musicals

Willkommen to the cabaret

Vicente Sandoval and Sylvia Zaradic are among the cast of Raincity Theatre Company’s Cabaret, which opens Oct. 15. (photo by Nicol Spinola)

Given the excellence of its previous two site-specific immersive musicals – Sweeney Todd: The Demon Barber of Fleet Street and Company – it can be expected that Raincity Theatre Company’s Cabaret will be provocative and entertaining, a most memorable night.

For Cabaret, Raincity will create its own Kit Kat Klub at 191 Alexander St. in Gastown Oct. 15-Nov. 4.

Audiences will be transported to the sexy and somewhat scary fictional nightclub. The story centres around singer Sally Bowles (played by Jessie Award-winning Alex Gullason), who works at a sleazy establishment in Berlin. Set in 1931, the club’s “outrageous Emcee becomes a mirror reflecting a society spiralling toward disaster with the rise of Hitler’s Nazis.”

“Cabaret is a cautionary tale about the dangers of apathy in the face of hatred,” producer Kat Palmer told the Independent.

“Given the increasing surge in racism (particularly antisemitism) and homophobia, we can all learn a lesson from this show,” she said. “It is no secret that antisemitism increased during the COVID-19 pandemic – even close to home. I recall a recent case in Richmond, where a wooden post with the message ‘COVID is Jew World Order’ was found on a busy street. This eerily echoed much of the anti-Jewish Nazi propaganda that existed during the time our show is set.

“The time may come when Cabaret will seem like an artifact of a distant and unremembered past. But, sadly, we are nowhere near that point, and we are not likely to get there any time soon.”

For people concerned about being in an immersive performance of a musical with such dark elements, director Chris Adams said, “I would implore them to come anyway. I believe we learn, work and grow in the uncomfortable, but I can assure you, although the actors will be close, there is no audience participation and everyone will have a fantastic, intimate, view of the show.

“The other wonderful thing about a venue like this,” he added, “is seeing … your own version of the show, depending on what you are watching and where you are looking. We’ve created a world for you to witness, so come on out and embrace it.”

That said, Palmer, who is a member of the Jewish community, admitted, “Being a third generation survivor, this show has brought up some intergenerational trauma I was not prepared for. It has reaffirmed my commitment to continue to speak up for justice, speak up for diversity and speak up for tolerance. Most importantly, to speak up for those who had their voice taken much too soon – to remember the millions of lives lost and think about what I can say and do to make sure this never happens again.”

Fellow Jewish community member Michael Groberman also contributed to the production.

“Working with a researcher is invaluable,” said Adams of Groberman. “As a director, I can read and watch everything I can and everything I think will come up before rehearsals begin, however, there are always surprises in the room. And I think there should be surprises, actually. Being able to turn to Michael and ask questions as we go, as we work and as we create, allows us such freedom.”

“The musical from 1966 was based on the 1951 play I Am a Camera, which itself was based on a series of related short stories by the British writer Christopher Isherwood, whose fiction was autobiographical,” Groberman explained. “Like the narrator of his [novel] Goodbye to Berlin (1939), Isherwood traveled to Berlin in 1930 to enjoy the bars, cabarets and sexual openness of Weimar Berlin. He wrote at the start, ‘I am a camera.’ He was there to witness what he found, and to write about it.”

One of the aspects of the stage production that surprised Groberman was that Sally Bowles, as characterized by Isherwood, is actually a very bad singer and even worse performer. “I imagined the role demanded a Liza Minnelli performance, belted and big,” he said. “I was wrong.”

He also shared a 2021 interview in the Guardian with composer Fred Ebb, who talked about the original Broadway production. “It was Hal [Harold] Prince, the original director, who came up with the breakthrough idea that the songs of the Emcee, played directly to the audience, would be a metaphor for the soul of Germany as the Nazis rose to power,” said Groberman. “Prince also called it ‘a parable of contemporary morality,’ one that he saw as drawing parallels between the spiritual bankruptcy of Berlin in the 1920s and America in the 1960s. This ability to be continuously relevant, as much as its fabulous songs, keeps the show’s flame alive.”

What also keeps it relevant are the creative choices different productions make. “For example,” said Groberman, “one of the main characters, Cliff, has a sexuality that shifts from production to production. Why these directorial choices?”

As the director, Adams not only has to makes these types of decisions, but pragmatic ones, including how best to present the piece on a “thrust stage, or a three-quarter round,” where the audience sits on three sides of the stage.

“Above and beyond the stage itself, is, of course, the entire venue,” said Adams. “We have to move the Kit Kat dancers around the space and I had to find points in the script that lend themselves well to utilizing different areas of the venue. For instance, if the script mentions getting a drink at the bar, then the actors will go to the bar, the same bar the audience members just purchased a drink at. We learned early on, when producing and directing in unusual spaces, you cannot ignore them – you must embrace them.

