, and has done brain research, as well as cancer research.

“I think I gravitated towards neuroscience because the inner workings of the brain fascinate me and I’m equal parts cerebral and highly emotional, and so that translates into all my work,” she explained. “I have a splintered identity, but not in a 50-50 kind of way – I actually feel 100% American and 100% Israeli at all times and that feeling of connection yet constant alienation lends itself to me inhabiting different characters and being able to truly commit to different viewpoints.”

Bahr was born and raised in the Bronx but moved to Israel as a teenager, staying there through military service; she still has family there. Her latest satire, The Olive Tree, about the Israeli-Palestinian conflict, recently had a soldout reading in New York and is set to open in spring of next year. DAI came to the stage in 2006 and audiences have included the United Nations, in 2007.

“I was invited to perform the show for over 100 ambassadors and delegates and the experience was unforgettable,” she said. “They were highly attentive and laughed at all the right moments, which I was not sure was going to happen. I felt like a diplomat for a day.”

Bahr said she wrote DAI “to communicate the intricacy and complexity of life in Israel, the inner conflicts prevalent in Israeli society, and how they are affected by living under constant threat of suicide bombings/sudden death, which, as any Israeli will tell you, instil not a feeling of helplessness but a vibrancy and love for life. On the flip side, is how that very fact is perceived by visiting outsiders and Palestinians affected by the conflict. The characters we meet in the café – from all walks of life, ideological spectrums and backgrounds – have no idea their lives will be ending abruptly [by a suicide bomber] and so their monologues range from outrageously humourous, vengeful, disillusioned and more.”

She first performed DAI at Baruch College in New York City, “as part of a festival sponsored by the Culture Project,” she said. “I had no idea it would get picked up immediately for a commercial run, and so that was a phenomenal development.

“A lot has changed since I first wrote DAI, in terms of how the conflict is manifesting itself on both sides, and yet the situation has sadly stayed the same. Thankfully, suicide bombings seem to be a thing of the past, but my dear childhood friend and father of four was stabbed to death only last year while out shopping, the Palestinian plight has not improved and the political climate is worse than ever. Nevertheless, the characters in DAI have sustained their relevancy; my German character talks about rising antisemitism in modern-day Germany, for example; my Israeli former military man talks of his son who doesn’t want to serve in the military; and the snooty ex-pat woman who lives in New York City, well, those types of women only seem to multiply by the minute.”

She stressed, “The play is not a polemic – it is a collection of social observations that speak from many different viewpoints. The piece aims to entertain, offer a visceral theatrical experience and, hopefully, also illuminate and enlighten. Thankfully, it has been warmly received amongst extremely ‘pro-Israel’ audiences and also ‘pro-Palestinian’-leaning crowds both in Europe and here in America. Of course, certain right-wingers think it’s too leftist and left-wingers think it’s too right, which is all I could really hope for as a piece about humanity.”

For tickets to see Bahr perform at Chutzpah!, and for more festival offerings, visit chutzpahfestival.com.

Chutzpah! hosts Bernhard

Sandra Bernhard is at the Vogue on Halloween night, as part of the Chutzpah! Festival. (photo by Brian Ziegler)

“When I was a little kid, I had three older brothers and I got a lot of attention for being cute and funny, and I’ve always had an ability to comment on situations as they unfolded in front of me,” said veteran performer Sandra Bernhard in a phone interview with the Jewish Independent. “I think that’s what kept it going all these years – I find it entirely hilarious when you’re in the middle of something and you’re able to pull it apart and bring the most humour out of it, or the most outrage, and that’s always been the most interesting part of what I do.”

Bernhard is bringing her critically acclaimed show Quick Sand to the Vogue Theatre on Oct. 31 as part of the Chutzpah! Festival, which runs Oct. 24-Nov. 24. The comedian, actor, author and radio host is known for her outspokenness. She said it’s second nature for her to say what’s on her mind. “By being funny and being a character, which I’ve always been,” she said, “that gave me the access to say things that other people wouldn’t say necessarily, or that wouldn’t be heard.”

Bernhard’s daily radio show, Sandyland, which is on SiriusXM’s Radio Andy channel (created by Andy Cohen), earned her a Gracie Award, an honour given by the Alliance for Women in Media to “recognize exemplary programming created by women, for women and about women in all facets of media and entertainment.” Bernhard also stars as Nurse Judy in the award-winning, boundary-pushing show Pose on FX Networks, about “the legends, icons and ferocious house mothers of New York’s underground ball culture, a movement that first gained notice in the 1980s.”

