Metro Theatre

Feel-good comedy at Metro

The cast of Bound! The Musical (In Concert), a quirky, character-based show, the story of which is a vehicle for the characters’ journeys and personal growth. (photo by Joelle Wyminga)

For two nights only, Nov. 19-20, Metro Theatre and Bound Musical Theatre Society are presenting the world première of the feel-good comedy Bound! The Musical (In Concert).

Written by longtime friends Wayne Morris and Glen Freedman, their collaboration on Bound! – music and lyrics by Morris, book by Freedman and Morris – began in 2015. Morris had been working on the concept for several months.

The show is a reimagining of Shakespeare’s Love’s Labour’s Lost. Four Olympic-bound male athletes “are tricked into abstaining from vices and ‘romance’ during their high-intensive training, only to find themselves suddenly at the centre of a research study run by a group of attractive, brilliant and highly driven women,” reads the synopsis. “What follows is a hilarious battle of wills as their desires and the binds of their stringent guidelines battle for the win.”

“Glen and I were hanging out at Kits Beach, and I started telling him about the show,” Morris recalled. “Glen peppered me with all kinds of questions about the characters and the story. It turned into a two-hour conversation, after which I said, ‘Glen, you have to write this with me.’”

“To which, without any hesitation, I said, ‘yes,’” Freedman told the Independent. “The idea of working with Wayne on a creative project again (yes, we’ve been down this road before, though many years ago) carried a sentimental nostalgia for me.”

“When we first met, we started writing and performing songs together,” said Morris. “Together, we joined an ’80s band led by one of Glen’s friends. It was the ’80s after all!”

“It was a blast, even though they wouldn’t let me sing,” quipped Freedman.

The pair has lived in Metro Vancouver for more than 25 years, Morris in Maple Ridge, Freedman in Yaletown.

“We met at Marianopolis College in Montreal in our late teens, and became great friends. After university, we backpacked through Europe together,” said Morris.

Morris was an actor before becoming a singer-songwriter and then music producer as well. Freedman, while a keyboardist, took a less musical route and became a psychiatrist. Along the way, he also completed a creative writing program at Simon Fraser University and attended Bishop’s University in Quebec, where he performed in Chekhov’s The Cherry Orchard.

Morris and Freedman formed the Bound Musical Theatre Society earlier this year “as the vehicle for this and future productions,” said Morris. “Our lawyer recommended a not-for-profit society as the type of entity the local theatre industry is used to working with.”

The Metro Theatre production of Bound! is directed by Hailey Fowler, with musical direction by Kylie Fonacier. It features a diverse ensemble cast in what Morris describes as “a character-based show, and the story is a vehicle for the characters’ journeys and personal growth.

“For me,” he said, “this focus on character was challenging at first as a lyricist, in that the lyrics needed to reflect 10 distinct voices. As the show and characters continued to develop, and the songs were continually rewritten and refined, this process became easier, as both the characters and the lyric-writing process became more familiar.”

“As our show is about resilience and the possibility of change at times of challenge,” said Freedman, “it was my view that we had to create characters, each with their own unique personality quirk that was getting in their way – ‘bounding’ them up, you might say. Each character would then get their own story arc, in which they would overcome these constraints, to a realistic degree. The goal was to induce the audience to see themselves in these characters, such that they would walk away from the show with a feeling of hope and a bounce in their step.”

No doubt the musical’s 16 original songs will contribute to that bounce. Morris said his biggest musical influence is the Beatles, “and so that is a big musical influence for the show, including having a wide variety of musical styles across the show, in the same way the Beatles do.”

In a similar vein, Morris based the story on Shakespeare’s Love’s Labour’s Lost because, he said, “I wanted to have the best possible source material, and what better source than Shakespeare? Using Shakespeare ensured a solid story structure. Love’s Labour’s Lost is a very fun story, with silliness and great wordplay. That’s the type of show I wanted to write. Also, in Love’s Labour’s Lost, I loved the fact that the women in the story consistently have the upper hand over the men; very progressive then, and seems to fit our world today!”

“I couldn’t agree more,” said Freedman, whose day job has helped him in the creation process.

“Due to the nature of my work as a psychiatrist, I have, over time, developed an understanding of the nature of suffering – a human experience that ties us all together – and how personality informs how we suffer,” he said. “I have also had the privilege of having seen firsthand how change in how we think can manifest. This, I feel, has helped in our creating characters that are true to life, and who undergo change for the better, in a manner that we hope will be experienced by the audience as believable and relatable.”

