musical theatre

Welcome to Cabaret!

Dylan Floyde as Cliff Bradshaw and Erin Palm as Sally Bowles in Cabaret, presented by Studio 58. (photo by David Cooper)

“I honestly couldn’t think of a more important show to do right now, with such a divided political climate. The past is as important as ever, we must not let it fade. We need stories like these,” Erin Palm told the Jewish Independent about Cabaret, which opened at Studio 58 (Langara College) last week and runs until Feb. 24.

The musical is set in Berlin in 1929, as the Nazis begin their ascent to power in Germany. Palm plays the role of Kit Kat Klub headliner Sally Bowles, the British singer with whom American writer Cliff Bradshaw falls in love.

“Sally is such a complex character. I’d say the most important thing as an actor is honouring her, and acknowledging that she and the other characters in Cabaret are based on the real experiences of Christopher Isherwood, back in Weimar Berlin,” said Palm. “The biggest challenge for me is to know her apathy. It’s painful and tragic.

“I have, hopefully, given her autonomy throughout her journey. I am not a fan of judging the characters I play so, to combat that, I focus on how she is brave, independent and whimsical. She uses humour and imagination as a tool to get through her own challenges and I think that’s where the fun comes in. Really, she’s searching for freedom, and I love playing with that as an actor.”

Palm is in her third and final year at Studio 58. “I became a student the summer after I finished playing Fruma Sarah in Fiddler on the Roof with RCMT [Royal City Musical Theatre] and traveling to Toronto to do the National Voice Intensive. It was a big decision to go back to school, but I know the legacy of Studio 58 is that it turns out fine actors. I wanted to give myself the best opportunity to grow and gain new tools.”

Fellow Jewish community member Josh Epstein makes his directing debut with this production. A multiple-award-winning actor and filmmaker, he was a student at Studio 58, where he played the role of Joey in Pal Joey. “I also met my creative partner, Kyle Rideout, while there and we named our company Motion 58 in honour of Studio 58,” said Epstein. (He and Rideout recently sold a feature film pitch to Paramount with the Transformers producers, di Bonaventura Pictures, said Epstein, “and we have a variety of film and TV projects at various stages of development.”)

About returning to Studio 58 for Cabaret, Epstein said, “I’ve been talking to Kathryn Shaw [Studio 58 artistic director] for a couple of years about returning to direct something, as I now felt ready, and Cabaret was my first and only choice.”

Epstein said he has a few favourite scenes, ones “that bring tears to my eyes, but none more than a late scene between Herr Schultz and Fraulein Schneider, the older couple that has sweetly fallen in love. None of the characters truly knows what’s coming. Herr Schultz still sees himself as a German and firmly believes he won’t lose anything. It’s heartbreaking.”

Another returning Jewish community member for this production is lighting designer Itai Erdal.

“Studio 58 is one of my favourite places to work,” he told the Independent. “I keep coming back because I love the staff and I love the energy of the young students and because I’ve done some of my best work there. I find it to be a great working environment, which often allows for some real magic to happen.”

Erdal is enjoying lighting Cabaret, which has much darkness in it story-wise, as well as being set in a nightclub.

“Lighting musicals is always tricky but it’s really wonderful to light a musical like Cabaret, just because of that darkness you refer to,” he said. “So many musicals are very lighthearted and it is so refreshing to do a musical about something that matters so much. It’s also some of the best music ever written for theatre, so it’s a joy to light these iconic songs and support these brilliant young actors as they tackle those songs.”

Given that Cabaret is such a well-known musical, Epstein said, “I’m definitely encouraging the team to tell the story that’s written, first and foremost, but any staging or performance that’s been done before, I’m not that interested in repeating. We’re creating something that is unique to Studio 58, their intimate space, and it will be aggressive, fun and stimulating.

“I’m very excited for the fresh performances of Sally and the Emcee in our production,” he added. “I think we’ve found a Sally (Erin Palm) that doesn’t feel sorry for herself, that has strength and power and makes active decisions rather than accepting her lot in life. Our Emcee is female and, after watching how Paige Fraser has done it so far, I would never want it any other way. For one, she dances and sings better than most of the men who have played the role before onstage.

“We’ve also played with the musical numbers,” he said. “‘Mein Herr’ is gonna rip the roof off the theatre and I think we’ve reinvented the pineapple song [‘It Couldn’t Please Me More’].”

Epstein recommends that audience members arrive early. “There’s a burlesque show you won’t want to miss,” he said.

The production’s promotional material, which advises that the show is suitable for ages 16+, comes with the warning, “Possible nudity, probable vulgarity and other behaviour your momma won’t approve of!”

For tickets, visit langara.ca/studio-58/current-season.

A royal panto at Metro

Katherine Matlashewski plays Mopsy in Metro Theatre’s musical panto King Arthur’s Court. (photo by Tracy-Lynn Chernaske)

While Katherine Matlashewski has numerous acting, singing and choreographing credits on her resumé, the musical panto King Arthur’s Court, which opens tonight (Dec. 14) at Metro Theatre, will be her first pantomime.

“Unlike a traditional play, there is a lot of improv and audience participation,” she explained about a panto. “This can be a challenge because, as an actor, you never know what is going to happen.”

But it’s also part of the fun. “In any show,” she said, “everyone brings something unique to the table. In this wonderful cast [of 28], there is such a wide range in age and skill level.”