Bernhard has countless film and television credits, has created and performed several one-woman shows, recorded a few albums and performed with or opened for many artists. She also has written three books.

While she knew from a young age that she wanted to be a performer, it wasn’t until her late teens that the goal started to become a reality.

“I moved to L.A. in the mid-’70s, when I was 18, 19,” she said. “I became a manicurist in Beverly Hills, so I had a day gig, but I didn’t really know how I was going to jump into the waters, because I also wanted to be a singer. I really wanted to be an entertainer, the whole package.

“And then I met up with a group of friends and they thought I was hysterical and then there was this woman I met who, I did her nails and she was a cabaret singer and she would go to the open mic nights and she said, ‘You’re really funny. I know you want to sing, but put your material together and I’ll take you to these open mic nights.’ She took me to one and then I met my friend Paul Mooney and my friend Lotus Weinstock the first night I got up and they took me under their wings. And that’s how I started – I literally fell into it, because I was a natural, and then I started doing the hard work, which was getting up night after night after night to do my act, and I honed my act and the material and then, eventually, I got good at it.”

One of the reasons she remains popular and her material fresh is because she keeps working at it, “finding different ways into it. For me,” she said, “the most important thing is being as authentic as I can, year to year, day to day, because you do change, you evolve as a person, you want to peel the layers of the onion away and get deeper into your core as an artist, as a performer, and I think that’s what continues to inspire you and make you a better performer.”

Describing her style as “edgy, funny, strong, no nonsense, but funny nonsense,” she said, “I don’t feel like I have to really temper anything because you shed your skin as you go along, and certain things just don’t work anymore.”

Born in Flint, Mich., and raised in Scottsdale, Ariz., Bernhard was bat mitzvahed, but, she said, “My father, I don’t think he related to being Jewish much at all, except maybe culturally, and my grandparents – my grandfather went to shul every day but I think that was a little bit later in life. When he came over here from Russia, everybody was busy trying to make a living. And, of course, people ended up in some small towns here and there, and you didn’t always have time for your religion and your traditions.”

Nonetheless, Bernhard said, “I find a certain amount of meditative escape just going to Shabbat and hearing the music and the songs I grew up with, and I like the community. Whether it’s the High Holidays or staying for kiddush and eating a bowl of cholent, there’s something very visceral about it. It connects me with who I was as a kid and my grandparents…. There’s all that emotion, it’s vivid and visceral and it’s just a nice place to calm down and go into and have a little bit of a break from the day to day.”

Saying that she’s “thrilled to be coming back to Vancouver,” Bernhard said the Oct. 31 performance will be “a fun night.” Accompanied by the Sandyland Squad Band, she will combine music, comedy and social commentary in Quick Sand, which, she said, offers “endless amounts of room” for her to go off script.

“I’m always prepared to jump off if something happens or inspires me or the thought process, my mind, and that’s the way it’s always been for me,” she said. “But I also have very set pieces that you want to be able to fall back on and have that continuity to the show, so that you’re not standing up there just talking about a bunch of silliness. I want people to walk away having been entertained.”

For tickets to Bernhard and other Chutzpah! shows, visit chutzpahfestival.com.

A frantically funny farce

Cindy Hirschberg-Schon, left, as Maria Merelli and Tracy Labrosse as Tatiana Racón in A Comedy of Tenors, at Metro Theatre Oct. 4-19. (photo by Sophie Gardner)

Tracy LabrosseTracy Labrosse“What could possibly be better than escaping life with a frantically funny farce? A Comedy of Tenors has slamming doors, mistaken identities, ridiculous dialects and a very suggestive tongue prop. What else do you need?” said Tracy Labrosse about the upcoming production at Metro Theatre.

Set in 1936, A Comedy of Tenors centres on Henry Saunders’ efforts to put on the greatest concert that Paris has ever seen – The Three Tenors – but he will only succeed if he “can keep an amorous Italian superstar and his hot-blooded wife from causing runaway chaos.” Written by Ken Ludwig, the Metro production, which runs Oct. 4-19, is directed by Kayt Roth.

Labrosse, who works at Vancouver Talmud Torah, plays Tatiana Racón.

“I love to be challenged in each production I’m in [and] Racón has definitely been a fun challenge for me,” Labrosse told the Independent. “I tend to get the ‘girl next door’ roles, so playing a sexy Russian opera singer has certainly allowed me to tackle a type that I don’t normally get the chance to play. She’s bold, she’s vivacious, and she’s a troublemaker.”

Jewish community member Cindy Hirschberg-Schon takes on the role of Maria Merelli, the feisty wife of tenor Tito (played by Carlos Vela-Martinez).