“New this year for us is VIP seating with a VIP entrance, something we couldn’t have done at our previous venues,” added Adams. “This venue lends itself to the world we need it to be – seedy, dark, but beautiful, where the drinks can flow all night.”

VIP seating includes a complimentary drink and the most immersive experience audience members can have. Since the musical deals with adult subject matter, Raincity asks that “viewers under the age of 19 not purchase VIP seating” and notes that “children under the age of 12 are not permitted.”

For tickets to Cabaret, visit raincitytheatre.com.

It’s a Wonderful Life in music

Erin Palm and Nick Fontaine reprise their roles as Mary and George Bailey in Patrick Street Productions’ musical It’s a Wonderful Life. (photo by David Cooper)

So ingrained in popular culture is Frank Capra’s It’s a Wonderful Life that many Jews probably make it an annual tradition to watch the 1946 film. This year, there is also the chance to see a musical adaptation of the classic, in which the angel Clarence is assigned the job of trying to save Bailey Building and Loan owner George Bailey from committing suicide on Christmas Eve, after there is a run on the bank and George faces the possibility not only of financial ruin but of believing his life has been a waste.

Patrick Street Productions presents the musical version by Peter Jorgensen, with arrangements and orchestrations by Nico Rhodes, at the Anvil Centre Theatre in New Westminster from Dec. 19 to Jan. 5. The show is the only ticketed event of Winter Celebrations, free daily performances by professional artists, singers and musicians at the Anvil Centre until Jan. 5.

It’s a Wonderful Life features a few Jewish community members: Erin Palm as George’s wife, Mary; Andrew Cohen as Ernie, who Cohen describes as “everyone’s favourite Bedford Falls cabbie”; and Stephen Aberle playing, in his words, “the ruthless, cold-hearted capitalist Mr. Potter, as well as the Sheriff, and hero George Bailey’s father, Peter.”

“Mr. Potter is the antagonist of the piece,” explained Aberle. “He owns practically everything in the small town of Bedford Falls, other than the little Bailey Building and Loan Society that George Bailey’s father founded and that George continues. Potter hates the Building and Loan and does everything he can to crush it because it helps working people to save and buy their own homes instead of having to rent from him and live in the slums he owns.”

While Cohen and Aberle are new to the show, Palm played Mary in the 2018 Patrick Street production at the Gateway Theatre. As an aside, she said, “I also auditioned for the original production in Chemainus so many moons ago. I am so happy it all worked out the way it did. I truly believe it was the right fit for me at this time in my life. I have so much more personal growth and experience to bring to the role of Mary.”

Never wanting her acting to be a copy of someone else’s work, Palm said she has not seen the movie in its entirety. “I have seen some clips,” she said, “but not enough to develop a multifaceted character. Peter has written a great script and all I need to bring Mary to life is in the text. The musical aspect is completely different from the movie, and I think a beautiful addition.”

About her character, Palm said, “I appreciate Mary’s faith in community and her love for her family. She’s really strong and an anchor for George. When she wants something in her life, she goes after it. She’s the matriarch and heroine of the story. She comes through for her family and for her community when times are at their worst.

“I also appreciate her love of the simple life. In complex times like ours, and when I find my ambition too great, it’s people like Mary that remind me I can be happy and grateful for what I have, what I have worked so hard to create.”

One of Palm’s favourite scenes is “the moment right before we meet Clarence,” she said. “George is on the bridge and he’s deciding the fate of his own life, the same bridge where so many of his life’s highlights happen. It often makes me weep backstage. It’s difficult to think of people who carry the weight of the world with them, feeling isolated and alone, especially around the holidays, but the reality is the troubles of the world do not stop around those times and are in fact amplified for people who are struggling with depression and financial hardship. It’s a beautiful reminder how important it is to reach out to those around you, be a light in their lives. It only takes one person, one gesture to change the outcome of the lives of many.”

For her part, Palm is grateful to be working with the cast and especially Aberle, who happens to be her father-in-law. “Working on a show that has to do with family makes me long for family during the holidays and it is a gift to work with him,” she said.

Of the Christmas aspect of the show, Palm said the story is based in community and, “while we sing some Christmas carols, the heart of the piece is a very human story of how communities can overcome hardship by coming together around the holidays to help those who need it most, to support each other and to celebrate life. It touches on how faith can be a guiding light, but, ultimately, it’s in our own hands. Our daily work, prayer and decisions can change our own lives and people around us.”

While acknowledging that the story “seems to be somewhat synonymous with this season,” Cohen said it’s “the story of a stalwart man who continually puts the needs of his community members above his own. He learns that the value of life is not determined by monetary gain or ambition but rather the positive impact you have made on the lives of others. Even though we like to watch this story around Christmas time, it is not a story about any one holiday, but rather a family man who learns how to be a mensch.”

