musicals

Joy brighter than ever

Gila Münster, left, Yan Simon and Sarah Freia bring 8 Gays of Channukah: The Musical to the Chutzpah! Festival Nov. 13. (photo by Jamie Marshalls)

At this year’s Chutzpah! Festival, which runs Nov. 12-23, Jewish drag queen entertainer Gila Münster presents the Western Canadian debut of 8 Gays of Channukah: The Musical.

Calling Chutzpah! “one of the city’s most beloved celebrations of music, theatre and culture,” Münster wrote in a recent Facebook post: “What began in Toronto as the largest annual queer Jewish event in Canada is now coming West, bringing music, comedy and unapologetic queer Jewish joy to the stage.

“And it couldn’t come at a more important time,” she adds. “As antisemitism and anti-LGBTQ backlash continue to rise across North America, spaces that celebrate and centre our communities are not just entertainment – they are acts of resilience, visibility and solidarity. This show is about more than laughter: it’s about lighting the menorah together in defiance of hate and letting our joy shine brighter than ever.”

8 Gays of Channukah takes place Nov. 13, 7:30 p.m., at the Rothstein Theatre. “Eight stories are brought to life by the show’s creators, Gila Münster, Sarah Freia and Yan Simon, who reimagine holiday traditions with camp, sparkle and pride,” reads the Chutzpah! blurb. Local artist Joylyn Secunda opens the event with an excerpt from their show, The Routine, and there is a holiday shuk (market) during intermission and after the performances. People can pick up some gifts – made by local artisans – for the holidays.

First performed in December 2019, 8 Gays of Channukah started out as a variety show, said Münster. Last year, it evolved into a full-length musical created by Münster, Freia and Simon, and directed by Hershel Blatt.

“Now, 8 Gays of Channukah: The Musical is a 90-minute theatrical extravaganza with original songs, storytelling and dazzling costumes by queer Jewish designer Dan Dwir of House of Dwir,” said Münster. “The premise is that the three of us – Yan, Sarah and I – find ourselves on stage without a plan. We decide to share our experiences as queer Jewish people, but, as tensions rise, our bickering begins to twist the message. Over the course of the show, we learn how to coexist despite our differences and discover how much we truly share.

“The stories we tell touch on everything from coming out, to losing a loved one, to first crushes – and, of course, the joys and challenges of being an intersectional minority.”

It was from one of those challenges that 8 Gays of Channukah came into existence.

“In 2019, I was an undergrad at York University, getting ready to perform a drag show for the school’s 2SLGBTQIA+ affinity club,” Münster said. “Two days before the show, I got a voicemail from the club’s coordinator saying the event was canceled and I was banned from the club. The reason? I had mentioned that I was planning to go on Birthright to Israel that summer, and some members said it made them uncomfortable.

“I wasn’t given a chance to explain why that reaction was antisemitic, or even to defend myself. It was devastating. I felt erased – like there was no room for me to be both queer and Jewish.

“But I didn’t want to give up,” she said. “I reached out to Hillel Ontario and started a campus group called Rainbow Jews, a space where queer Jewish students of all stripes could show up fully as themselves. At our very first meeting, people asked me if I could put together a holiday party for queer Jews. That’s when the idea hit me: 8 Gays of Channukah. It started as a scrappy variety show with eight local queer Jewish performers – and now, seven years later, it’s grown into a tradition I’m so proud of.”

Over the years, singers, instrumentalists, comedians, dancers, burlesque and visual artists have participated. “Some highlights include legendary performers like 78-year-old drag queen Fontaine and Jamaican-Jewish comic Tamara Shevon, alongside rising stars such as dancing diva Josie and punk rock princess Alissa Brink,” said Münster. “In recent years, the show has found a kind of ‘core cast.’ Yan Simon – a Russian-Israeli singer-songwriter now based in Ottawa – first performed with us in 2019 and has been part of every show since 2023. Sarah Freia – an actress, singer and poet splitting her time between Toronto and London [England] – also joined, in 2023, and has been with us ever since. Together, we’ve built on the variety show tradition while adding our own creative chemistry into the mix.”