“I tried out for both Maria and for Racón,” said Hirschberg-Schon. “I thought I’d keep the options open. But I have a lot more in common with Maria.”

She said, “Maria is her own woman – strong and independent – but she is also very loving. Maria has a lot of me in her. She and Tito have been married for 25 years and I have been married for 27 years. From their fierce love to their fierce fighting, I can relate.”

In addition to her role, Hirschberg-Schon also helped on the costume front.

“I work in fashion as a technical designer, so I know about apparel,” she explained. “I did costumes once before but, being also an actor, it would be a lot to take on. But we needed help so I stepped in…. I measured the full cast, which for me is not a big deal. I helped out when we needed a few extra eyes to find costumes in both the Metro costume closet and also the kindness of Vagabond Players [and their] closet.”

Hirschberg-Schon studied acting before changing career directions.

“I went to college for acting in Toronto for two years,” she said, “but then decided I did not want to be a waitress the rest of my life and went to fashion school. I then concentrated on career, marriage and motherhood. After 20 years, I finally decided it was time to get back to the stage, with the support of my husband and family. So, I guess I have been acting for seven years plus a few.”

“I’ve been in love with theatre ever since I was given my first speaking role in a school play at the age of 9,” said Labrosse. “I went to theatre school after high school, and have been involved in theatre consistently ever since. It’s a lifelong love affair for me.”

Labrosse said she didn’t audition for any specific role in A Comedy of Tenors. “For me,” she said, “if the story is something I’m drawn to – something that I find intriguing – then I want to be a part of it. After that, it’s up to the director. In this case, Kayt saw me as Racón, and I’m so glad she did. It’s such a fun role to play.”

Both Labrosse and Hirschberg-Schon have been in other Metro productions.

“I’ve had the pleasure of acting, producing and directing at the Metro Theatre. A Comedy of Tenors is my 10th production there,” said Labrosse. “There are so many wonderful community theatre organizations in the Lower Mainland and I think I’ve worked with most of them over the years. Some of my favourite previous productions include The 39 Steps, Steel Magnolias, Moon Over Buffalo (also a Ken Ludwig show) and Wait Until Dark.”

Among Hirschberg-Schon’s favourite roles are Evil Stepmother in the award-winning Cinderella panto with Metro Theatre and Lady Edith in Metro’s Robin Hood and Marian panto; Penny in Vagabond Players’ You Can’t Take it With You; Olga in Royal Canadian Theatre Company’s Bedfull of Foreigners; and Yenta in a Toronto production of Fiddler on the Roof.

“Growing up,” said Hirschberg-Schon, “I watched my mother, Marion Hirschberg, on the stage. She was very involved in community theatre and is still on the stage now, at 80. She taught me so much and I am in awe to see her perform. I have theatre in my blood and stage is home to me. But the biggest thrill is to share it with an audience – because theatre does not become alive until there is an audience to share it with.”

To be a part of that audience, tickets can be purchased by leaving a message at the Metro Theatre box office, 604-266-7191, or visiting tickets.metrotheatre.com. Note that A Comedy of Tenors “contains strong language and sexual references.”

Glimpse of 19th festival

Sandra Bernhard performs at the Chutzpah! Festival Oct. 31. (photo by J. Graham)

The Chutzpah! Festival returns during a new late-fall time period – from Oct. 24 to Nov. 24 – with performances at the Rothstein Theatre, Vogue Theatre, Rickshaw Theatre and the WISE Hall. Here are some of this year’s offerings.

Opening night, Oct. 24: Multi-award-winning, London-based songwriter, broadcaster and musical storyteller Daniel Cainer performs the Canadian première of his internationally acclaimed Gefilte Fish and Chips. Based on personal stories of what it’s like to be Jewish – and British – then and now, it includes travelers’ tales, feuding tailors, a naughty rabbi, family fables, and foibles. All of the human condition is here, lovingly and intelligently depicted in a remarkable collection of stories in song.

photo - Sandra Bernhard — Sandra Bernhard *(photo by J. Graham)*

Quick Sand, Oct. 31: Sandra Bernhard is always three steps ahead of the crowd. She has to be. She’s “quick sand.” In these fast-paced times, a lady can’t stop moving. You never know what you might encounter next in this fun house world we’re living in. So, performing with a three-piece band, Bernhard takes control, bringing a mélange of musings, music and whimsy – “never boring, j’adoring” is her motto, covering the waterfront of the outrageous, quotidian and glamorous.