And which will leave audiences feeling positive, though Morris and Freedman differ slightly in their outlook.

The press material describes Morris as a “glass half-full person.”

“It’s part of my nature to look for the good in everyone, and I’ve discovered that almost everyone means well deep down,” he said, acknowledging, “I’ve also been very fortunate that hard work and some good life decisions have led to things working out for the most part in my life.”

As for Freedman, optimism comes a little harder.

“Through my adult life (and with lots of therapy), I’ve gradually moved to a place of being able to recognize what’s in and out of my control, of what I have agency over and what I have to accept, of understanding that, just because I accept something does not mean I have to like it, and of letting go of expectations of how I wish things should go,” he said. “This mindset has fostered within me a capacity to face the events of life, sometimes tumultuous, with curiosity, a sense of humour and presence.”

While neither Morris nor Freedman are religious, Judaism does impact their lives.

“Judaism has shown me the value of a strong sense of community and connection,” said Morris. “The importance of these is a huge theme of the show.”

“I would add,” said Freedman, “that feeling oneself to be part of a community helps to add meaning to our lives.”

For more information and tickets to Bound!, go to boundthemusical.com/in-concert.

The birth of a classic movie

David Wallace, J.D. Dueckman, Matt Ramer and Rachel Craft in Metro Theatre’s Moonlight & Magnolias, which runs to May 18. (photo by Emma Chan)

Gone With the Wind (GWTW) is my all-time favourite movie and, if adjusted for inflation, the highest ranking movie of all time. To think that the screenplay for Margaret Mitchell’s 1037-page tome was hashed out in a five-day marathon by two Jews and a WASP holed up in producer David O. Selznick’s Hollywood office beggars belief. And yet, that is what happened – and Moonlight and Magnolias, currently playing at Metro Theatre, is Ron Hutchinson’s hilarious take on what went on in that office.

It is 1939, Selznick is producing both GWTW and The Wizard of Oz (TWO). He has just sacked director George Cukor three weeks into production (due to a run-in with Clark Gable) and pulled Victor Fleming off the set of TWO (he allegedly slapped Judy Garland) to direct. There are only five days until production resumes. Selznick’s reputation with his father-in-law, studio head Louis B. Mayer, is at stake. He needs a hit. Enter Ben Hecht, a successful Hollywood screenwriter, to the rescue. However, Hecht has not read the book and is not crazy about the job – as he says, “No Civil War movie has ever made a dime.” But he succumbs to Selznick’s relentless pressure, sacrificing his artistic standards for financial security.

Selznick gives strict instructions to his assistant, Miss Poppenghul, to hold all calls and let no one in or out of his office. He orders up a diet of peanuts and bananas (apparently brain food) for the triumvirate’s sustenance.

As Hecht pecks away at his typewriter, Selznick and Fleming reenact various scenes from the book in zany physical comedy fashion, giving life to the iconic characters Scarlett O’Hara, Rhett Butler, Melanie and Ashley Wilkes and even Prissy, the maid.

In Metro’s production, J.D. Dueckman is sublime as the neurotic Selznick. Kudos to him for mastering his dialogue-intense role and for his parodies of various GWTW cast. From his first approach to Fleming, played by Matt Ramer – “How do you feel about being locked up in a room with two crazy Jews?” – to his eureka moment for Clark Gable’s famous last line where yes, my dear, he frankly did give a damn, you can feel the passion behind the independent producer’s quest for his holy grail.

In counterpoint, David Wallace as Ben Hecht plays his role in a much more subdued manner. The audience gets that he is torn between writing the screenplay as Selznick envisions it and his own activist leanings to not glorify the Antebellum South but, rather, “make America look its ugly mug in the face” – its racism and antisemitism (sound familiar?). He astutely points out to Selznick that, no matter what his successes are, he will never be allowed to join the country clubs of the WASP elite or buy a house in certain parts of Beverly Hills and that the handful of Jews who created Hollywood are always worried about being shipped back to a Polish shtetl.

Ramer captures Fleming’s broody persona and does a wonderful job portraying Melanie during her childbirth scene. All three men have great chemistry together.

Rachel Craft brings a feminine presence to the testosterone-fueled stage as the ever-suffering and sleep-deprived Selznick assistant.

As the writing marathon continues, the order of the office disintegrates into paper- and peanut-shell-strewn chaos as the three amigos stumble around the office in a disheveled and bleary-eyed stupor. As they finish the project, the men realize that, indeed, “tomorrow is another day.” Cue the melodramatic theme song to close out the show.