In contrast, King Arthur’s Court marks fellow Jewish community member Heather Webster’s third panto. Webster has been stage-managing at Metro for about five years now, but her connection to Metro – and pantos – goes further back.

“My first theatre experience came from my grandmother, Shirley Rose,” Webster told the Independent. “She took me to the Metro Theatre when I was 12 for my first panto. From there, I got into working backstage and learning stage craft in high school at Kitsilano from Julie Bond. In Grade 11, I began volunteering at the Metro Theatre, and have been ever since.”

Webster, who used to work as an on-call tech for the Rothstein Theatre at the Jewish Community Centre of Greater Vancouver, does stage-managing in her off-time. Her full-time job is with Purolator.

Matlashewski teaches at Arts Umbrella. “I love having the opportunity to share my love of visual and performing arts,” she said. “I believe it is so important for kids to have a creative outlet as part of their education.”

In addition, Matlashewski owns a small business, Sweetheart’s Baking, which can be found on Instagram and Facebook. “Like theatre,” she said, “my passion for baking started at a young age. This keeps me extremely busy when I am not in a show.”

At age 2, her mother enrolled her in her first dance class at Arts Umbrella. “In the years to follow,” Matlashewski said, “I continued my training in dance while also exploring theatre and visual arts. My love of musical theatre began at a very young age. Since then, I have not looked back. I feel extremely blessed to have had multiple opportunities to train with so many professionals in the industry. I am grateful to have taken part in programs such as the Arts Club’s Musical Theatre Intensive and the Pre-Professional Musical Theatre Troupe at Arts Umbrella.”

Among Matlashewski’s teachers and colleagues in the Jewish community have been Erika Babins, Perry Ehrlich and Wendy Bross Stuart, to name only a few.

“As a result,” said Matlashewski, who comes from a small family, “I have had many wonderful opportunities to connect with others in the community, create a positive support network, and learn more about my culture. I feel so blessed to be a part of such a warm and welcoming community.”

Matlashewski has also worked with the director of King Arthur’s Court before.

“Last year,” she said, “I worked with Chris Adams (our director) on RCMT’s [Royal City Musical Theatre’s] concert production of Into the Woods. He encouraged me to take part in this production.”

Adams was most recently featured in the Independentfor directing and co-producing Sweeney Todd: The Demon Barber of FleetStreet (jewishindependent.ca/experience-sweeneys-revenge). While this isMatlashewski’s first show with Metro, this will be Adams’ seventh show andthird panto with the theatre.

“I remember sitting in the audience, as a little kid, booing the demon and cheering the good fairy and then rushing to the stage after the show, just to get autographs from the cast,” he recalls on Metro’s website. “From that childhood time,” he says, “panto has kept a warm place in my heart.”

King Arthur’s Court will feature a demon and a fairy, too, along with a dragon and, of course, Arthur and the Knights of the Round Table. Chivalry and chicanery will run aplenty, and the audience will be encouraged to cheer and jeer.

Matlashewski plays Mopsy, the court jester. “My role requires me to do lots of singing, dancing and goofing around onstage,” she said. “I also talk directly to the audience at certain times.”

And, behind the scenes, Webster will be managing the chaos. For her, she said, “The best part is when I get to hear the kids talk to the actors during the meet-and-greets, and hearing their favourite parts of the show.”

For more information about and tickets to KingArthur’s Court, visit metrotheatre.com/currentshow. It runs until Jan. 5.

Two solid TUTS productions

Andrew Cownden and Paige Fraser in Theatre Under the Stars’ production of 42nd Street. (photo by Lindsay Elliott Photography)

The gasp of surprise and awe came from the row behind. “The glass slippers,” whispered the gown-clad girl, maybe 7 or 8 years old, when Cinderella received her infamous footwear from Fairy Godmother in Theatre Under the Stars’ production of Rodgers & Hammerstein’s Cinderella on opening night.

Directed by Sarah Rodgers, this social justice-infused version of the tale (with book by Douglas Carter Beane) seemed to resonate with the younger audience members, even though it was understated. The pace was on the slower side, the music beautiful but not that memorable and the costumes by Christina Sinosich were a mixed bag of styles but all earthy in tone, with no flash or brilliant pops of colour. Cinderella sported a pale blue and white dress in her harsh life with her stepmom and two mean stepsisters (though one turns out to be pretty nice) and a mainly white ball gown, with some silver and blue accents. Prince Topher’s outfits were basically brown or black, with the exception of white formal wear, though they also had some fancy detail work.

The cast performed admirably, especially Mallory James as the heroine, Ella. Tré Cotten seemed a little less sure in his role as Topher, but was suitably dashing and princely, wanting more than a beautiful woman for his wife and wanting to be more than just a ruling figurehead. The revolutionary Jean-Michel, played by Daniel Curalli, and the not-so-evil stepsister Gabrielle, played by Vanessa Merenda, add interesting elements to the play for those who’ve only seen the less substantive (story- and character-wise) romantic version. And the ensemble, in which Jewish community member Lyrie Murad sees her TUTS debut, does a fine job.

Alternating with Cinderella on the Malkin Bowl stage is 42nd Street, which, despite its Depression-era story, costumes and set, is an uplifting, energetic and fun production.