The Trombonik Returns to New Chelm, Nov. 1: Taking inspiration from the traditional comic tales of Jewish folklore about Chelm, songwriter Geoff Berner and writer, performer and satirist T.J. Dawe, along with friends Toby Berner, Tallulah Winkelman and Jack Garten, present a klezmer musical set in Depression-era Saskatchewan.

A wandering con artist posing as a rabbi becomes entangled in the Prohibition-era whiskey trade. This production combines the social critique of Berner’s decades of activist songcraft with the comedic zaniness of Mel Brooks. Following this performance is a celebratory full-on drinking, dancing Klezmer Punk performance with Berner and his co-conspirators, along with special guest and renowned clarinetist Michael Winograd, to mark the release of Berner’s new CD, Grand Hotel Cosmopolis.

The Diary of Anne Frank LatinX, Nov. 6-9: Everyone knows the story of Anne Frank, the Jewish teenager hidden away while Nazis hunted down Jews during the Holocaust. One American-Jewish director, Stan Zimmerman, adds a modern-day twist to the production, which will see its Canadian première at Chutzpah! Zimmerman said, “When I learned there are over a dozen Safe Houses in the L.A. area hiding Latinx families from ICE [Immigration and Customs Enforcement], it got me wondering – How do these families survive with so little money and needing to remain in the shadows? How do they not lose hope? What are their lives like on a day-to-day basis? Do they see the parallels to Anne’s story?”

DAI (enough), Nov. 12-13: Iris Bahr is an award-winning writer, actor, director, producer and host of the hit podcast X-RAE and she is bringing her critically acclaimed, award-winning solo show DAI (enough) to Vancouver.

AvevA, Nov. 14: Chutzpah! presents the West Coast première of Ethiopian-Israeli singer and songwriter Aveva Dese. A rising star in the Israeli music scene, AvevA’s music fuses traditional Ethiopian sounds and groove with her soul-pop songs; she sings powerfully in both English and Amharic about society, freedom and love. Opening for AvevA is B.C.-based Leila Neverland with Mountain Sound.

Closing night, Nov. 24: Celebrates a week-long inclusion project of sharing, exploring and creating through art. Internationally renowned disability and mental health advocate and stand-up comedian Pamela Schuller and Brooklyn-based professional dancers and choreographers Troy Ogilvie and Rebecca Margolick will perform stand-up and solo dance work, respectively, in a shared evening of dance and comedy. The show will also present Ogilvie and Margolick’s new movement dance work created, directed and performed with members and guests of the inclusion community of the Jewish Community Centre of Greater Vancouver.

In addition to these and many other shows, the Chutzpah! Festival will pay tribute to the JCCGV and celebrate the 25th anniversary of its long-standing and renowned musical theatre summer camp created by Perry Ehrlich – Gotta Sing! Gotta Dance!; present a Shticks & Giggles comedy night with local comedians Ivan Decker, John Cullen, Lisa Person, Yisrael Shurack and others; and host multiple workshops as well as creation residencies for artists in dance and theatre in urban and rural B.C. settings.

Festival tickets range from $24 to $60 and are available at chutzpahfestival.com or 604-257-5145.

An existential comedy

Michael Germant, left, Sarah Boes and Drew Henderson co-star in Island Production’s The Understudy, Aug. 1-10 at PAL Studio Theatre. (photo by Jayme Cowley)

Oftentimes, in cultural endeavours, there is a tension between artistic vision and profit margins; that is, if there is any money to be made. This is one of the themes of The Understudy by Theresa Rebeck, which is being presented by Island Productions next month at PAL Studio Theatre.

The show co-stars Sarah Boes as Roxanne, the stage manager, who also is a frustrated actor; Drew Henderson as Jake, the good-looking action-hero star trying to be taken seriously as an actor; and Jewish community member Michael Germant as Harry, the understudy, who happens to be Roxanne’s ex-fiancé. Despite the personal drama, “a stoned lightboard operator, an omnipresent intercom system [and] the producers threatening to shutter the show,” Roxanne must try to run the understudy rehearsal for the Broadway première of a recently discovered Franz Kafka masterpiece.

Existentialism, explains director Mel Tuck in his online notes for the production, “denotes the inexplicable nature of human existence and emphasizes man’s freedom of choice and responsibility for the consequences of his acts.”

“What I like about The Understudy and what I think is funny,” Germant told the Independent, “is that, just when you think the characters have got things under control, everything falls apart. I also love how Rebeck makes the events of the play intertwine with the events of Kafka’s ‘undiscovered’ play-within-the-play thematically.”

Echoing Tuck’s comments, Germant added, “The existential aspects in Kafka’s play lead to the final choice that our three protagonists make at the end, both within and ‘without’ Kafka’s play.”