Francesca Albertazzi’s set is what you would expect of a Hollywood mogul’s office – a polished mahogany desk, a crushed velvet couch, leather-bound armchairs and elegant light sconces. In a subtle nod to detail, the office window is framed in the iconic green velvet drop curtains fringed with gold tassels (that Scarlett used to fashion the gown she wore to visit Rhett in jail to ask for money to save her beloved Tara). The glorious reds, oranges and golds of the film are reproduced throughout the play by lighting director Les Erskine.

Director Catherine Morrison has ably helmed the production with her talented crew in this hidden gem of a funky theatre. You don’t have to be a GWTW fan to appreciate the show. Just go and see it. It will give you a nice escape from these troubled times.

Tickets can be purchased at metrotheatre.com or from the box office, 604-266-7191.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Head to Metro for Panto

Lucas Gregory, left, and Daniel Cardoso, in Metro Theatre’s Snow White: The Panto, which runs until Jan. 3. (photo by Nicol Spinola)

“A lot of musical theatre is inherently silly and fun but it still doesn’t reach the level of a holiday panto,” said Daniel Cardoso, who plays the Prince in Metro Theatre’s Snow White: The Panto. An annual treat for more than 35 years, this year’s panto, which runs until Jan. 3, has added significance.

“The past year and a bit has been challenging, not only for the arts community, but for everyone,” said Cardoso. “I got to go to an opening night of a show last week and part of me had forgotten the energy of getting to be in an audience and the joy that it brings to people to get to go to live theatre. I hope that we can do something similar with the panto and that we can act as another step in a return to normalcy.”

“I love being back with the theatre community after so much time away,” said fellow Jewish community member Kat Palmer, who is stage manager of the production. “I think most of the team feels this way. So often actors would be finished working their scenes but would choose to stay a little longer to watch and support their fellow cast members rehearse. There is this sense of returning to what was and that’s been quite moving.”

Things aren’t completely back to normal, of course, as COVID is still is concern.

Metro Theatre requires proof of vaccination, said Palmer. “Usually, pantos have lots of kids and an ensemble – our show has a much smaller cast with no children,” she said. “Everyone – cast, crew and staff – is fully vaccinated. We have taken our inspiration from film sets and have rapid COVID tests on hand. Usually, kids in the audience get to come up on stage – we can’t do that this year. Luckily, there are still lots of opportunities to participate by booing and cheering our demon and good fairy.”

For Palmer, Snow White was “always a favourite growing up – I think mostly because she had black hair like me. But the traditional story is a little dated. Erik Gow, our writer, has done a great job breathing new life into this script. In our version, Snow White is spunky, independent and doesn’t need a prince. She takes charge of her own destiny.”

That said, the prince is still an important part of the story, and it was Palmer who suggested Cardoso try out for the role.

“I’ve known about the Metro Theatre since I was in university and have often gone to see shows there, but the panto this year is the first time I’ve gotten to work there,” he said. “I came to Snow White when Kat Palmer … reached out and asked me to audition for it. I hadn’t initially planned on it but it was an opportunity to work with Chris and Kat and Suzanne again, so I’m glad I did.”

Chris Adams is the director of the production, while Suzanne Ouellette is the choreographer.

Cardoso is a graduate of the musical theatre program at Capilano University and has been working in theatre around Vancouver since 2011. “I was also lucky enough to work on Disney Cruise Line for a few years,” he said. “In 2016, I went back to school to become a registered massage therapist and have been doing that in addition to theatre since 2018.”

While not raised attending shul, Cardoso said his mother and her family are Jewish, “so it is definitely a part of me that I am proud of and something that I think I will always want to learn more about and explore. I know it sounds cliché, especially for a theatre performer, but getting to do a production of Fiddler on the Roof (Gateway, 2012) was a special experience for me in that I got to play in that story and feel like I belonged there instead of just pretending like it.”

For tickets to see Cardoso as the Prince that Snow White (played by Scotia Browner) may or may not need to help her, visit metrotheatre.com. The panto promises to be a “zany and uproariously funny family pantomime,” but that’s not the only reason to check it out.

“The theatre community is hurting right now. We are trying to stay afloat,” said Palmer. “After almost two years of silence, we need your laughter – we need your applause. Please come out and support local theatre.”