With Münster in Kingston, Ont., Simon in Ottawa and Freia in Toronto and London, the building of the musical required tenacity – hours in transit for in-person rehearsals and hours more in digital meetings, including with director Blatt, who traveled back and forth from New York.

“Because the show is rooted in personal storytelling, we had to really learn how to listen to each other and trust each other’s artistic instincts,” said Münster. “We were also lucky to have amazing rehearsal assistants, Olivia Daniels and Jesse Levy, who helped us shape the movement on stage.

“When we premiered the musical in December 2024, it was both thrilling and terrifying. We’d spent a year and $25,000 developing an entirely new format with all original material and we knew our loyal audience was counting on us to deliver. Of course, there were a few inevitable hiccups, but the energy in the theatre was electric. One moment I’ll never forget was after the show, when the non-Jewish partner of a Jewish audience member told us that, for the first time, he truly understood how antisemitism feels. That conversation reminded me that every person in the audience will connect to the show in their own way – and that’s the real magic of it.”

Münster’s first drag performance was at an event organized by the Centre for Israel and Jewish Affairs for Pride. Called Jew-Paul’s Drag Race, it was hosted by drag legend Divine Darlin’, said Münster.

“I had spent weeks putting together my outfit, inspired by the Wicked Witch of the West. On the day of, it took me three hours to do my makeup, and then my friend Diana drove me to the Drink, where the show was happening. She practically had to drag me up the stairs – I was so nervous.

“The first song I ever performed in drag was Carrie Underwood’s ‘Blown Away’ – a nod to The Wizard of Oz – followed by Netta Barzilai’s ‘Toy,’ which had just won Eurovision 2018. The crowd went wild for that second number, and, in that moment, I realized there might be a space for me to bring my queer, Jewish and Israeli identities together on stage,” said Münster, who ended up winning the competition.

“From that night on, I was hooked,” she said.

Some JI readers will know Münster from her having been one of JQT Vancouver’s Hanukkah Hotties in 2022. She’s also on JQT’s Wall of Artists.

“I first connected with JQT’s founder and executive director, Carmel Tanaka, about four years ago,” explained Münster. “She found me online, and we bonded quickly over our intersectional identities.

“Looking back at the Hanukkah Hotties video … always makes me laugh,” she said, “because it takes me right back to the era of ‘Zoom drag.’ That meant getting into full glam, setting up lights and lip syncing in my living room – all to a silent, invisible audience on the other side of the screen. It was bizarre, a little lonely, and yet so wonderfully camp at the same time.”

Drag isn’t just an art form for Münster, but her business.

“It’s helped me pay my way through law school and beyond,” she said. “Having signature events that only I can deliver – especially those built around original music that doesn’t exist anywhere else – sets me apart from entertainers who focus mainly on lip syncing to existing tracks.

“Alongside 8 Gays of Channukah, another one of my signature offerings is Drag Queen Story Time. I’m proud to be the only drag performer officially approved as a vendor for the Toronto District School Board.”

Münster is also adept at cross-stitching, and sells her creations and other artwork on Etsy.

“My mom first taught me to cross-stitch when I was a kid, but I really picked it back up during the pandemic lockdowns,” she said, adding that “stitching became both a way to connect with people when we couldn’t leave our homes and a way to pass time that actually felt productive.”

Münster, Freia and Simon are excited to bring 8 Gays of Channukah: The Musical to Vancouver. “More than anything,” said Münster, “we hope the show helps build bridges between queer, Jewish and allied communities – especially in this moment of deep polarization.”

For the full Chutzpah! lineup and tickets to all the shows, go to chutzpahfestival.com or call 604-257-5145.