About those protagonists and what they symbolize, Tuck writes, “There are actors that have substantial careers because they are attractive, and then there are actors who have chameleon-like skill at hiding themselves within the role they are playing. Both have their place and purpose. The battle between art and business is forever being played out before our very eyes. There are many arguments for art as opposed to business. We artists believe in the value of entertainment and intelligent growth for ourselves and our public. We are exploring polarities and the implications of internal versus external thoughts; how we are affected by our conditioning and how that manifests in our social lives and activities. In the theatre, as in movies and TV, one prime issue has taken precedence: money. Money is a defining and deciding factor in avenues of artistic endeavour. What is the best possible way to make a play, movie or TV show successful? The sad reality is usually money takes precedence. And often funny means money. This is a very funny play.”

The Independent has interviewed Germant a few times, all for serious dramas, but he has done comedy before.

“Good dramas have humour written into them,” he said. “It’s the spoonful of comedy that makes the drama go down. And vice versa – good comedies like The Understudy have drama at their core.

“We’ve actually done another comedy, called Seminar, by Theresa Rebeck…. A drama we did – John Patrick Shanley’s The Dreamer Examines his Pillow – has a lot of humour, and a comedic ending. Both of those plays were also at the PAL Studio Theatre and both in 2014,” said the actor, for whom this play marks his seventh for Island Productions.

“On screen,” he added, “I was in a pilot called High Moon, where my character was the comic relief, and I did a short dark comedy, which was really well-received at film festivals this year called Caught in the Spokes.”

About the ways in which comedic and dramatic roles differ, Germant said, “Comedy is heightened pace and energy. In drama, you can set your own pace – you can pause or take a break or a breath wherever you want. But comedy is structured very specifically and timing is the golden rule. In that way, it’s more disciplined and difficult than drama.”

For tickets to The Understudy, which runs Thursday through Saturday, 8 p.m., Aug. 1-10, visit understudy.brownpapertickets.com.

Timeless political satire

Michael Scholar Jr. co-directs the political comedy Born Yesterday, which opens July 13 at the Jericho Arts Centre. (photo from ETC)

Garson Kanin’s comedy Born Yesterday opened on Broadway on Feb. 4, 1946, and was a hit. It has been made into a film (1950), returned to Broadway twice (1989 and 2011) and seen countless productions. About political corruption, it has a timeless quality.

“This play seems to have been written for this exact moment, when populism, corruption and bullying are an omnipresent part of our political and personal lives,” co-director Michael Scholar Jr. told the Independent.

Scholar co-directs the Ensemble Theatre Company (ETC) production with Shelby Bushell. Part of the company’s Annual Summer Repertory Festival, Born Yesterday opens July 13 at the Jericho Arts Centre.

“Kanin wrote the piece while in Europe,” said Scholar. “While he was serving in the army to defeat fascism abroad, he seemed more concerned about those same tendencies within our own democracy back home. This play and one of its central figures, Harry Brock, the bullying millionaire who tries to buy his way into power, are sadly all too familiar 80 years on.”

In Born Yesterday, junkman Harry has come to Washington, D.C., to use his money to influence legislation. Despite his own uncouthness, Harry is concerned that his girlfriend, Billie, a former showgirl, will make him look bad, so he hires a reporter, Paul, to educate her. As her newly released intelligence begins to surface, she could prove Harry’s undoing.

The Independent last spoke with Jewish community member Scholar about The Enemy, another political play, which was at the Firehall Arts Centre late last year.

“Since The Enemy, a lot has changed for me,” he said. “I spent a semester teaching acting and directing at Arizona State University in Phoenix. And now, on my summer break, I’m co-directing Born Yesterday for ETC and, a day after opening, I fly to New York to direct A Midsummer Night’s Dream for Colonial Theatre of Rhode Island, which I get to work on with my 6-year-old daughter, Alice.”

About how he came to co-direct Born Yesterday, Scholar said, “I was talking with artistic director Tariq Leslie while on a movie set here in Vancouver, and we got to talking about how ETC was hitting above its weight class and doing some powerful work in town. He had seen my production of As You Like It at Studio 58 and enjoyed my work. And so a match was made.”

Scholar described having a co-director as “a real blessing.”

“It means that we can tag team on rehearsals, and I actually get to have a day with my family each week,” he said of working with Bushell. “Also, having her perspective in the room has meant that we are covering more ground and that, together, we have fewer blind spots. This play is about a woman who is perceived to be a ditz, but whose sense of civic duty is awoken through education and intellectual stimulation. This play, written in the ’40s by Garson Kanin, is surprisingly relevant to our current political climate, but it also has some potentially problematic elements [so it is] worth having two sets of eyes looking at this material.”