Odd Couple now on

Left to right: Rob Stover, Kimball Finigan, Adam Abrams, Michael S. Weir and Adrian Maxwell in Metro Theatre Vancouver’s The Odd Couple. (photo by Tracy-Lynn Chernaske)

Neil Simon’s famous comedy The Odd Couple opened Oct. 30 on the Metro Theatre Vancouver stage. It runs until Nov. 14.

We meet divorced sportswriter Oscar Madison (played by Rob Stover) as his buddies arrive for their weekly poker game. One of the friends welcomed into Oscar’s messy abode is news writer Felix Unger (played by Adrian Maxwell), who is also divorced, but exists on the opposite end of the neat-and-tidy spectrum. The fact that the men are opposites in so many ways does not prevent Oscar from inviting Felix – who is so depressed it worries Oscar – to move in. Of course, they drive each other nuts.

Jewish community member Adam Abrams plays Roy, a regular at Oscar’s Friday night poker games, in the Metro Theatre production, which is directed by Catherine Morrison.

Abrams has been a part of the local theatre scene for more than 20 years, including many musical theatre productions. “I also played Richard in North Van Community Players’ The Trouble With Richard,” he told the Independent. “A personal favourite was portraying Abraham Goldstein, builder of the Sylvia Hotel, in Kol Halev Performance Society’s Two Views from the Sylvia, back in 2017. That was my last time on the stage, and it’s so great to be back, as part of the return of live theatre, after such a long and trying time for all of us.”

He said that, in real life, he is more like Felix than Oscar.

“My wife Christine will vouch for that – and would readily admit to being much more of an Oscar!” said Abrams. “When Felix is fussing over his London broil dinner or imploring Oscar’s guests to use a coaster, I very much see myself, the chef of the family and the one who is always keeping things tidy. After years of sharing a home, Christine and I have negotiated a much more successful arrangement than anything seen in the play. But our relative household peace has depended on us both accepting each other’s style to some degree.”

As for the character he plays in the show, Abrams said, “I like Roy, though he is somewhat crankier and more blunt than I’d be. He’s a voice of reason for Oscar, imploring him to do what’s right – stop gambling, and pay his debts. No surprise, as he’s Oscar’s accountant!

“My favourite scene in the show is the date with the Pigeon sisters, Oscar’s upstairs neighbours,” added Abrams. “The conflicting attitudes to divorce – a mere inconvenience to the sisters, pure heartache to Felix – and how he both derails Oscar’s hopes for the evening and endears himself to the sisters, is a delight. And, while it’s hilarious, there’s an undercurrent of true emotion that I find touching even as I’m laughing, which I do every time I see it!”

For tickets to the live theatre production of The Odd Couple, visit metrotheatre.com/the-odd-couple, email [email protected] or call the box office at 604-266-7191.

Christmas Carol goes online

David Adams as Scrooge and Scotia Browner as Tiny Tim in Metro Theatre’s production of A Christmas Carol – The Radio Play. (photo by Nicol Spinola)

Metro Theatre was all set to provide socially distanced, safety-first live performances of A Christmas Carol – The Radio Play this month. But then the provincial restrictions on gatherings came down, and the struggling theatre company had to cancel its in-theatre run. But the production team used what holiday spirit it had to film the show and an online version will be available for viewers to watch from Dec. 21 through Jan. 3.

“We are fortunate to have our talented friends Nico Dicecco and [playwright] Erik Gow film the show and put together a beautiful digital stream of it that is available by donation,” stage manager Kat Palmer told the Independent.

Palmer has had a few shows canceled since the pandemic hit. “Right at the beginning of COVID,” she said, “I was in rehearsals for a sweet little concert Wendy Bross Stuart put together called With a Song in My Heart. I was also looking forward to Hello Dolly! at Theatre Under the Stars. And, most importantly, my company, Raincity Theatre, was gearing up for our production of Cabaret. Obviously, intimate, site-specific theatre is not possible during COVID.”

But A Christmas Carol – The Radio Play was created with COVID-19 protocols in mind. The theatre is a large space, enough for patrons to be distanced from one another. “Even the set was designed to keep actors more than six feet apart at all times,” said Palmer. In rehearsals, every cast member arrived masked and wore their mask until they were in their show spacing, she said. For the stage show, they were ready with two understudies, prepared to go on, lest “any actor wake up with any sort of tickle in their throat.”

But those plans went for naught when, last month, large public gatherings were prohibited and the show, which was to open Dec. 3, was delayed to organize the online version.