Drama teacher back on stage

People of a certain age will have seen the iconic 1980 comedy 9 to 5, starring Jane Fonda, Dolly Parton, Lily Tomlin and Dabney Coleman. Even more will know the eminently singable title song of the movie, written by Parton, which remains popular today, 45 years later. Those of us who enjoyed the story and like (love!) the song will be happy to know that Royal City Musical Theatre (RCMT) is presenting 9 to 5 The Musical – the score of which Parton wrote – April 25 to May 11 at New Westminster’s Massey Theatre.

“Set in 1979, 9 to 5 The Musical follows three co-workers – Violet, Doralee and Judy – as they endure their mundane and demoralizing office jobs at Consolidated Industries, under the thumb of their sexist and egotistical boss, Franklin Hart Jr.,” reads the press release for the production, which is co-directed by Valerie Easton and Chris Adams. “When the women are suddenly given the chance to turn their wildest revenge fantasies into reality, they hatch a plan to kidnap their nasty boss and step into their full potential – ultimately taking control of the company.”

Keri Smith is in Royal City Musical Theatre’s 9 to 5 The Musical, which runs April 25-May 11 at Massey Theatre. (photo from Royal City Musical Theatre)

The RCMT production stars Irene Karas Loeper as Violet, Maia Beresford as Doralee, Madeleine Suddaby as Judy and Dustin Freeland as Franklin Hart Jr. Jewish community member Keri Smith plays Margaret, a secretary in Hart’s office, who drinks a bit, and she is the understudy for Violet.

RCMT’s 9 to 5 The Musical marks a return to the stage for Smith – who trained at the American Musical and Dramatic Academy in New York City – after a long hiatus, during which time she has taught grades 1-7 at Vancouver Talmud Torah.

The Jewish Independent interviewed Smith in advance of the musical’s opening.

JI: Can you tell me a bit about your general background, how you got into education and theatre, when and why you came to Vancouver? Or did you just study in New York?

KS: After completing my studies at theatre school and spending several years working in New York, my visa expired, prompting my return to Vancouver. Upon arriving, I quickly recognized the challenges of pursuing a full-time acting career in the city. As a result, I sought a position that would allow me to continue engaging with theatre while securing a steady income. I found a role as an early childhood educator at Vancouver Talmud Torah, the elementary school I had attended as a child.

Two years into my position, when an opening for a drama instructor became available, I approached the principal and shared my theatrical background … [and] she entrusted me with the role. I quickly developed a deep passion for teaching and decided to pursue a teaching certification to further my commitment to education.

Over the past 19 years at Vancouver Talmud Torah, I’ve had the privilege of helping to establish a vibrant musical theatre program for students aged 10 to 13. I am immensely grateful to be in a position where I can combine my love for theatre with the joy of teaching every day.

JI: What role, if any, does Judaism and/or Jewish community play in your life?

KS: Judaism and the Jewish community hold a deeply cherished place in my life, shaping both my personal journey and my work as an actor and educator. In my daily life, Jewish values of compassion, justice and the importance of education are guiding principles.

In my role as an educator, I am reminded every day of the power of knowledge and the responsibility we bear in passing on these values to future generations. Judaism has a long tradition of asking questions, seeking understanding and fostering growth through learning, which resonates deeply in my approach to teaching.

As an actor, I find that storytelling in the Jewish tradition has influenced my perspective, as narratives in Judaism often revolve around struggles, resilience and the pursuit of justice – ideas that transcend time and place. Whether in a classroom or on stage, I strive to embody the deep sense of connection and responsibility that Judaism fosters, with gratitude for the wisdom that has been passed down through generations.

The Jewish community, with its strength, support and shared commitment to growth, reminds me that we are all part of something much larger than ourselves and that, together, we can bring light into the world.

JI: What attracts you to acting?

KS: What I love most about acting is the profound escape it offers – an opportunity to leave behind my own world and immerse myself fully in someone else’s reality. The process of stepping into a character’s shoes, seeing the world through their eyes, and experiencing their emotions and struggles is not just thrilling; it’s transformative. It’s an addicting experience because each new role is a journey of discovery – of understanding, empathy and expression that goes beyond my own personal experiences.

JI: What’s your favourite part of teaching?