Aberle echoed his co-stars’ comments, adding more context and noting some Jewish connections.

“It’s a Wonderful Life is about the importance of family, fairness, justice, courage in resistance to oppression and people sticking together in hard times,” he said. “It celebrates the human spirit and the importance of individual action and responsibility. While it’s true that the climactic scenes of the story are set at Christmas time and that our production (like perennial TV broadcasts of the film) is coming out at that time of year, I’d say (with director Frank Capra himself) that it’s not a Christmas story. To quote Capra: ‘I didn’t even think of it as a Christmas story when I first ran across it. I just liked the idea.’ In a 1946 interview, Capra described the film’s theme as ‘the individual’s belief in himself.’

“It happens that several of the writers who were involved with it were Jews, or of Jewish descent,” Aberle added. “The original short story, The Greatest Gift, was by Philip Van Doren Stern, whose father was of Bavarian Jewish extraction, and the writers who contributed to the film screenplay included Clifford Odets and Jo Swerling, both Jewish, and Dorothy Parker, whose father was a Jew.

“A heck of a lot of the music in this adaptation – like a heck of a lot of American musicals in general – is by Jewish composers and librettists, including George and Ira Gershwin, Alan Jay Lerner, Kurt Weill.”

For tickets to It’s a Wonderful Life, call 604-684-2787 or visit patrickstreetproductions.com. The show is recommended for ages 9+.

You can choose own family

The cast of Arts Umbrella’s production of James and the Giant Peach includes Teilani Rasmussen (as Ladahlord), left, and Sophie Mercier (as James). (photo by Tim Matheson)

“Well, maybe it started that way. As a dream, but doesn’t everything. Those buildings. These lights. This whole city. Somebody had to dream about it first. And maybe that is what I did. I dreamed about coming here, but then I did it.”

Roald Dahl (1916-1990) wrote some of the most-known children’s books, including The Gremlins, Charlie and the Chocolate Factory, Fantastic Mr. Fox, Matilda and, published in 1961, James and the Giant Peach, from which the above quote comes. Still as relevant as ever, and adapted into a musical about a decade ago, James and the Giant Peach is “wildly entertaining,” director Erika Babins told the Jewish Independent in an interview about Arts Umbrella’s Expressions Theatre Festival, May 17–25. “The music is written by Benj Pasek and Justin Paul, who wrote the music for La La Land, The Greatest Showman and Dear Evan Hansen, to name a few. I find I always have at least one of their catchy songs stuck in my head. There’s also puppets!” she said.

James and the Giant Peach is one of four productions featured in the festival. The others are Peter Pan (by J.M. Barrie), Animal Farm (adapted by Nelson Bond from the novel by George Orwell) and Into the Woods (music and lyrics by Stephen Sondheim, book by James Lapine).

“Choosing the Expressions Theatre Festival shows is an involved process that starts at least a year in advance. We’re already choosing shows for our 2020 festival,” said Babins, who is a member of the Jewish community. “Each troupe director is responsible for choosing the show their troupe will perform.

photo - Director Erika Babins — Director Erika Babins *(photo from Arts Umbrella)*

“As directors, we keep in mind the strengths and areas of growth we see within our cast,” she said. “We want to ensure that the skills students develop throughout the year build upon or differ from those we explored in past years. For shows, we want to choose something that can challenge and engage our students throughout the rehearsal process. At the same time, we want to select shows that will appeal to our audience, which includes a large number of students who attend school matinées that run along with our public performances.”

The Arts Umbrella promotional material summarizes the plot of James and the Giant Peach: “When James is sent by his conniving aunts to chop down their old fruit tree, he discovers a magic potion that results in the growth of a tremendous peach … and launches a journey of enormous proportions. Suddenly, James finds himself in the centre of the gigantic peach, among human-sized insects with equally oversized personalities. After the peach falls from the tree and rolls into the ocean, the group faces hunger, sharks and plenty of disagreements. Thanks to James’ quick wit and creative thinking, the residents learn to live and work together as a family.”

“I chose James and the Giant Peach for myriad reasons,” Babins said. “Last year, the Junior Musical Theatre Troupe performed Guys and Dolls, a classic musical with a lot of realism. James and the Giant Peach is pretty much the opposite of that: it’s a contemporary show written with lots of theatricality and wonder. I also find the themes in the show particularly universal for the age range of 13-to-16-year-olds who perform in the show. In the musical, the theme of chosen family comes up a lot – the idea that you have the right to surround yourself with people who make you feel safe and happy, and that you’re allowed to distance yourself from those who make you feel bad or hurt you.”