One of those elements is the depiction of women.

“Brock is a bully and, without giving away too much of the plot, he is a violent character towards both men and women in his entourage,” explained Scholar. “The play deals with toxic masculinity, misogyny and stereotypes, but, in its time, it was working to subvert those ideas. So, we’ve reworked parts of the piece to highlight this intention and to not reinforce gender stereotypes, which has been another great reason to have Shelby as a collaborator on this project.”

Ensemble Theatre’s website highlights a quote from the play: “A world full of ignorant people is too dangerous to live in.” It notes, “By turns uproarious and sobering, and packed with a cast of vibrant characters throughout, Kanin’s play reminds us that a healthy democracy depends on its inhabitants to stay healthy, and that abuse of power cannot be stemmed without an informed and engaged citizenry.”

Scholar stressed that, despite the weighty issues tackled, the play is primarily a comedy. “It has a fast-pace banter and physical precision that is almost farcical,” he said. “It uses comedy as a way of dealing with challenging ideas, disarming us with laughter so that we can reflect on our situation with not just our heads, but our hearts, too. I’m sure audiences will have much to discuss afterwards, but they will also be entertained while on this poignant journey.”

ETC’s summer festival runs to Aug. 16. In addition to Born Yesterday, it features Michael Healey’s The Drawer Boy, which opened July 12, and Tracy Letts’s Superior Donuts, which opens July 19. For tickets, visit ensembletheatrecompany.ca.

The time is right for comedy

Adam Olgui, centre, stars in Theatre in the Raw’s production of Enter Laughing, which opens May 9 at Studio 16. (photo from Theatre in the Raw)

“The show has everything you could ask for: comedy, romance, great music and a great message at the heart of it, without taking itself too seriously,” actor Adam Olgui told the Independent about Theatre in the Raw’s latest production, Enter Laughing.

Enter Laughing opens May 9 at Studio 16. It is directed by Theatre in the Raw artistic director Jay Hamburger.

“It is time,” Hamburger told the Independent, “for this 25-year-old theatre company – that has toured parts of B.C., Alberta, Saskatchewan and Manitoba and resided primarily in Vancouver – to do a full-blown comedy: Enter Laughing by Joseph Stein of Fiddler on the Roof fame.

“We just finished producing the intense Incident at Vichy, dealing with the systematic arresting and putting away Jews for ‘processing’ in the occupied part of France during the Second World War, all part of the Holocaust,” explained Hamburger. (See jewishindependent.ca/miller-play-remains-relevant.) “The Stein two-act play is a positive challenge for an independent theatre company to spread its wings and take on a comedy with lots of fun, and universal and Jewish humour inherent in it. The characters are searching for love, relationships and something positive to do with their lives, and there are some wonderful, gentle yet funny, scenes that can melt the heart through very good acting, with the fine talent on board.”

Stein’s play is an adaptation of the 1958 semi-autobiographical novel Enter Laughing by actor, writer and comedian Carl Reiner, said Hamburger. “Reiner co-wrote and acted on Caesar’s Hour and Your Show of Shows, and formed the comedy duo with Mel Brooks for the 2,000-Year-Old Man. He has acted in numerous films, such as The Russians Are Coming, the Russians Are Coming. Reiner, at 97, is one of the oldest celebrities still active, and has been honoured countless times, including receiving the Mark Twain Prize for American Humour in 2000.”

Olgui won the lead role of David Kolowitz.

“During the audition process,” he said, “I read for a few different roles including David, Marvin and the Foreman. Auditioning for Jay is always fun because he doesn’t limit himself to ‘traditional casting’ and he approaches the audition process with an open mind. And the same can be said for the rehearsal process as well. Jay is an extremely humble and gracious director and he lets his actors bring their ideas to the table, which isn’t always the case in this industry.”

Olgui described David as “a young guy who dreams of being an actor but he’s caught between the desire to make his parents happy, while also wanting to pursue his passion. David has an eye for the ladies, but he’s got a heart of gold. He’s a storyteller with a bad habit of telling tall tales, but he’s also honest to a fault. All of which makes for some interesting situations along his journey.”

There are several aspects of David’s character and story to which Olgui can relate.

“We’re both young Jewish men pursuing acting careers despite the sticky situations it gets us into. And, while most of David’s situations are stickier than my own, I’ve been in a number of situations that have required a fair bit of explaining and negotiating on my part,” said Olgui. “Like David, I can relate to the late nights, the Jewish mother, the tough family conversations, the proverbial Jewish guilt – all this, and much more, firsthand. But, as wild as the situations sometimes get, at the heart of it, David’s story is that of a young man chasing after his dreams, and I think that’s something anyone and everyone can relate to.”