KS: What truly deepens my love for acting is the opportunity to teach it. Teaching drama allows me to share that same transformative experience with others, especially young people. Watching students experience the same magic of stepping into a character’s shoes for the first time is incredibly rewarding. There’s something truly special about guiding them through the process of self-expression, helping them find their voice and watching them take risks on stage. Drama gives students a unique platform to explore their own identities and develop their confidence, creativity and empathy – all essential skills not just for acting, but for life.

JI: What motivated you to audition for 9 to 5 The Musical? What was that process?

KS: I felt it was the perfect time to step out of my comfort zone and challenge myself, so when I saw the opportunity, I didn’t hesitate to audition. The process was incredibly enjoyable! I was given a song and a scene to prepare, and I went in with the goal of giving it my all. Afterward, I felt confident and proud of my performance.

JI: How often do you perform, and approximately for how long have you been a performer?

KS: I first discovered my passion for performing as a Grade 7 student at VTT, where I played Hodel in Fiddler on the Roof. That role was my introduction to acting, and I’ve been hooked ever since. While I “perform” daily in my role as a teacher, engaging with my students, I haven’t had the chance to take the stage in over 10 years. This production marks my return to acting, and it feels incredible to be back!

For tickets to 9 to 5 The Musical, visit royalcitymusicaltheatre.com.

Feel-good comedy at Metro

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

As for Freedman, optimism comes a little harder.

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

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

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

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

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

Get ready to rock at TUTS

School of Rock cast members, left to right: Crosby Mark, Casey Trotter, Colin Sheen, Mya Forrest, Fumi Okochi and Thailey Roberge. Matthew Rossoff is choreographer of the production. (photo by Emily Cooper)

Matthew Rossoff has returned to Theatre Under the Stars – to choreograph his first production for TUTS, School of Rock. The musical, which alternates with Cats at the Malkin Bowl in Stanley Park, previews July 7-8 and opens July 11.

“Over a year ago, I responded to a posting seeking new creative team members to join the upcoming season and thought it would be a great way to reconnect with the TUTS community,” said Rossoff, who grew up in Richmond and performed in TUTS shows in his younger days. “I was actually on my honeymoon when I received the initial call and am thrilled it all worked out!”

Rossoff, who is a member of the Jewish community, has performed in two TUTS productions: South Pacific in 2000 and Joseph and the Amazing Technicolour Dreamcoat in 2002.

“For several reasons, both of these productions and experiences were huge influences in my career as an emerging artist,” Rossoff told the Independent. “After a long performing hiatus, South Pacific was my first musical after I graduated high school and it was a dream to perform at the Malkin Bowl. Joseph was directed and choreographed by my childhood idol, Jeff Hyslop, and this production catapulted me into my professional career as a dancer and actor, making my CAEA [Canadian Actors’ Equity Association] debut in Fiddler on the Roof at the Vancouver Playhouse later that fall.”

While earning his bachelor of arts at the University of British Columbia, majoring in theatre and minoring in English literature, Rossoff was also doing work in film and traveling across Canada performing in theatrical productions. In 2006, he followed through on his dream to move to New York. There, he performed in several shows, and made his Stratford Shakespeare Festival debut in Camelot and Jesus Christ Superstar.

“Jesus Christ Superstar gained critical acclaim and, eventually, the entire Canadian cast transferred to Broadway in March 2012,” Rossoff said. “I was fortunate to make my Broadway debut, as the dance captain and swing. Our production became a Tony Award nominee for best revival, which offered me a once-in-a-lifetime opportunity to perform on the Tony Awards!”

And to think, Rossoff’s career began in elementary school, when he saw one of his sister’s dance classes. “I was amazed,” he said, knowing it “was something I needed to do. Very much in line with the character Mike from A Chorus Line, I told my parents, ‘I can do that!’