The role of Broadway producer Julian Marsh seems to have been written for Andrew Cownden, and Paige Fraser – making a very strong TUTS debut – is perfect as Broadway ingénue Peggy Sawyer. While the entire cast and ensemble is great, Colin Humphrey as choreographer/dance leader Andy Lee is fantastic, cigarette hanging out of his mouth for much of the show, even when putting the chorus through its paces. And, ironically, Janet Gigliotti as fading star Dorothy Brock is probably the brightest light of this show.

The direction by Robert McQueen, the choreography by Shelley Stewart Hunt, the musical direction (and acting) of Christopher King, the set by Brian Ball, the costumes by Sinosich, etc., etc., all come together neatly in this production.

For tickets to both Cinderella and 42nd Street, visit tuts.ca.

Big dreams, challenges

Eden Lyons as Emory (seated) and Nathan Cottell as Linda in Awkward Stage Production’s MilkMilkLemonade, which runs May 23-26 at CBC Studio 700. (photo by Javier Sotres)

True to form, Awkward Stage Production’s upcoming show, MilkMilkLemonade by Joshua Conkel, will challenge and entertain audiences.

“Eleven-year-old Emory dreams of two things – leaving his farm for Mall Town, U.S.A., and going on Star Search. His grandmother wants him to be a normal boy and be friends with Elliott, the tough boy from down the road. Meanwhile, Linda, his depressed best friend, dreams of surviving to the next dawn,” reads the synopsis, noting that Linda is a giant chicken who does stand-up comedy and that the show includes the music of Brittany Spears, Spice Girls and Nina Simone.

Jewish community member Eden Lyons plays Emory. With Arts Umbrella Pre-Professional Troupe, she played Mrs. Tottendale in The Drowsy Chaperone in 2016 and Hope Cladwell in Urinetown last year. Her resumé includes stilt walking as a special skill.

“I’ve been interested in acting and musical theatre for as long as I can remember, I was a very attention-hungry child,” Lyons told the Independent. Nevertheless, it wasn’t until her role in Urinetown that she knew she wanted to make a career of performing.

Born in Hamilton, Bermuda, Lyons has lived in Vancouver since she was 3 years old. She attended Vancouver Talmud Torah from preschool to Grade 7 and graduated from Point Grey Secondary School last June. When she left VTT, she said, “I felt somewhat disconnected to the idea of the Jewish community. Maybe because I didn’t feel I belonged from a gay perspective, because I always saw Judaism as more of a conservative traditional thing, as opposed to the ever-changing and loving thing I see it as now. In lots of ways, I feel my safest in the Jewish community.”

A sense of safety is particularly relevant to MilkMilkLemonade, which contains sensitive and explicit material. Producer and choreographer Erika Babins – also a member of the Jewish community – said the play “walks a fine line of comedy and heavy subject matter. Emory is subject to bullying at school because of his effeminate nature. Elliot attempts, and often fails, to reconcile his friendship and attraction to Emory with the internalized homophobia and misogyny that he was raised with. There are both scenes of intimacy and violence in the piece.

“We began rehearsing this play,” she said, “in the wake of controversy in the Canadian theatre community regarding directors and companies crossing professional boundaries in their rehearsal halls in the name of creating art. It brought to light a lot of practices that many theatre artists take for granted as part of the industry and certainly needn’t be. At the beginning of our rehearsal process, we outlined specifically what was deemed appropriate behaviour in rehearsal and what would not be tolerated, in order to create a safe environment for everyone. Actors have to be extremely vulnerable to create situations with physical intimacy and it is the job of the theatre company and the creative team to create and enforce that environment.”

Co-starring with Lyons are Demi Pedersen (Elliot), Stefanie Michaud (Lady in a Leotard), Sachi Nisbet (Nana) and Nathan Cottell (Linda). The producer is Sarah Harrison and the rest of the team is stage manager Laura Reynolds, light/sound designer Andie Lloyd, costume/prop/set designer Alaia Hamer, graphic designer Julia Lank and promotional photographer Javier Sotres.

“The age range of the cast is between 18-27,” said Babins. “All the cast members and creative team on this project are emerging artists.”

Winning the role of Emory came as a surprise to Lyons.

“When I went in for the MilkMilkLemonade auditions, I didn’t even think I would get cast at all, as I hadn’t yet been in a professional show and all I had gotten until then was a string of rejection emails,” she said. “When I got my email for MML, I was at work and I cried in the bathroom and called my parents saying, ‘Maybe I’m not a terrible actress after all!’ This is my first show with Awkward Stage, and I am really thankful that they are the first company I’m working with in my professional career.”

When asked what were the most challenging and fun aspects of playing Emory, Lyons said, “It was a challenge for me to get past my fear of being the youngest in a cast, especially since all of them have already graduated theatre school and worked professionally for years. It was also difficult to find the physicality for acting like a kid, and the balance between me being a woman, who’s playing a little boy, who is actually a little girl. Lots to unpack there. Emory is a really fun role because I get to play around and throw little tantrums and scream, and basically just be a kid. It offers me a lot of freedom to try new things.”

And Lyons is working on many new things in addition to this production.

“I’m currently assistant directing Oklahoma! with the Arts Umbrella Pre-Professional Musical Theatre troupe, which is playing at the Waterfront Theatre from May 18th to 26th, and I am assistant directing and associate producing Jasper in Deadland with Awkward Stage for the Vancouver Fringe Festival in September,” she said. “In the fall, I am moving to Toronto to attend Randolph Academy for Musical Theatre.”