Babins has been working at Arts Umbrella as the choreographer for the Senior Musical Theatre Troupe since 2012, and she began teaching in the general and yearlong theatre programs in 2014. “We started the Junior Musical Theatre Troupe just two years ago and the original director is taking a leave of absence, so I was asked to helm this production,” she said. “I was more than happy to take on the role.”

Playing the role of James in the Arts Umbrella production is 15-year-old Sophie Mercier. “She brings both a maturity and an emotional vulnerability to the role, which James needs to have in order for the audience to care about his journey,” said Babins.

When asked about the most fun aspect of this production, Babins said it was “playing into all the theatrical moments.”

“The show is a play within a play, with the narrator introducing us to all the characters and themes at the beginning of the show. We have a lot of fun breaking the fourth wall and bringing the audience in on the magic of theatre,” she explained.

As for the most challenging part, she pointed to the set changes. “We have some big and elaborate set pieces,” she said, “and I often ran out of hands to move them around the stage. But I think we have found some clever solutions to those challenges.”

The Expressions Theatre Festival opens and closes with Into the Woods (May 17 and May 25, 7 p.m.), which runs a few times during the festival. James and the Giant Peach will be performed twice: May 19, 4 p.m., and May 23, 7 p.m. For more information about the festival and the full performance schedule, visit artsumbrella.com/expressionstheatre. Tickets start at $12 and the shows take place at Waterfront Theatre on Granville Island.

Magic of Cinderella

Lyrie Murad is part of the ensemble in Rodgers & Hammerstein’s Cinderella, which opens July 11 at the Malkin Bowl. (photo from Theatre Under the Stars)

Lyrie Murad makes her Theatre Under the Stars debut this summer in Rodgers & Hammerstein’s Cinderella, which opens July 11.

“I’m both excited and nervous to be performing in front of 1,000 people every night,” Murad told the Independent. “I mean, that’s a lot of people! It’s great, because Cinderella is such a magical show, with such an empowering message, but it can be a lot of pressure to deliver the beloved tale. Despite this, I believe that our director, Sarah Rodgers, has done an incredible job in creating a show that will appeal to both young kids and adults, and that everyone will enjoy the love and magic the story entails.

“I am also so excited,” she said, “to be doing this show every other night with this company because everyone is so kind, funny and beyond talented, which makes the show so fun to do. I was nervous going into the rehearsal room, being the youngest in the ensemble, because I was going to be working with people up to 10 years older than me. But everyone was so welcoming, and I’ve learned a lot from all of them.”

Murad was born in Portland, Ore., but has lived in Metro Vancouver since she was 3 years old.

“My parents were both born and raised in Israel, so Israeli culture was a big part of my life growing up,” she said about her background. “My whole extended family lives in Israel, and it is extremely important to my parents to keep in contact with them, as well with the country, so they make sure we visit Israel at least once a year. I speak Hebrew fluently, which allows me to communicate with my family, as well as many people in Vancouver’s Israeli community.”

Murad went to elementary school at Vancouver Talmud Torah until Grade 6, then moved to McMath Secondary School, a late French immersion public school in Richmond. “I love learning languages, so choosing French was a no-brainer and a welcome addition to English and Hebrew,” she said.

While the family is not religious, “we observe the major holidays and traditions with various friends throughout the year,” she said. “Having gone to VTT, I have stayed very connected with the Jewish community through the friends I have from there. I’ve always felt OK with leaving VTT because I knew I could still stay connected to my roots by going to Camp Miriam, a Jewish social justice-based summer camp on Gabriola Island that has taught me a lot about different aspects of Judaism. I take pride in my Jewish identity, and I’m so happy that Vancouver has such a welcoming and inclusive community.”

Murad has been taking voice lessons and competing in local music festivals since she was 8 years old, and has been taking piano and music theory lessons since the age of 10. She has been dancing since she was 10, as well.

“I only started thinking about acting much later, so the lessons came recently,” she said. “I just finished my third year in the drama department at my school, and I’ve been taking private acting lessons for two years now. I have had the amazing opportunities and experience to perform with the Vancouver Opera in their productions of Tosca in 2013 and Hansel and Gretel in 2016.

“It’s always been hard for me to choose between classical voice and musical theatre,” she said, “so I’m very grateful for having done both opera and musical theatre performances to get a feel for each style.

“I am also so grateful to have been chosen to represent local festivals at the B.C. Performing Arts Provincial Music Festival four years in a row, where I am so honoured to have received first place in the Junior Classical Voice category, the Junior Musical Theatre category, the Junior Vocal Variety category and runner-up in the Intermediate Musical Theatre category.”

In addition to all of the performing arts activities, “when I was little, my parents also signed me up for karate at the JCC,” she added. “I just received my black belt in karate and became the first female black belt in the JCC karate club.”