“Tap dancing evoked a passion and spark in my soul so bright that I continued on with it all throughout elementary school,” Rossoff said. “During high school, I decided to put up my dancing shoes for a bit and tried other sports and school activities, but it was after my first show at TUTS, South Pacific in 2000, when I bought a new pair of shoes and reignited my passion for tap dancing. Luckily I did because my career took off and I’ve been so fulfilled and blessed with such amazing dance and performance opportunities.”

He got his first theatre work about the time he started tap dancing, in Grade 3. He played an orphan and one of Fagin’s boys, Mouse, in Oliver!

“My sister was in the production with me and I remember getting bit by the theatre bug,” said Rossoff. “There was a sense of community being created with the cast that I loved being a part of and, of course, the excitement of performing and dancing under the lights.”

photo - Matthew Rossoff choreographs his first production for TUTS this summer – School of Rock — Matthew Rossoff choreographs his first production for TUTS this summer – School of Rock. *(photo from Matthew Rossoff)*

After 10 years living and working in New York City, Rossoff decided to follow another impulse – “to go back to school and deepen my training as a performer, artist and educator.”

He moved to Toronto to attend York University, earning a master’s of fine arts in the school’s performance (acting) program, with a specialization in teaching.

“Those two years changed me at the core of my artistry and revealed a new sense of how I wanted to move forward in my artistic journey,” he told the Independent. “Along with my long-time dance background, my focus became voice, speech and mindfulness work. I quickly became a faculty member at several post-secondary schools and universities in Toronto – teaching voice, speech and movement at York University, Randolph College, Sheridan College, Brock University and, most recently, Toronto Metropolitan University.

“Knowing that choreography and dance were at the base of my creative foundation, I stepped onto the creative team side of the table and began my director/choreographer journey. Shortly after my time at TUTS this summer, I will be returning to Toronto and stepping into the world of Disney as a resident creative team/dance supervisor for Disney Cruise Lines.”

Rossoff’s body presence, mindfulness and yoga work are at the core of his artistic practice and choreography.

“This work stemmed from my training and perhaps lack of intersection between dance and how to connect to the breath and emotional journey as an actor and storyteller,” he said. “Dance is an extraordinary universal language of embodiment, but in musical theatre you also have to put the text onto your full voice and hold space in the body to support and reveal the emotional, physical, intellectual and imaginative journey the character moves through.

“I’m always curious how can an actor lead from the internal impulses and connections to what’s happening in the scene and put it fully into their body through external gesture and movement. To play a truthful human experience, an actor must use the breath to spark the imagination, the senses and full range of expression with their whole sense of self.”

While Rossoff puts his whole self into his work, collaboration is the cornerstone of his creative process.

“Working alongside the director and honouring their vision and design of the show, a movement esthetic and point of view is cultivated,” he explained.

“In my own pre-production work, I start with the words off the page from the playwrights, composers and lyricists: the storytelling. I’m curious, What’s the primary narrative being told and how can movement from the actors elevate and further the storytelling in a compelling and exciting way?”

For productions such as School of Rock, Rossoff said, “I listen to the music over and over again and I daydream and imagine ways to bring this … story to life. Once the show is cast and we’re in the rehearsal hall, I come prepared with an overall structure of how the choreography will unfold or, if the story seeks personalized gestures or movement, bring in exercises to draw out embodied movement from the actors. For example, School of Rock has 13 incredible young performers and their energy brings out creative ideas, movements and impulses [and] I try to hold space for them to join in on the collaborative journey. They certainly inform and bring a unique point of view through their personalized storytelling.

“Choreographing a musical is not all about big production dance numbers,” he added, “but also about sorting out the transitions and the moments in between, as they become key to the flow and momentum of the story. As the show gets closer to opening night, it becomes about the details of precision, economy and relaxation in the movement so that each actor feels at ease and ready to perform with unconscious competence and joy!”

For tickets to School of Rock and Cats, which previews July 5-6 and opens July 10, visit tuts.ca. Cats runs to Aug. 21 and School of Rock to Aug. 22. For tickets, visit tuts.ca.