While there is no specific target audience for MilkMilkLemonade – “There are pieces for all ages and walks of life in it,” said Babins – due to the subject matter, she said, “we do advise parental discretion for children under the age of 12.”

MilkMilkLemonade is at CBC Studio 700 May 23-26, 8 p.m., with a 2 p.m. matinée on May 26. Tickets ($20) are available at awkwardstageproductions.com/milkmilklemonade.

Cabaret a timely show

Michael Wilkinson, left, and Kurtis D’Aoust in Royal City Musical Theatre’s Cabaret, which plays at Massey Theatre until April 29. (photo by Emily Cooper)

The musical Cabaret is a classic in the English-speaking world. Since its Broadway première in 1966, it’s been staged multiple times in many countries, and its acclaimed movie version of 1972 won eight Oscars. This April, Royal City Musical Theatre (RCMT) brings the show to New Westminster’s Massey Theatre.

“I saw the Cabaret movie many years ago, but it’s quite different from the stage musical, which I saw for the first time on Broadway in New York, starring Alan Cumming, in 2015,” actor Michael Wilkinson told the Independent. “The Broadway production was spectacular; not only is the show filled with great songs and dance numbers, but the various storylines were, and are, timely to current events that we’re seeing around the world today.”

With music by John Kander and lyrics by Fred Ebb, the show is loosely based on the book Cabaret, written by Christopher Isherwood.

“Taking place in Berlin [in 1931] just before the Nazis came to power, Cabaret demonstrates how there was an increasing presence of far-right wing politics, which is not dissimilar to some of the political movements we’re seeing in the United States,” said Wilkinson, who is a member of the Jewish community. “It provides a stark reminder of how we need to stand up for those who are most vulnerable in society.”

In the RCMT production, Wilkinson plays Victor, one of the performers at the cabaret. Victor is a dancer, singer and waiter, Wilkinson explained. “As Victor, I spend most of the play singing and dancing in the ensemble numbers, as well as serving and fooling around with the patrons. It’s a fun role, and many dance numbers are very energetic.”

Unlike most members of the cast, Wilkinson doesn’t see his professional life revolving around theatre. “I actually am not studying acting,” he said. “I did study theatre for one year right after high school in New York at NYU. However, after an amazing year, I decided that theatre school was not for me, so I returned to Vancouver. I’m currently one year away from graduating with a bachelor of arts from UBC’s Institute for Gender, Race, Sexuality and Social Justice. I would love to work in arts marketing or management, but I am also very passionate about youth education.”

For him, theatre is a beloved hobby, although he did want to be an actor as a child. “I grew up taking theatre and music classes, which I loved. I went to the fine arts theatre program at Lord Byng Secondary School,” he said. “I participated in school plays. I also participated throughout high school in many community and professional theatre productions across the Lower Mainland. And I’ve continued to do so into adulthood. I love to do theatre in my spare time, and companies like RCMT provide a great opportunity for this.”

Being in a musical is ideal for the young performer.

“I started playing violin when I was 5 and I played oboe in my high school band, so music has always been a part of my life,” he said. “Musicals just seemed like a natural genre for me to fall into when I became interested in theatre. I love being in big musicals, like Cabaret. RCMT is a great company because they present big musicals every year, which is not something that every theatre company is able to do. This is my fourth show with RCMT. With them, I’ve had lots of fun in the smaller featured roles or as part of the ensemble.”

Over the past several years, Wilkinson has performed with many theatrical companies in Vancouver. In addition to RCMT, he has played in shows put on by Theatre Under the Stars, Awkward Stage Productions, Gateway Theatre, Bard on the Beach, and Footlight Theatre.

“Most of them have been non-paying [roles], which was fine growing up and going through high school,” he said. “I never expected to get paid at that age. However, this year, RCMT introduced an actor honoraria, which is very helpful to offset transportation costs. While this is certainly not the case for many other cast members, I’m not at a point where I’m looking to make a living from doing theatre. I have two other part-time jobs, my UBC classes and rehearsals, so [being in] shows that do not pay, or at least not very much, works for me.”

The timing of a show is more important to him than the financial side, because he has to juggle his schedule. This is why he doesn’t go to auditions very often. “I only audition for productions that I would really want to be in and that I know I can commit to, in terms of rehearsals and performance dates,” he said.

He enjoys everything involved in putting on a show. “I love the rehearsal process,” he said, “because it is so exciting to watch a production come to life with all its elements: music, choreography, scene work, props, costumes, sets and lights, and eventually the audience. It is also great to get to know a new group of actors as we come together to work on a production. The Vancouver theatre community is quite small, so there are usually some familiar faces, but every cast kind of becomes a family for the duration of a show – some of my best friends I’ve met through theatre. And, of course, performing the final product in front of the audience is always very exciting.”

Wilkinson is not sure yet what his future holds, or even where he will be after graduation. “I’ve lived in Vancouver my whole life, minus my one year in New York,” he said. “Vancouver is home, but if a really great job presented itself outside of Vancouver, I would never say no. I’m also interested in doing my master’s degree at some point, so that may involve a move, as well. I think it’s important to be happy in whatever we’re doing, so that’s how I try to guide my education, work and theatre to balance in my life.”