She has always loved singing.

“My mom loves to tell the story of how I begged to be put into singing lessons because I thought it was so cool that your body is the instrument. I was also put into dance lessons at an early age, so I’ve been very involved in the performing arts world. But the first time I really knew I wanted to be on stage was at my first vocal competition, where I sang ‘Tomorrow’ from Annie. I was really nervous beforehand but, once I started singing, I enjoyed it so much that I didn’t want to leave the stage. I remember bowing for much longer than I should have. Once I started getting obsessed with listening to as many cast albums and different Broadway singers as I could, there was no turning back.”

Her sisters – Arielle is two-and-a-half years older and Omer is three years younger than Murad – are also very musical. “Arielle plays guitar and piano and Omer sings and plays piano, as well. We often put on shows in our house or just jam at the piano or with the guitar. They recently bought me a recording microphone for my birthday, so it’s been really fun playing around with that, as well.

“Omer also dances, so we dance together, too, whether it be at the studio or at home. Although my parents are not as theatrical as my sisters and I, they have come to appreciate the industry by either listening to musical theatre soundtracks on repeat in the car or taking us to New York to watch the actual Broadway productions.”

About the production she is in, Murad said, “Being in the ensemble of Cinderella is actually really hard work. In addition to being in all the major dance numbers, which are exhausting, we are used in all the scene transitions as well, so there isn’t a lot of time to sit in the dressing room. I have four different costumes and, though they are all gorgeous, my favourite is my ball gown. My favourite dance that we do is the ball sequence, because we get to waltz and get lifted a lot, in the beautiful ball gowns. It is also such a pleasure to sing Rodgers and Hammerstein’s music, which is so beautiful and elegant, even if we’re just oohing and ahhing!”

Having just finished Grade 10 at McMath Secondary, Murad plans on completing her high school education there. “I really want to continue my music education post-secondary and somehow keep theatre in my life,” she said.

While she doesn’t have any specific projects currently in the works, she said, “I am looking for any opportunities to be onstage. In the meantime, I will be participating in the Arts Club’s musical theatre summer intensive and continuing my training and education throughout the year.”

Encouraging JI readers to “come witness the magic in Cinderella,” Murad shared one of her favourite quotes from the show: “Impossible things are happening every day!”

Rodgers & Hammerstein’s Cinderella and 42nd Street run on alternating evenings until Aug. 18 at Stanley Park’s Malkin Bowl. For tickets ($30-$49), visit tuts.ca or call 604-631-2877.

Once will be enough

Gili Roskies and Adrian Glynn McMorran in Once at Granville Island Stage. (photo by Emily Cooper)

Walking into the Arts Club Theatre’s Granville Island Stage and seeing a bar set up on stage is usually not a big deal. But when it turns out that the bar is a working bar for theatre-goers, well, that is a nice twist.

Not only can you go up on stage to buy your drink, the cast of the play (musicians all) hang out and mingle and eventually start playing instruments as patrons stand about chatting. Then, as audience members make their way to their seats, just a few movements on stage get the set ready for the first scene.

Once is set in Dublin’s music scene and opens with the male lead, known only as “Guy” (Adrian Glynn McMorran), singing and playing guitar despondently in a bar. “Girl” (Jewish community member Gili Roskies) admires his singing and starts up a conversation about his songs. He explains that he wrote them for a girlfriend who left him and moved to New York, and now he’s giving up his music and devoting his time to working as a vacuum salesman. Girl convinces him to fix a vacuum she has and, as payment, she’ll play piano for him. They end up at a music store where the two sing the breakout hit “Falling Slowly.” Girl, a Czech immigrant, cannot afford her own piano, so the music storeowner lets her use his.

After that, Girl insinuates herself into Guy’s life. She bugs him to go after his former girlfriend and win her back with his songs, she signs him up for an open-mic night and she even makes an appointment with a banker on Guy’s behalf to get a loan to book a recording studio. (Though broke, with no collateral, Guy gets the loan by playing a song for the banker. Ahhh, if only that happened in real life.)

As to be expected, the two fall for each other, but keep things platonic, as Girl is actually married and might reconcile with her estranged husband; and, eventually, Guy sees the possibility of getting back with his girlfriend, too.

Despite the romantic settings and interactions between the two main characters, I was never fully engrossed in this play. I didn’t find the chemistry between Guy and Girl to be that captivating and I think I got somewhat annoyed by the mixed messages and constant back-and-forth of emotions demonstrated by Girl for Guy. Guy’s feelings for her were clear; Girl was all over the map.

There are also several long, convoluted stories that seem only to end in lame jokes, and some odd dance routines whose choreography I just didn’t get. In this case, as with many productions, I found the backstory more interesting.