The courage to be oneself

The ensemble of Theatre Under the Stars’ The Prom has energy and talent. Jewish community member Cadence Rush Quibell is third from the right. (Emily Cooper Photography)

This summer, Theatre Under the Stars (TUTS) has brought two stories of individuality and bravery to Stanley Park – The Prom, which opened July 11, and Roald Dahl’s Matilda: The Musical, which opened the following night. Both opening night shows began with a welcome chant from members of the Coast Salish people, who explained the Indigenous history of the park.

At the opening of Matilda, there was hardly an empty seat.

“My mummy says I’m a miracle,” sang the chorus of bright-eyed children as the curtains rose. It is soon revealed that the parents of the show’s heroine – gifted 5-year-old Matilda – do not share this feeling. Matilda’s mother even calls the day of her child’s birth the worst day of her life.

The story follows Matilda’s struggle to embrace her intelligence and natural courage, despite her crude, TV-obsessed parents, who constantly put her down. She begins to find her place at her school, whose motto is “children are maggots,” pushing past the frightening Miss Trunchbull and towards her personal solace of literature and imaginative storytelling.

Matilda seamlessly conveys its titular character’s frustration and joy. Notably, the set consisting of huge books is a clever signal of the constant comfort Matilda finds in books, and how storytelling is what ultimately leads her to a happy ending.

The show’s energetic ensemble executes intricate choreography and vocals with ease. The ensemble is united and contains an array of younger and older performers, which comes in handy to tell the story of “When I Grow Up.”

Siggi Kaldestad brings talent beyond her years to the role of Matilda, providing a solid and confident backbone for the entire production. Kaldestad is a triple threat, and her sweet yet dynamic performance of “Naughty” offers the proof. Paula Higgins, playing the angel-esque teacher, Miss Honey, brought lovely vocals to the character’s journey of self-confidence and connection. Another standout was Jyla Robinson playing Miss Trunchbull – her physical comedy and terrifying demeanour served well in bringing the famously nasty character to life.

While the narrative of Matilda largely centres around its main character, it truly was an ensemble production, where many supporting characters shone. This was also true for TUTS’s production of The Prom.

The Prom opens on the failing careers of four eccentric, selfish Broadway actors – Dee Dee Allen (Caitriona Murphy), Barry Glickman (Greg Armstrong-Morris), Angie Dickinson (Amanda Lourenco) and Trent Oliver (Matthew Valinho). Seeking a cause that will allow them to regain relevance, they choose to help Emma, a lesbian student in Edgewater, Ind., take her girlfriend to prom, despite the parent-teacher association having canceled prom to prevent that from happening. Emma is under scrutiny in her town of apparent homophobes – the worst being the unsuspecting mother of her girlfriend – and the crew of Broadway has-beens is determined to spread tolerance to people they view as closed-minded hicks and come out as heroes. Chaos follows, yet so do lessons of acceptance and generosity.

Murphy and Armstrong-Morris are masterful performers with powerful stage presences who ably transform their characters from self-absorbed and out-of-touch to caring and relatable. Armstrong-Morris’s “Barry is Going to Prom” reveals intriguing dimensions to the well-established spunk of his character, and Murphy’s “It’s Not About Me” is a true showstopper. The power duo is joined by Lourenco’s Angie, who is classy and entertaining to watch, as well as Valinho’s hilarious and cheeky Trent Oliver.

These eccentric personalities are well-balanced by Anna Pontin’s earnest and mature portrayal of Emma. Pontin brings a warm vocal tone and a comfortable stage presence to this emotionally complex role. Emma’s love interest, Alyssa Greene, is brought to life with an equally beautiful voice and authenticity from Brianna Clark. Whether it’s Valihno’s standing back flip in “Love Thy Neighbour,” or Murphy’s soulful belt in “The Lady is Improving,” this cast truly shines.

photo - Anna Pontin, right, plays Emma, and Brianna Clark is Emma’s love interest, Alyssa, in Theatre Under the Stars’ production of The Prom — Anna Pontin, right, plays Emma, and Brianna Clark is Emma’s love interest, Alyssa, in Theatre Under the Stars’ production of *The Prom*. *(Emily Cooper Photography)*