As a young actor, though, Olgui admitted that he wasn’t that familiar with Reiner’s work before taking on the role in Enter Laughing. “I had seen a few hilarious Sid Caesar skits…. But, being in this play and researching the man behind the character has really given me the opportunity to discover more of Carl Reiner’s works and the comedy legend that he truly is.”

Reiner was an associate of Stein, Brooks, Caesar, Dick Van Dyke and other well-known creative sorts out of New York and Hollywood, said Hamburger. “This play in particular was originally written in the early ’60s and then revised in the mid-’80s and I think it’s a good show to do at the moment,” he said. “It’s our first large comedy production in a long time and, at times, audiences need to laugh and have a bit of comic uplift.”

Hamburger added that Enter Laughing has special meaning for him, as “it was the first professional piece of theatre I did (as an apprentice) way back in the 1960s with the Cleveland Playhouse at their yearly Chautauqua, N.Y., festival. What a wild and crazy and fun play to break into the art performance form as an apprentice.”

As to its continued relevance for today’s audiences, Hamburger said, “With the play Enter Laughing, we get a chance to see a young man in the late 1930s of low income starting to follow a dream he has of becoming an actor. He has an inspiration that he wants to be an actor, though has little to no idea of what even being in a play entails. There are a number of trial and errors that he goes through on his journey to get on the stage with a role in hand, as well wanting to hold onto a girlfriend who has helped him reach beyond his low-income neighbourhood.

“Surely, in 2019, there is many a young person looking for a career or working on a hunch of what truly interests them, and moving forward with what it is they really might want to do. Surely, in 2019, there are young and old peoples who go for their dreams, having little idea of what it all might entail, or how it all might work in terms of the craft or job they seek to do. Yet they take the plunge, learn and enjoy what the craft or business is about and find solace, enjoyment and purpose with that choice(s) in life.”

In sum, Hamburger said Enter Laughing “is a fine story that gives faith and courage to those with dreams, seeking to make their inspirations and likes come true.”

Enter Laughing previews May 8, and runs from May 9 to 19. For tickets, visit theatreintheraw.ca.

Hoffman’s new Crave special

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hoffman is driven by her love of the work.

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

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

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

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

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

JNF gala features comic Gold

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

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

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

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

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

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

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

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

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

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

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

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

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

A combination of things drives him.

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

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

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

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

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

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

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

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

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

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

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

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

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

Monster brings back Jesus

Ryan Gladstone is co-writer of Jesus Christ: The Lost Years, which opens at Havana Theatre March 13, 8 p.m. (photo from Monster Theatre)

Scholars have pondered the question of the unknown, or missing, years of Jesus. In the Christian Bible, he disappears from the narrative in his teens, only reappearing at age 30. What happened in that time? What was Jesus doing? Even if you haven’t wondered about this before, you should consider checking out the award-winning theatrical romp Jesus Christ: The Lost Years, which offers some unconventional theories that academics and theologians have possibly overlooked.

Written by Ryan Gladstone, Bruce Horak and Katherine Sanders, with an original score by Drew Jurecka, Jesus Christ: The Lost Years was first created in 2006. It toured until 2008, then also had its “lost years,” returning to the Fringe circuit only last summer; this time, with two women playing the male leads. Directed by Gladstone, the irreverent physical comedy opens at the Havana Theatre March 13.

“The script is pretty much the same, so the biggest change is what the two new performers bring to the table,” said Gladstone about how the current iteration of the play differs from the original. “Carly Pokoradi and Alex Gullason really have made the play their own, and that’s been a pleasure to watch. It’s also fun watching two talented and funny women being funny and talented on stage.”

Both actors take on multiple characters. In the play, notes the promotional material, “we see teenaged Jesus, wondering why he doesn’t fit in. Mary and Joseph finally come clean and tell him that Joseph isn’t his real father. Hurt and confused, Jesus heads off on the most epic father quest of all time. Along the way he meets Judas, Mary Magdalene, the Three Wise Men, lepers, Romans, he even has a battle with the spirit of Elvis!”

The idea for Jesus Christ: The Lost Years came up long before it was first produced in 2006.