Once is based on a 2007 Irish film in the musical drama genre. The sleeper hit was made for only $150,000 US and grossed more than $23 million US. Part of its success was no doubt due to winning audience awards at both the Sundance and Dublin film festivals, the Independent Spirit Award for best foreign film in 2007 and an Academy Award for best original song, “Falling Slowly,” in 2008. The soundtrack was nominated for a Grammy.

The musical did even better, winning eight of 11 Tony nominations on Broadway in 2012, including best musical, as well as a host of other awards for productions around the world.

“Falling Slowly” was written, composed and performed by the film’s co-stars, Glen Hansard and Markéta Irglová, specifically for the film and recorded by Hansard’s band, the Frames. Many of the other songs in the production were provided by Hansard and Irglová and gave them material to perform together in the years following the film’s release. The film’s director, John Carney, called Hansard and Irglová his Bogart and Bacall.

Unfortunately, that chemistry is nowhere to be found on stage at the Arts Club. Thankfully, their performance of “Falling Slowly” does justice to the original, and is one of the highlights of the play, as is an a cappella version of the song “Gold,” sung by the entire cast. The voices and musicianship are all of high quality and there is definitely sweetness in this play, but once was enough for me to see it.

Once runs until July 29 at the Arts Club Granville Island Stage. For tickets, visit artsclub.com.

Baila Lazarus is a Vancouver-based writer and principal media strategist at bailalazarus.com.

Housing, high-tech, musicals and more – this week in the community

Tikva welcomes residents: The Storeys Complex in Richmond. (photo from facebook.com/tikvahousing)

We are taught from an early age that giving, repairing the world and being kind are the tenets of living a Jewish life. In our community we don’t have to look very far to find people who fit this description. One of the latest projects that has come to fruition is the Diamond Residences in the Storeys complex in Richmond. Thanks to the generosity of the Diamond Foundation, Tikva Housing Society now owns 18 (chai!) units that are being rented at below-market rates to people in the community for whom stable, safe housing was unpredictable and unaffordable, at best.

Tikva Housing partnered with four nonprofit societies and the City of Richmond to build these and other apartments. Tikva worked hand in hand with community agencies such as the Jewish Family Service Agency to place tenants in need in these units, as well as with the Jewish Federation of Greater Vancouver and B.C. Housing. Most of the tenants will have moved into their units by the end of this month.

The Diamond Residences will house six singles and, of those, five are seniors. Also, 12 families and a total of 22 children will be living there. One 83-year-old woman cried when she was told she would be moving into a studio unit, as she has not had a place to live for years and was sleeping on someone’s couch. A single Israeli mother with two children is moving into a three-bedroom unit; her kids have never had their own rooms. Another single mother with three children has been sharing a two-bedroom place and has not had her own room in two years. One family has moved to Greater Vancouver from out of town and can now attend Shabbat services, be close to their family and the Jewish community. There are many more such stories.

– Courtesy of Tikva Housing Society

* * *

Simon Fraser University recognized four distinguished alumni on Sept. 13 at Four Seasons Hotel. Among them was Gary Cristall, co-creator of the Vancouver Folk Festival.

The annual awards, presented by SFU and the Alumni Association, recognize those whose accomplishments and contributions reflect the university’s mandate of engaging the world. An advocate for the arts and human rights, Cristall has been a cultural groundbreaker, having co-founded the Vancouver Folk Music Festival in 1978. In an industry plagued with an unscrupulous reputation, Cristall has been instrumental in fighting for the rights of artists to be treated professionally and with respect while also defending their rights to fair performance fees and copyright ownership.

Cristall served as acting head of the music section of the Canada Council for the Arts and was the founding president of the Public Service Alliance of Canada, the first union at the Canada Council. Today, Cristall continues to serve as a prominent mentor and educator, assisting artists in building their careers and guiding communities in enhancing dynamic cultural interactions that enrich and benefit a healthy, democratic society.

* * *

After a grueling 33 hours of programming, DragonFruit – Benjamin Segall, Jacy Mark, Viniel Kumar and Pritpal Chauhan – completed StoryTree and demonstrated it live to a panel of judges at Hack the North, an international student hackathon held at the University of Waterloo in Ontario, which this year took place Sept. 15-17.

Canada’s biggest hackathon, Hack the North was founded and is organized by Techyon, a student-run nonprofit organization, in partnership with Waterloo Engineering. The event brings together 1,000 students from top universities across 22 countries in the world. Students collaborate and create impactful new hardware projects or mobile and web applications of their own design for a weekend at the University of Waterloo, all expenses paid.