Cabaret opened at Massey Theatre April 12 and runs until April 29. For tickets and information, visit royalcitymusicaltheatre.com.

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

The telling of stories

Left to right: Yoo Ra Kang (Asaka, Mother of the Earth), Ricardo Pequenino (Agwe, God of Water), Alexandra Quispe (Erzulie, Goddess of Love) and Sari Rosofsky (Papa Ge, Sly Demon of Death) in Fabulist Theatre’s production of Once On This Island, which opens April 6. (photo by Tina Clelland)

None of us mere mortals is a god. But some of us get to play one on the stage.

Sari Rosofsky takes on the role of Papa Ge in Fabulist Theatre’s upcoming production of Once On This Island. Papa Ge is one of four gods who affect – for better and for worse – the life of the main character, Ti Moune, a peasant girl living on an island in the French Antilles.

“What I love about Papa Ge is she’s the evil one!” said Rosofsky. “Ever since I was a child, I’ve always loved the bad guys more than the good because I felt they had more depth and dimension to them, and they always had the cooler songs. I think what is the most challenging part of this character is how to be a villain without being crazy – while I still want to portray the darkness and depth Papa Ge has to offer, I want audience members to be drawn to her despite her being the bad guy. It’s a delicate balance for sure, but I’m certainly up for the challenge.”

Based on the novel My Love, My Love; or the Peasant Girl by Rosa Guy, the one-act musical (with book and lyrics by Lynn Ahrens and music by Stephen Flaherty) “includes elements of Romeo and Juliet and Hans Christian Andersen’s The Little Mermaid,” explains the press material. Ti Moune “uses the power of love to bring together the different social classes living on her island.”

“Right now, I’m auditioning for a wide variety of shows, as I want to do as much theatre as possible to gain experience,” Rosofsky told the Independent about how she landed her role. “I saw the call [for Once On This Island] and saw that the production team had some familiar names, and knew I wanted to work with them – the music director, Amy Gartner, was actually in a show with me at the time I saw this call. I approached her and asked about the auditions and she strongly encouraged me to submit. So, I did, but, sadly, the auditions were during a time when my show had some important rehearsals. Thankfully, the production team decided to have me audition during the callbacks when I was available, and had me sing for multiple roles, Papa Ge included. And the rest, you can say, is history!”

Traditionally, director Damon Jang told the Independent in an email, the role of Papa Ge is played “by a man, but portrayed by a woman in the Broadway revival version.” Rosofsky, he said, “was the best person for the part, so we cast her.”

According to her bio, Rosofsky has “a passion for the arts, whether that be in singing, acting or modeling.” In addition to starting voice lessons at age 12, she started auditioning for school plays. She won her first role in Grade 8 – as a sailor in Shakespeare’s Twelfth Night. Her first musical came the next year, when she was part of the ensemble of Kiss Me Kate. She continued singing and acting through university, but did her degree in earth and ocean sciences.

Starting her sciences degree at the University of Waterloo, she finished it at the University of British Columbia. “While at UBC,” notes her bio, “she rediscovered her passion for musical theatre with the show Guys and Dolls, where she played Big Julie.”

Rosofsky has released two songs – “Save Me” and “Turn Around” – under the name Sari Rose. In her everyday life, she goes by the name Sari Chava Rosove. Rosofsky is her stage name, she said.

“My name alone is very difficult to pronounce for most people so I wanted to change it to something that rolls off the tongue slightly easier, but still maintain the uniqueness,” she explained. “It turns out my family already had this one taken care of for me – while Rosove is my legal last name, Rosofsky was the original family last name before they immigrated from Russia in 1901. They changed it to Rosove, as they were Jewish refugees and wanted to avoid antisemitism when they came to Canada. And so that’s where my stage name comes from, by paying homage to my roots.”

Rosofsky grew up in Seattle, where, she said, she spent most of her Jewish childhood at Herzl-Ner Tamid. “I went to Sunday school, along with additional after-school classes to prepare for my bat mitzvah, and, after that, I just kept going!” she said. “One of the most memorable things I did growing up at this synagogue was a program my mother actually ran, where a group of us would get together and make sandwiches that would be donated to a group that would hand out paper bag lunches to the homeless in Seattle. Of course, I also attended summer camp for a few summers at Camp Solomon Schechter.”

Rosofsky graduated from UBC in 2013, and then studied musical theatre at Capilano University.

“It’s a three-year, full-time program – and they truly keep you very busy,” she said. She attended Capilano from September 2014 to April 2017. “The entire program was so much fun. I learned a lot not only about the industry but about myself as a performer from some truly inspiring instructors.”

Recently, Rosofsky was in the ensemble for Merrily We Roll Along, put on by United Players, and played the wife in Draining the Swamp, by Curious Creations Theatre. “In between all of my endeavours in theatre,” she said, “I also dabble in competitive pole dancing which, in actuality, can be quite a performance! I competed and placed in my division back in October and will be training at Tantra Fitness for the upcoming competition in September, in between my other projects.”

Once On This Island is at the Red Gate Revue Stage on Granville Island April 6-14, 8 p.m. The show is approximately 90 minutes with no intermission.

The production is Vancouver’s first semi-professional cast of Once On This Island, according to the press release. Added Jang, “We wanted to cast based on the culturally diverse community of performers who make up Greater Vancouver and might otherwise be underrepresented in the city. We fully acknowledge that the story is a largely set in Haiti, but we wanted to use the story as a platform to address the more universal themes of love, death, and fighting against the class system. At the end of the day, these are storytellers telling a story.”