“Katherine Sanders and I were roommates in Calgary in the late ’90s, and we came up with the idea of doing a play about a teenaged Jesus. But Monster Theatre was just on the cusp of being founded and it wasn’t the right time,” said Gladstone. “I remember calling her in 2005, saying, ‘It’s time.’ So, we started researching, and we got Bruce Horak on board, who we both greatly respected, and got to work. The writing process was pretty smooth for having three writers, though maybe some of us were more forceful with our ideas than others! (I’m talking about me, if it’s not clear.)”

As wild as the play gets, it is based on research, as are all Monster Theatre productions. Part of the company’s mission is to reimagine history or adapt “universal stories to make them relevant for our specific time.”

“I took a couple history classes in university but, funnily enough, my thirst for history came out of doing plays for Monster,” Gladstone told the Independent. “In 2001, we created our longest-running, most successful show, The Canada Show: The Complete History of Canada in One Hour, and the research portion of the project really fired my imagination. I loved the idea of taking amazing events that people have never heard of and exposing them to these great moments in our past, or events that people think they know and showing it from another angle. In 2003, Bruce Horak (and later my brother Jeff) and myself spent about seven months researching and writing the follow-up show, The Big Rock Show: The Complete History of the World. It was really this that gave me my love for history. Having that broad overview of everything has given me context for every other event I learn about.”

Perhaps also “funnily enough,” given his love of history, Gladstone only recently found out about his Jewish heritage. “A couple years ago,” he said, “my brothers and I got one of those DNA tests done for both our parents, and discovered that our dad has about 30% Jewish blood. We have some very close Jewish friends here in Vancouver that took us under their wings and guided us through everything they thought we needed to know.”

Born and raised in Calgary, Gladstone went to theatre school at the University of Calgary. “I had been caught up in the exciting whirlwind that was the Loose Moose Theatre Company, run by improv guru Keith Johnstone, who was also teaching in the theatre department at U of C,” explained Gladstone. “After I graduated, I moved to Toronto, because that’s where all my friends were, and I loved it. That was around the time that I founded Monster Theatre. In 2006, I moved to Vancouver. My (now) wife had come to Toronto from Vancouver and tried it out for a few years and we decided we would give Vancouver a shot for year or two. Well, that’s been 13 years now.”

Gladstone followed up his bachelor of fine arts in acting from U of C with a master of fine arts in directing from the University of British Columbia. He has written or co-written, produced, directed or acted in every Monster production.

“It’s a tough thing to tally, but I think it’s around 40 original plays, written or co-written,” Gladstone said of his literary output. “I occasionally write for other mediums; I’ve been co-writing a kids’ book for many years, and we have tried adapting our plays for film and web series.”

Gladstone founded Monster Theatre almost 20 years ago. “In 2000,” he said, “I wanted to tour the Fringe Festival circuit. I had some friends with a comedy troupe called the 3 Canadians who were very successful and were touring Australia and beyond every year, and I basically wanted to be like them. So, I filled out an application form for the Edmonton Fringe and, when it came down to ‘Company Name,’ I just wrote down Monster Theatre for the first time.

“The name is based on something Keith Johnstone said one day when I was in university. We were working on a scene from Othello and Keith was discussing Iago and the difference between demons and monsters. He said, ‘Demons are evil and twisted on the inside, but they are usually quite attractive on the outside, while monsters are strange, twisted and bizarre on the outside, but they always have a good heart.’ And I thought, that’s the kind of theatre I want to make! So, we try to create original plays that are odd, unique, unlike what everyone else is doing, but we are always focused on the heart of the play, making sure that it is rooted in something meaningful or profound. We often talk about our style as being at the intersection where high brow and low brow meet.”

Gladstone was still living in Calgary when he started Monster Theatre. “But, when I moved to Toronto, the company, such as it was, moved with me and, when I moved here in 2006, it moved again,” he said. “Since arriving in Vancouver, we have laid down roots and I don’t think there will be another relocation for Monster in the future. With that said, Monster is a very cross-national company – we have a fan base in a number of cities across the country. In fact, for a long time, Vancouverites witnessed fewer productions of ours than Toronto, Winnipeg, Calgary or Edmonton.”

Over the years, the societal norm of what is acceptable and offensive in word or deed has changed, but Gladstone said there aren’t really any “red lines” he won’t cross in his writing.

“I mean, in the old days, my writing was way more provocative,” he acknowledged. “We were trying to offend people. We often talked about trying to piss off everyone, then no one gets left out. But, these days, it’s a different atmosphere. I’m not afraid of offending people, but I think there needs to be a worthwhile reason, not just for the shock of it.”

Jesus Christ: The Lost Years is at Havana Theatre March 13-16 and 20-23, 8 p.m. For tickets ($20/$15), visit showpass.com/ticket-buyers.