“It is no surprise that COVID has deeply impacted our arts community,” said director Chris Adams. “The Metro Theatre is a not-for-profit theatre company that relies on ticket sales to get by. Once a thriving arts hub in a former movie-house, Metro has been hit hard by COVID restrictions that have seriously impacted their revenue. The Metro also rents out their space to schools and dance companies over the quieter spring/summer months but, due to our new reality, that was also impossible this year. The Metro Theatre is at risk of closing its doors.”

Nonetheless, the show is also raising money for the charity Backpack Buddies.

“When Charles Dickens published A Christmas Carol in 1843, charitable giving soared overnight,” said Palmer. “The story has forever changed how we celebrate the holiday season and reminds us of the importance of generosity. It is in this spirit that the Metro always selects a charity to support each year at Christmas.

“Early in the show, we meet Abigail – an orphan who speaks of food insecurity. It is shocking to find parallels between children today and the Dickensian era. British Columbia has one of the highest child poverty rates in Canada, with 20% of children living below the poverty line. The Backpack Buddies program provides backpacks of food to children in need so that they do not go hungry over the weekend.”

A Christmas Carol – The Radio Play is an original work by writer Gow, based on the Charles Dickens novel, of course.

“With Christmas Carol, there is an expected order that ghosts appear. Erik has decided to shake it up,”

said Adams. “There are also some scenes that do not appear in the book that add an extra level of character development.”

The radio play stars David Adams as Ebeneezer Scrooge, who meets all the characters in A Christmas Carol, “from Bob Cratchit to Jacob Marley, but with only six actors creating and voicing over 40 of the beloved characters,” reads the play’s description. Joining David Adams “on stage” will be Roger Monk, Jill Raymond, Chris Ward, Emilia Michalowska and Scotia Browner. The COVID covers were Jim Stewart and Courtney Shields, who is also the assistant director of the production.

“All of our actors have created a character for their narrator in addition to playing every character in the piece,” said Palmer. “For the majority of our performers, they play four or five characters each. For the simplicity of the storytelling, David plays Scrooge but has also created a very unique and distinct character for his narrator. While David has played many Jewish characters, like the Merchant of Venice, Tevye and Fagin, he is not Jewish himself. Although, he has had to learn some Yiddish for roles from time to time.”

As for being a Jewish person working on a Christmas play, Palmer said, “At this time of year, I sometimes feel like Scrooge. I despise the commercialism of the holiday season, how it seems to consume the entire month of December and don’t get me started on cheesy Christmas movies. But, as a Jewish person working on this show, it is easy to see Jewish values on every page of the script. Yes, A Christmas Carol takes place at Christmas but, in many ways, A Christmas Carol is really a story of teshuvah, tzedakah and tikkun olam…. It’s a story that celebrates kindness, charity and human transformation – ideals that all parents hope to instil in their children – ideals that have deep roots in Jewish tradition. Don’t we all want to believe even the worst among us has a core of goodness?”

The filmed version of A Christmas Carol – The Radio Play is available by donation at metrotheatre.com.

Alice’s wonder and silliness

Kat Palmer, left, and Kyra Leroux during the final dress rehearsal for Alice in Wonderland – The Panto, which opened at Metro Theatre Dec. 13 and runs to Jan. 4. (photo by Tracy-Lynn Chernaske)

“In Alice in Wonderland – The Panto, audiences will see all of their favourite characters from the original story in a new, more hilarious light,” Kyra Leroux told the Independent. The panto opened at Metro Theatre on Dec. 13 and runs to Jan. 4.

“This show is definitely a lot more silly and ridiculous than the original Alice in Wonderland story, but the difference that really strikes me the most is my character, Alice,” said Leroux, who is a member of Perry Ehrlich’s ShowStoppers and a past participant in the Gotta Sing! Gotta Dance! annual summer theatre program at the Jewish Community Centre of Greater Vancouver. “In this show, Alice has so much confidence and spunk, which is exactly what you would expect from a curious, forward-thinking young woman!

“She’s such a fun character to play because I see myself in her in so many ways. Although at first she is confused about which direction she wants to take her life, relying on others to show her the way, she soon realizes that she can make her own decisions and take charge of her own life, thereby gaining so much confidence.

“Alice loves to joke around,” added Leroux, “and, at times, even matches the absolute absurdity of characters such as the Mad Hatter, the Cheshire Cat and the Queen of Hearts. Despite feeling stuck in her confusing situation, Alice is never one to take herself too seriously, which is exactly like me in real life.”