DragonFruit’s StoryTree was one of the 14 projects chosen out of the more than 250 demonstrated at Hack the North. StoryTree is an online workspace for aspiring authors to collaborate on books together. All you have to do is write a paragraph or a chapter, or even just a sentence, and, as more and more people add or branch off from a story, that story you’ve always wanted to write becomes a reality.

DragonFruit will be continuing the project and are looking for alpha testers for January 2018. If anyone is interested in being a part of this project or for more information on it, contact them via facebook.com/dragonfruitcode or dragonfruitcode.com.

* * *

photo - Swinging Sylvia rehearsals: Advah Soudack and Sky Kao create a whirlwind of action in rehearsal of the second one-act play that comprises Two Views from the Sylvia — Swinging Sylvia rehearsals: Advah Soudack and Sky Kao create a whirlwind of action in rehearsal of the second one-act play that comprises Two Views from the Sylvia. (photo by Sue Cohene)

Rehearsals have started for Two Views from the Sylvia, a new musical theatre production by Kol Halev Performance Society. This original production – which will be at Waterfront Theatre Nov. 8-12 – tells the story of the iconic Sylvia Hotel and its historic connection to the local Jewish community and the city of Vancouver.

Two Views from the Sylvia comprises two one-act plays.

The first play, Sylvia’s Hotel, is set in Vancouver in 1912. It brings to life the origin of the Sylvia Hotel, named for Sylvia Goldstein (Ablowitz) and the story of the Goldstein family who built it. Young Sylvia Goldstein and the legendary Joe Fortes, the beloved English Bay lifeguard, develop a bond that helps Sylvia realize her dreams.

In the second play, The Hotel Sylvia, the story continues as we meet the characters whose lives and loves became interwoven with the story of the Sylvia over her 100-year history. It includes vignettes revealed to the production’s researchers by Huguette, the front desk clerk who worked at the Sylvia for 35 years.

Jewish community members play key roles in both plays. In the lead roles are Advah Soudack (as Sylvia) and Adam Abrams (as Abraham Goldstein); Anna-Mae Wiesenthal and Joyce Gordon are cast in important supporting roles. Behind the scenes are Sue Cohene (producer) and Heather Martin (associate producer), as well as Gordon (assistant producer) and Abrams (graphic designer and webmaster) and Gwen Epstein (production team). Marcy Babins and Michael Schwartz collaborate in their roles at the Jewish Museum and Archives of British Columbia, which has created an historical photo display to accompany the production.

Two Views from the Sylvia is a project of Kol Halev in partnership with the B.C. Arts Council, Government of British Columbia, City of Vancouver, Granville Island Cultural Society, CMHC Granville Island and the JMABC. For information and tickets ($28), visit sylviamusical.com.

– Courtesy of Kol Halev

* * *

Bema Productions’ Victoria Fringe Festival play Horowitz and Mrs. Washington was a great success. All seven performances at Bema’s Black Box Theatre at Congregation Emanu-El were sold out and the production company’s work was once again as one of the best dramas in the Victoria Fringe.

photo - Bema Productions’ Victoria Fringe Festival play Horowitz and Mrs. Washington was a great success — Bema Productions’ Victoria Fringe Festival play Horowitz and Mrs. Washington was a great success. *(photo from Bema)*

Mrs. Washington is hired to nurse Sam Horowitz, who’s been mugged and had a stroke. She’s a determined tyrant and he’s a bigoted Jewish widower. The two must find a mutually beneficial relationship when his daughter tries to make him leave his home. The play by Henry Denker reflects the attitudes of the 1970s and illuminates the power to be found in ordinary lives.

“The electric performance of the actors enabled the audience to visit uninhibitedly the issues of racism, stroke recovery and aging in place,” reads the review “Bravo Bema!” on Emanu-El’s website.

“For the most part,” said the review, “the actors were provided with a very humorous script that relied on stereotyping but went beyond it for its punchlines. The audience was asked to stretch their imaginations – who would have considered invoking Michelangelo to explain why the naming of a grandson ‘Douglas’ instead of ‘David’ was inappropriate? There were a few moments when the pace flagged but very few.”

While the play “revealed little about the face of contemporary racism,” the “potential disempowering of aging adults by their loving offspring is an issue of contemporary concern.”

The Bema production was directed by Zelda Dean and Angela Henry and was performed by David Macpherson, Rosemary Jeffery, Christine Upright, Alf Small, Cole Deo and Graham Croft.

– Courtesy of Bema Productions

* * *

photo - Miki Mochkin teaches a class on baking challah — Miki Mochkin teaches a class on baking challah. *(photo by Shula Klinger)*

Chabad North Shore hosted a challah bake at Mia Claman’s store in West Vancouver on the night of Sept. 6. Miki Mochkin taught a class on baking challah to local women. While the bread was rising, she explained the significance of each ingredient for Jewish women. From the sweetness of the honey to the harshness of the salt, every element serves to remind the baker of its symbolic role in our lives as women and mothers.