For tickets to the show, visit ootivan.brownpapertickets.com.

A moving story

Left to right are Dávid Szigeti (cello), Erik Gow (who plays Alvin Kelby), Kevin Woo (clarinet), Wendy Bross Stuart (piano, music director) and Chris Adams (who plays Thomas Weaver), in rehearsal for The Story of My Life, which is at the Canadian Music Centre for five remaining performances, Nov. 25 and 30, Dec. 1 and 2, 8 p.m., and Nov. 26, 2 p.m. (photo by Ron Stuart)

Directed by Stephen Aberle, this story of friendship is an intimate and moving portrayal, performed by a talented and hardworking ensemble. I got a sneak peak at the production earlier this week. It had me laughing. I related to both of the characters (their good and more challenging traits/actions) and the actors had great chemistry and intensity. By the end, I was crying. It starts with Thomas trying to write the eulogy of his boyhood friend Alvin, and it takes the audience through some of the stories of their lives. The music is wonderful and the performers are top-notch. See it if you can.

Tickets can be purchased from eventbrite.com.

Stories from the Sylvia Hotel

Left to right: Advah Soudack, Tom Pickett and Adam Abrams co-star in Two Views from the Sylvia, playing at the Waterfront Theatre Nov. 8-12. (photo from Kol Halev)

“For me, the ‘coolest’ thing is Sylvia herself,” Advah Soudack told the Independent. “From everything I have read and heard, she was a dynamite of a woman – fiery, passionate and full of life. The woman lived until 102, for goodness sake, and did so with a heart murmur that caused much concern for doctors and her parents when she was young. I like the story of how she met her husband, Harry. The two were on a Jewish singles cruise and, when Harry witnessed Sylvia dive enthusiastically off the side of the boat, he knew in that moment that she was the gal for him. I only wish Sylvia was alive to see the show.”

Soudack takes on the role of Sylvia Ablowitz, née Goldstein, whose father, Abraham, built the Sylvia Hotel and named it after his daughter. The family’s story and stories about the renowned establishment in English Bay are depicted in Two Views from the Sylvia, which is being presented by Kol Halev Performance Society Nov. 8-12 at the Waterfront Theatre.

“This is the most ambitious show Kol Halev has produced, and their first as a registered society. But it fits perfectly into their mandate to tell stories of Jewish history and local Vancouver history, with music, song and performance, in an engaging and entertaining way,” said Adam Abrams, who plays Abraham in the production, and is also vice-president of Kol Halev. “I’m so excited to be a part of it,” he said.

Two Views from the Sylvia is comprised of two original one-act plays. Its genesis can be traced back some four years, to a Jewish psychology network meeting attended by Kol Halev president Sue Cohene and Ablowitz’s great-niece, Marsha Ablowitz, who pitched the story of her famous great-aunt to Cohene. In mid-2013, members of Kol Halev met with Marsha Ablowitz and her mother, Sally Seidler, who is now 99 years old.

By August 2013, Joan Stuchner had drafted the first two pages of a play. A few months later, Deborah Vogt joined the writing team, with she and Abrams assisting Stuchner. Sadly, Stuchner died in June 2014 of pancreatic cancer and Vogt had to complete the script without her.

Vogt’s one-act play, Sylvia’s Hotel, with music by Britt MacLeod and Kerry O’Donovan, lyrics by MacLeod, is set in 1912, and focuses on the origins of the hotel and on the Ablowitz-Goldstein family. “Both young Sylvia Goldstein and Joe Fortes, the beloved lifeguard who taught Vancouver children to swim, experience the challenges of those who didn’t quite ‘belong’ in the Vancouver of the time,” notes the promotional material. It forms Act 1 of Two Views from the Sylvia.

Act 2, called The Hotel Sylvia, is by Cathy Moss and Kelsey Blair. It focuses on the period after the building of the hotel, and “we meet the characters whose lives and loves became interwoven with the story of the Sylvia over her 100-year history.”

In Act 1, most of the characters are based on real people, members of the Goldstein family and Fortes. In Act 2, most of the characters are composites of more than one person or story, notably the character of Franny, who is a nod to a longtime Sylvia employee.

“Several of the stories told in this one act play are the stories as told to Cathy Moss and me by Huguette Gingras, who was the front-desk clerk at the Sylvia Hotel for 35 years,” said Cohene.

Tom Pickett, who plays Fortes in Act 1, plays the character of John in Act 2. “Though John is an independent character, he cares about the Sylvia the way Joe cares about the kids and English Bay so, in my mind, I imbue a hint of John with a bit of Joe and maybe vice versa,” said the actor.

Pickett – who said he has played Fortes a few times before – was immediately on board when he heard that Christopher King was the director and Shelly Stewart Hunt was the choreographer of the production. “Then I had the pleasure of talking with Sue Cohene on the phone and the connection was instantaneous,” he told the Independent. “And then, as we began rehearsals, the artistic opportunities to honour a Vancouver landmark like the Sylvia and represent a historical figure like Joe Fortes deepened. I think many people know of the Sylvia but don’t know a lot about the Sylvia. I’ve done a gospel concert at the Sylvia, my wife’s cousin from Montreal always stays at the Sylvia, my mechanic, the teller at my bank, the list goes on.”