An easy-going attitude will also help Jewish community member Kat Palmer in her role as stage manager of the production.

“Pantos definitely conjure up the phrase ‘controlled chaos.’ While there is always a certain element of surprise with live theatre,” said Palmer, “each performance of the panto is undoubtedly ever-changing, with a unique audience every night – so much of this show is determined by audience participation and the actors improvising.

“Pantos are always a family favourite,” she said, “because kids are encouraged to react loudly – they boo the Demon and cheer for the Good Fairy. As a stage manager, I might plan to call a sound or lighting cue on a certain line but, if the actor is ad-libbing or we have a particularly rowdy audience, the line may not happen when it’s supposed to. You have to be on your toes and focused all the time. Whereas musicals and plays are more set in stone, the panto will be a different show every night.”

The silliness of it all is what Leroux most enjoys.

“Throughout the process,” she said, “it has been so much fun to just let go and allow myself to be absolutely ridiculous along with my castmates. My favourite days in rehearsal are when I get to watch other actors make choices that make me laugh so hard I feel like I could explode! With that in mind, the most challenging thing about being in a panto is being so focused and in character onstage that you will never break character and laugh at what others are doing. There are so many hilarious moments in the show that even I, after seeing them over and over again, have to work hard not to laugh. That being said, I’m so excited to see how audiences will react when they see all of my favourite moments for the first time.”

For tickets to Alice in Wonderland – The Panto, call 604-266-7191 or visit tickets.metrotheatre.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.”

Story of love and second chances

Judy McLellan as Lady Russell and Roger Monk as Sir Walter Elliot in Metro Theatre’s production of Persuasion. (photo by Tracy-Lynn Chernaske)

Who hasn’t wished for at least one do-over, a second chance? Who hasn’t made the mistake of following bad advice, even if it was well-intended?

In Jane Austen’s Persuasion, Anne Elliot falls in love with naval officer Captain Frederick Wentworth and they become engaged, but, based on the counsel of a family friend, Anne breaks off the engagement. Jewish community member Judy McLellan plays Lady Russell – the purveyor of that counsel – in Metro Theatre’s upcoming production of Persuasion, which runs until April 20.

“Lady Russell was a very close friend of Anne’s mother, who died, and she had taken the role of surrogate mother to Anne since that time,” explained McLellan. “She is very protective of Anne and felt that Anne was too young to get married, especially to a man who, at that time, had no money and no real position in society. This is why she now sees Mr. Elliot [Anne’s cousin] as a much more desirable match for Anne.”

Persuasion was adapted for the theatre by British playwright Timothy Luscombe. The Metro Theatre production is directed by Joan Bryans. McLellan, who was part of the cast of Metro’s Calendar Girls, which the Jewish Independent quite enjoyed (jewishindependent.ca/calendar-girls-now-at-metro), auditioned specifically for the role of Lady Russell. “Got a call back and then Joan offered me the role, which I was very excited to accept,” said McLellan.

Pride and Prejudice was McLellan’s “first venture into Jane Austen.”

“Loved it,” she said. “Went on to read the rest!”

About Persuasion, she said, “It’s a wonderful period piece of mid-19th century. The characters are diverse and interesting, and very reflective of society at that time. But, above all, it’s a love story, which, after all the trials and tribulations, comes to a delightful happy ending. Who wouldn’t enjoy that?!”

For tickets to Persuasion, visit metrotheatre.com.

To raise funds for building up-keep, Metro Theatre is holding a silent auction during the run of Persuasion for a painting by Tracy-Lynn Chernaske. “By tying together appropriate colours and soft textures, the painting reflects suggestions of [Jane] Austen’s historical multi-location story line, full of ships, seaside beaches, grand old manors and tidy cottages.” The opening bid is set at $300 and the winner will be announced on closing night. Bidding ballots, the artist’s bio and more information can be found at metrotheatre.com/show-persuasion-2019.

Calendar Girls now at Metro

The cast of Calendar Girls, at Metro Theatre until Nov. 25. (photo from Metro Theatre)

It takes courage for a small semi-professional theatre to tackle a play that was made into an internationally acclaimed film, with Helen Mirren and Julie Walters in the title roles. But that is exactly what the Metro Theatre has done. And they pull it off beautifully. Their new show, Calendar Girls, opened Oct. 28.