– Courtesy of Shula Klinger

* * *

photo - Panelists at Congregation Beth Israel discuss the topic Our Leaders: Are They Above the Law? — Panelists at Congregation Beth Israel discuss the topic Our Leaders: Are They Above the Law? *(photo by Cynthia Ramsay)*

In the photo, left to right, are Congregation Beth Israel Rabbi Jonathan Infeld, King David High School head of school Russ Klein, Vancouver Catholic Diocese Archbishop Michael Miller, Vancouver Police Chief Constable Adam Palmer, B.C. Court of Appeal Justice Sunni Stromberg-Stein and MLA Andrew Wilkinson. On Saturday night, Sept. 16, at the synagogue, this panel of speakers took on the topic Our Leaders: Are They Above the Law? Infeld framed the contemporary discussion around a talmudic discussion regarding an important rabbi in a community, rumours surrounding his conduct and whether the rabbi should be excommunicated. The panelists took this starting point to talk about their own professions, present-day accountability standards and various other issues.

– Courtesy of Cynthia Ramsay

Young talent in Music Man

Meghan Gardiner as Marian and Jay Hindle as Harold Hill in The Music Man. (photo by David Cooper)

Few children know what they want to do as a career. Even fewer start on their career goals before they are 10 years old. Yet, having celebrated his bar mitzvah in May, Julian Lokash, 13, has already set a firm foundation for his future. He dreams of running a school for the arts when he is an adult, and he seems to be doing everything right so far to reach that goal.

An irrepressible talent, Julian has focused his life around performing. He has used his summer vacations for the past three years to be a cast member in various productions at Theatre Under the Stars (TUTS) in Stanley Park. Rehearsals take two months and then performances are every other night for the remaining two months of the summer. In TUTS, he has performed in Oliver, Shrek and Beauty and the Beast.

TUTS is interesting because it is performed on a stage that is only two-thirds covered, leaving the front part of the stage, the apron, exposed to the elements. “It’s really fun but when it rains, we get wet and the stage can be really slippery,” said Julian about the challenges of being in an outdoor show in Vancouver. He admitted that some nights he came home covered in mosquito bites. This doesn’t dampen his enthusiasm, however. He plans to try out again for whatever show TUTS decides to present this summer.

photo - Julian Lokash is part of the production’s cast — Julian Lokash is part of the production’s cast. *(photo by Brent Lokash)*

Although he had a big smile on his face when describing his role in Beauty and the Beast, where he played Mustard in the ensemble, Julian has played a leading role in a professional production. Last December, he starred as James in James and the Giant Peach at Carousel Theatre.

This year, Julian is once again appearing on stage in a December production, this time at Gateway Theatre in Richmond in the classic musical The Music Man.

Being part of a professional production while going to school is a significant accomplishment and shows the level of dedication Julian has to his craft. Rehearsals for The Music Man began on Nov. 6 and carried on until the show opened on Dec. 8.

“We practise six nights a week and, once we start shows, we only have Mondays off,” said Julian. There are even days in the schedule where there are both a 2 p.m. matinée and an 8 p.m. show. He is pretty much giving up his winter break for the production.

When he was in elementary school, Julian was the only one in his French immersion class who was heavily involved in theatre.

“I had friends but no one else was into what I was. Now that I’m in high school in the [Lord Byng Secondary School] arts program, it’s so much better. Everyone thinks the same way as me, has the same interests,” he said. “Half of my classes now are with kids from the arts program. Social studies, English and science are taught from an arts perspective.”

Julian’s peers are now other singers, dancers and actors, who understand the commitment he has to acting, and his teachers are sympathetic to absences he may have due to his rehearsal or performance schedule.

His dance teacher is also used to him taking off long periods from classes. “I take tap, jazz and ballet at Westside Dance. It’s just a few blocks from my house. When I’m in rehearsal, I just have to miss dance,” said Julian.

Julian occasionally has voice lessons and was recently a guest soloist for the Cantata Choir, a semi-professional choir based in Vancouver. His acting training is from Arts Umbrella and Carousel Theatre for Young People.

With such a busy schedule, Julian acknowledges he could not do it without the support of his parents. He is looking forward to his upcoming performance in The Music Man, and continuing on with the Arts Mini program at Lord Byng.

When asked what he thinks of The Music Man, Julian was enthusiastic.

“It’s a very lively musical. It’s infused with humor and the characters are well developed. They really have their own personalities. I think kids can definitely enjoy it as much as adults do.” He said that anyone who likes music and dancing will love The Music Man.

The Music Man runs until Dec. 31. For tickets, visit gatewaytheatre.com.

Michelle Dodek is a freelance writer living in Vancouver.