“It seems that everyone has a story or a connection to the Sylvia,” agreed Abrams, “so it’s exciting to be telling a story about something so iconic, that means so much to people in Vancouver. And though I’m thrilled to have a great role, I’ve been mostly just impressed with what everyone else is bringing to it. There are some really beautiful moments both visually and dramatically, and some wonderful music, too. I think people are going to leave the theatre humming the title theme, ‘At the Sylvia’!”

About his character in Act 1, Abrams said, “Abe is someone who wants more than just personal success, he really wants to make his city a better place and feels the hotel will help achieve that. He’s also proud of his Jewish heritage and wants to show what his people can accomplish – despite facing a lot of the prejudice that was so common at that time.”

In Act 2, Abrams plays Mr. Lowry, “the manager of the present-day Sylvia, [who] is trying out Franny for the front-desk job to see how she does. He just shows up a couple of times, but I’m finding a lot of little moments of humour in his appearances.”

In preparing for the show, Soudack met with Marsha Ablowitz. “I not only flipped through piles of photos and heard stories,” said Soudack, “but also held Sylvia’s hairbrush, mirror and curling iron with her initials gracefully engraved on them in my hands. If the audience is paying close attention, they may even catch a glimpse of these artifacts in the show.”

While Sylvia appears in Act 1, she is only talked about in Act 2. In the second half of the production, Soudack plays Nora, who appears, said Soudack, “as a flashback to the Sylvia during the Second World War.”

“She is an interesting character, not only because of her independent nature, but also because of the times in which she would exercise this independence,” said the actor. “Nora, as explained by her daughter Gloria in Act 2, would visit the Sylvia twice a year. Gloria mentions that her mother, Nora, would come to write in her journal. She made a routine of it and even wore the same blue dress…. It turns out that she didn’t always come to write in her journal, she would also come to the Sylvia to dance.

“For me,” said Soudack, “Nora is an intriguing character to play because there has to be a reason why she came to the Sylvia and did so year after year. In the script, she talks about ‘taking a night off from everything.’ She mentions things about the war, headlines, air-raid precautions, however, as the actress, I choose to dig deeper and find what else she is ‘escaping’ from and taking the night off from…. There is a pure innocence to Nora going to the Sylvia twice a year to write in her journal and dance, but is there also an alter ego or an alternate life she desperately wants to explore?”

Other Jewish community members in the cast are Anna-Mae Wiesenthal and Joyce Gordon, while Heather Martin is associate producer and Gwen Epstein is on the production team. The Jewish Museum and Archives of British Columbia has created a photo exhibit, which will be on display at the theatre.

“Lots of things are very exciting,” said Cohene, “like watching amazingly creative choreography being developed on the spot. Hearing beautiful singing by the cast makes me want to sing along. I don’t – I am the producer and need to remember my role.

“I hope that people who come to the show are aware that we are a community theatre group. We are so fortunate to have the wonderful participation of two professional actors,” she said, referring to Pickett and Soudack, “who work alongside our very talented group of emerging actors. Kol Halev strives to be inclusive, accommodating performers of all ages, backgrounds and levels of experience. We aim to offer the opportunity to learn and create, in all aspects of our production. I’m hoping that this value is appreciated when the public sees the show.”

For tickets ($28) – and a chance to win free ones with your story of the Sylvia – visit kolhalev.ca.

Spotlight on the Sylvia

Advah Soudack and Anna-Mae Wiesenthal rehearse the song “Building a Dream” for Two Views from the Sylvia, which runs Nov. 8-12. (photo by Adam Abrams)

With the upcoming theatrical production of Two Views from the Sylvia, author Diana Stevan interviewed Sue Cohene, a founder of the show’s producers, Kol Halev Performance Society. The new play, based on the Sylvia Hotel, runs Nov. 8-12 at Waterfront Theatre on Granville Island.

DS: What inspired you to do the play?

SC: The answer is insanity.

DS: Tell me more about that. How did you get the idea?

SC: About five years ago, I was attending one of our monthly Jewish psychology network meetings. During our introductions, welcoming new attendees, I did a quick version of my background as a psychotherapist and the latest news about Kol Halev. After the introductions, Marsha Ablowitz, another psychotherapist, who I had known for many years, came up to me and said, “Do you want to do a story about my aunt?”

My response was, “Your aunt?”

She said, “Yes, my Aunt Sylvia.”

Not particularly keen, I replied, “Your Aunt Sylvia?”

“Yes, Aunt Sylvia of the Sylvia Hotel.”

I was hooked and said, “Tell me more.”

DS: So she told you the story of her aunt. Was there anything you were surprised about?

SC: Yes, but you have to come see the play to find out. But, I have to say, the Jewish Vancouver backstory is quite fascinating. I’ll tell you one tidbit. There was a connection between Sylvia Goldstein Ablowitz and another legendary Vancouver figure, Joe Fortes, the lifeguard at English Bay.

DS: Interesting. I’ve heard about him. I understand from the title of your play, that there are two views from the Sylvia. Can you tell me more about that?

SC: One view is from the outside, from English Bay, looking in; the other is from the inside, looking out. And those are just the literal views I’m talking about.

DS: I understand there’s some music. Is this a musical?