The play, like the movie, is based on the true story of a group of middle-aged Yorkshire women, one of whom was recently widowed. After her husband died of leukemia in 1998, she and her friends decided to produce a nude calendar, with photos of themselves, to raise funds to buy a settee for the visitors lounge in the hospital where her husband had been treated. The calendar for the year 2000 was released in 1999 and became a phenomenal success. The women made calendars for several successive years, and the proceeds from this original fundraising campaign resulted in several million pounds for cancer research in England.

These wonderful women inspired Juliette and Tim Firth to write a screenplay, which became a movie in 2003. Later, Tim Firth adapted it to the stage, and the play premièred in England in 2008. The North American première took place in Winnipeg in 2011.

The director of the Metro production, Alison Schamberger, writes, “I approached directing this beautiful play with a degree of apprehension. There seemed to be many pitfalls attached to it…. Luckily, I was able to surround myself with very talented people who always make the director look good! This play is a true testament to friendship that endures all hurdles.”

The play opens in a village church in Yorkshire, where a group of six women do tai chi and listen to lectures about such scintillating topics as broccoli. Everything is ordinary, bordering on the dull. We meet Chris and Annie and their friends, and learn some of the mundane details of their lives and a bit about their very different personalities. When Annie’s husband, John, dies of leukemia, the women come together to support Annie.

They also want to buy a new settee for the hospital – more than one of them has had to sit for hours in the facility’s uncomfortable waiting area. They come up with the idea of a (tasteful) nude calendar. Not everyone is open to the radical approach at first, but eventually they all do it for John. The photo shoot scene is hilarious and heartbreaking in its intensity. The six actresses actually disrobe on stage, but the audience sees less skin than they would on a beach.

The second act is the aftermath. The media attention. The fame (or infamy), which none of the women expected, and the different ways they deal with it. Tempers collide, but friendships endure, even as the sales keep rising.

Music plays an important role in this production, perhaps as important as the actors. It supports the classy feel of the story, as does the simple, stationary set, the interior of a church, and the lighting, which produces the church’s colourful stained-glass windows, as well as the sunlit field into which the women venture on a couple of occasions.

The actors playing the calendar girls are on stage almost the entire length of the play. Their monologues and sharp banter are in turn sad or funny, poignant or irreverent. They take the audience on an emotional journey. Each of the six shines in her unique way.

Chris (Rebecca Walters) is the heart of the show. Her courage and optimism have no bounds – she is the one who comes up with the nudity idea – but she is as fallible as everyone else.

Annie (Peg Keenleyside) is grieving for her husband. Her involvement in the calendar is for his sake alone; she wouldn’t do it otherwise. Her main reason for participating is to contribute to the fight against cancer.

photo - Jewish community member Judy McLellan plays Cora in Metro’s Calendar Girls — Jewish community member Judy McLellan plays Cora in Metro’s Calendar Girls. *(photo from Metro Theatre)*

Cora (Jewish community member Judy McLellan) is a single mother worrying about her daughter’s reaction to the calendar, and all mothers would understand her concern. McLellan provides many singing interludes, and her voice is charming.

Jesse (Joan Koebel), a retired teacher, is full of pluck and laughter. She is the most comical of the cast, while Celia (Yasmin Tayob) and Ruth (Helen Martin) wrestle with their own demons.

The women’s friendship triumphs over their adversities, and their story is thought-provoking. It brings up important issues, such as how we deal with death and what we consider beautiful. As we watch the play, we contemplate our own imperfect bodies. We ask ourselves for what cause(s) would be willing to expose our vulnerability and literally ourselves to the entire world.

The play is not simply a slightly risqué comedy of manners. It raises moral questions and examines our relationships. What would we do for a friend? How would we weather the test of fame? The protagonists of Calendar Girls came out of their adventure better friends and, arguably, better people. Do we have it in us to be as brave as they were?

Calendar Girls runs at Metro Theatre (metrotheatre.com) until Nov. 25.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

Help finding a perfect match

The cast of Crossing Delancey, left to right: Jonathan MacDonald (Sam), Nina Tischhauser (Izzy), Joan Koebel (Bubbie), Helen Volkow (Hannah) and Jon MacIntyre (Tyler). (photo by Tracy-Lynn Chernaske)

Many of us are still looking for our bashert, our soul mate, that one person with whom we want to spend the rest of our lives. Sometimes, our family and friends try and guide us in our quest, sometimes we go it alone, double-clicking away in cyberspace, hoping to make the perfect connection and, sometimes, we hire a professional, a matchmaker. While that last approach may seem old-fashioned and outdated, it can work – as the latest offering at Metro Theatre, Crossing Delancey, charmingly illustrates.

Set in New York in the 1980s, playwright Susan Sandler’s romantic comedy has five characters. We meet 30ish yuppie bookseller Isabelle (Izzy) Grossman, who lives and works Uptown and is enamoured of Tyler, a non-Jewish local author who often drops by the shop to check on his book sales. Meanwhile, back on the Lower East Side, on the main thoroughfare, Delancey Street, Izzy’s grandmother, Ida Kantor, has retained matchmaker Hannah Mandelbaum to find the perfect match for Izzy. What follows is a smorgasbord of Jewish humour peppered with witty Yiddish sayings – the evening’s program contains a glossary of the Yiddish words and phrases used in the play and it is a good idea to read it over before the show begins – as we follow the action to what we expect to be a predictable ending. Or is it?

photo - Bubbie (Joan Koebel) will do almost anything to see her granddaughter, Izzy (Nina Tischhauser), married — Bubbie (Joan Koebel) will do almost anything to see her granddaughter, Izzy (Nina Tischhauser), married. *(photo by Tracy-Lynn Chernaske)*

On stage, the action alternates from Bubbie’s kitchen to the New Day Bookstore to a park bench. The curtain rises on the warm glow of the kitchen with Izzy (Nina Tischhauser) visiting Bubbie Ida (Joan Koebel) for their regular Sunday night tête-à-tête. Ida is the quintessential Jewish grandmother, doting on her granddaughter, making sure there is lots of food on the table (her claim to fame is her kugel), regaling anyone who will listen with tales of her youth, and being an all-around busybody. The night’s conversation leads to a discussion about loneliness and finding a mate. Izzy is adamant that she is a modern woman and does not need a man to feel whole. Bubbie, who continually reminds the audience in a number of melodramatic asides of what a beauty she was in her prime and how she had three marriage proposals, begs to differ. Bubbie makes it clear that her goal, in whatever life she has left, is to find her granddaughter a husband, so that Izzy will have true happiness. Enter Mrs. Mandelbaum (Helen Volkow) with her collection of photographs of eligible men. What a catch she has lined up for Izzy – Sam Posner (Jonathan MacDonald), the pickle man who runs the local deli – “a real mensch, a college graduate, a nice boy, goes to shul every day and, you could do worse.”

Unfortunately, Izzy is a bit of an intellectual snob and finds Sam bland and unromantic, so she shuns his attentions while focusing on Tyler Moss (Jon MacIntyre). Despite Izzy’s frosty attitude, Sam is smitten after their initial meeting and persists, using gastronomical courtship – an assortment of the “best pickles in New York” and chocolate cake – to woo her. He tells Izzy the story of a man whose life took a dramatic turn when he changed the type of hat he wore and that, although her Uptown life was “sociologically a million miles away” from Delancey Street, she, too, could change her style. The next day, a hat box arrives at Bubbie’s and Izzy has a new accessory – but will she wear it?

Each of the five cast members is strong but Volkow really shines. She is the stereotypical yenta with her cat eyeglasses, capri pants and oversized bosom (safely ensconced in a floral polyester top). She nails the New York accent and mannerisms.

Tischhauser adroitly handles Izzy’s metamorphosis from fantasist to realist in her choice of suitors, while MacDonald is an understated but effective beau, playing his role with calm and self-assurance. Koebel puts her heart and soul into Bubbie’s character and does a nice job with the Yiddish-heavy dialogue and the song and dance numbers. MacIntyre comes across as the stiff, self-absorbed man his character is.

One thing that Metro does particularly well is sets and this one does not disappoint. Divided into two, one side of the stage houses the bookshop; the other, Bubbie’s intimate apartment kitchen. The mood lighting and music, a mix of 1980s hits and klezmer tunes, bring it all together.

Kudos to director Alison Schamberger, with technical advice from decades-long JI contributor Alex Kliner, for bringing this light-hearted fare to Vancouver audiences.

A quintessential Jewish play with Yiddish humour, free parking, an upstairs bar and lounge, what’s not to like? Just go and enjoy – a nice pick-me-up for the January blues.

Crossing Delancey runs Thursdays through Saturdays, at 8 p.m., with two Sunday matinées, at 2 p.m., on Jan. 29 and Feb. 5. For tickets and more information, go to metrotheatre.com or call 604-266-7191.

Tova Kornfeld is a Vancouver freelance writer and lawyer.