SC: We have two one-act plays. The first one, named Sylvia’s Hotel, is a musical about the building of the hotel by the family and the obstacles they found. The second one-act play, named The Hotel Sylvia, is a play with music, focusing on the period of time after the hotel was built.

DS: I heard that the Jewish Museum and Archives of British Columbia showed an interest.

SC: Yes, the Jewish Museum is one of our partners in this project. They will be presenting a historical photography exhibit at the theatre.

For tickets ($28) to Two Views from the Sylvia, visit kolhalev.ca or tickets.theatrewire.com.

Diana Stevan is a writer, who previously worked as a family therapist, teacher, model, actress and freelance writer broadcaster for CBC TV’s Sports Journal. Her novels – A Cry from the Deep, a romantic mystery/adventure, and The Rubber Fence, psychological fiction – and her coming-of-age novelette, The Blue Nightgown, draw on both her experience and imagination. This interview was published by Theatrewire.

Bar mitzvah is musical’s hook

Clockwise from the top: Jason Sakaki (Brett), Julia Mclean (Patrice), Graham Verchere (Evan), Julian Lokash (Archie), Emma Leblanc (ensemble) and Rachel Valentina (ensemble). (photo by Anita Alberto)

Jason Robert Brown’s 13: The Musical, a show that centres around the bar mitzvah of its young hero, Evan Goldman, will première in Vancouver on Sept. 28, presented by Bring On Tomorrow Co.

Concerned both with authenticity and sensitivity with regards to the show’s Jewish content, director Chris Adams invited Congregation Beth Israel Rabbi Adam Stein to meet with the cast and crew after a rehearsal Aug. 29. The Jewish Independent was invited to attend.

13 was the first-ever Broadway show to feature an all-teenage cast when it debuted in 2008. The cast of the local production is an accomplished team of professional young actors who have appeared on such networks as ABC, NBC, CBC, Disney and FX. They were dynamic, cheerful and attentive throughout Stein’s visit, laughing at his jokes and making a few of their own as well. The rabbi, who himself has a background in theatre, seemed right at home.

The musical follows 12-year-old Evan Goldman, a Jewish kid from New York who moves to a small town in Indiana after his parents’ divorce. A fish out of water, the story details his struggle to adapt to his new community and make friends, with a key plot point centring around him trying to get the cool kids to come to his bar mitzvah, and the rite of passage that results as Evan’s perspective matures.

Stein explained the meaning of the bar mitzvah ritual to the cast, saying that the passage into adult moral responsibility is at its core. He also described some of the details of the synagogue ceremony. In 13, Goldman is heard singing one line of his Haftarah and Stein explained its meaning and checked the trope in the script, which was correct.

The rabbi also explained the meaning of the tallit and tefillin the bar mitzvah boy would begin wearing, and advised the cast about how the tallitot in the show should be handled – for starters, don’t hold them by the tzitzit (fringes). They also discussed how to stage and choreograph the synagogue scene, and debated how to costume the actors who appear in a dancing rabbis scene. Stein helped the cast imagine the layout of a synagogue, and suggested that having all the rabbis look like Chassidim would be stereotyping.

13: The Musical was penned by young adult novelist Dan Elish with TV producer and writer Robert Horn. Starring as Evan is Graham Verchere, 15, whose recent credits include Theatre in the Raw’s The Raymur Mothers and Arts Club Theatre’s A Christmas Story. Graham is a regular on the FX series Fargo and will appear in ABC’s The Good Doctor, which premières Sept. 25.

The Bring On Tomorrow cast also includes Jewish community member Julian Lokash, who just had his own bar mitzvah 15 months ago. “I first heard about the play at my own bar mitzvah,” Julian told the Jewish Independent. “Friends of mine who were there are now in the cast for this production.”

Asked if he played an ambassadorial role as the only Jewish actor in the play, Julian said he wouldn’t quite say that, but he did feel called to a certain degree of leadership. “Everyone turned to me when they had a question,” he admitted.

Julian’s acting credits include Theatre Under the Stars’ Shrek, Oliver! and Beauty and the Beast; the lead role of James in Carousel Theatre for Young People’s James and the Giant Peach; and roles in Gateway Theatre’s Music Man and Famous Artists Ltd.’s Mrs. Claus’ Kitchen.

13 director Adams is joined by vocalist Monique Creber as musical director. The production company, Bring On Tomorrow Co., is a collective of artists founded in 2016. The group “aims to assemble the city’s brightest professional theatre talent with award-winning musical artists to mount productions monumental in scale, energy and sound.”

Asked why Bring On Tomorrow was inspired to produce this show, Adams told the JI that it was all based “around the kids.”

“We knew we had the talent out there to present this show,” he said. “We wanted to give these professionals an opportunity to be leads…. Often kids in this city play the ‘kids’ roles. Well, in 13, every role is made for kids. They have to step it up because there isn’t a cast of professional adults driving their own show. It really is a wonderful challenge and something that a lot of them don’t get to experience every day.”

13 runs Sept. 28-Oct. 1 and Oct. 4-8 at the Waterfront Theatre. For tickets and more information, visit bringontomorrowco.com.

Matthew Gindin is a freelance journalist, writer and lecturer. He writes regularly for the Forward and All That Is Interesting, and has been published in Religion Dispatches, Situate Magazine, Tikkun and elsewhere. He can be found on Medium and Twitter.