The Prom’s ensemble has solid energy and talent, while sometimes wavering in transitions between scenes. It was wonderful to see Jewish community member Cadence Rush Quibell among them (jewishindependent.ca/finding-their-place-in-theatre). The choreography is upbeat and sincere, especially in the show’s finale, “It’s Time to Dance.” The script is hilarious, and its message is uplifting and heartwarming; it is clear that The Prom preaches inclusion for the LGBTQ+ community and beyond, welcoming anyone who seeks the courage to be themselves – similar to the messages of Matilda.

This season of TUTS allows young, local talents to shine, featuring many children and adolescent-age performers between the two productions. They should all be commended for the dedication and professionalism that is often clear in TUTS productions.

Both Matilda and The Prom drive the classic musical theatre message that no one is alone, even when the world appears to have turned its back. While Matilda is ignored by her parents, she connects with Miss Honey; while Emma is shunned by her town and family, she is embraced by the Broadway performers.

Further, both productions inspire embracing individuality in the face of judgment or constraints, whether it be ridiculous parents or the outdated beliefs of an entire community. The message that you can control your own story is entrenched in both productions. When the students revolt against Miss Trunchbull in the glorious “Revolting Children,” it is loud-and-proud self-determination. When Emma stands up for herself, it is a more subdued demonstration, yet no less genuine. Her intimate, acoustic guitar performance of “Unruly Heart” proves equally effective in allowing its heroine to regain control over her narrative.

Don’t miss The Prom and Matilda this summer. Visit tuts.ca for showtimes and tickets.

Alisa Bressler is a fourth-year student at Queen’s University in Kingston, Ont. She is an avid reader and writer, and the online director of the arts and culture publication MUSE Magazine. Bressler is a member of the Vancouver Jewish community, and the inaugural Baila Lazarus Jewish Journalism Intern.

Finding their place in theatre

Cadence Rush Quibell has their debut at Theatre Under the Stars this summer. (photo by Veronica Bonderud / The Portrait Sessions)

Cadence Rush Quibell makes their debut with Theatre Under the Stars (TUTS) this summer in The Prom, which alternates with Matilda, until Aug. 26 at the Malkin Bowl in Stanley Park.

Growing up in Port Coquitlam, Rush Quibell was homeschooled from Grade 2 to Grade 10. As a young person, they took up musical theatre, joining a junior, amateur-level production company.

“It was the only thing to do,” they told the Independent. “It was what all the homeschool kids did at the time.”

Musical theatre felt comfortable and aligned with their strong sense of creativity. “It was totally up my alley,” they said, and it was not long until they fell in love with the art form. When they moved to a public school for grades 11 and 12, Rush Quibell upheld this passion, participating in their school’s annual productions.

Rush Quibell stopped performing after they graduated. They would regularly tell their wife Jenn how much they missed theatre but, as a wheelchair user, they felt certain that the world of theatre had no space for them. As a kid, Rush Quibell did not use a wheelchair or identify as a person with disabilities.

In the summer of 2021, Rush Quibell chanced upon a Facebook advertisement for Realwheels Theatre, which, its website explains, “creates and produces performances that deepen understanding of the disability experience. We tell stories in which disability itself is not the focus of conflict, but rather forms the landscape upon which universal issues are debated onstage.”

photo - Cadence Rush Quibell has their debut at Theatre Under the Stars this summer — Cadence Rush Quibell has their debut at Theatre Under the Stars this summer. (photo by Veronica Bonderud / The Portrait Sessions)

Rush Quibell found a call for auditions and “it felt perfect,” they recalled. They remember bursting into tears at the “possibility of theatre being possible for me again.” It was their wife Jenn who encouraged them to audition, despite some of Rush Quibell’s health concerns and the logistical challenge of commuting from their home in Langley to Vancouver, where the program was located. “She was there to remind me of who I am,” they said of Jenn.

Rush Quibell’s experience at Realwheels “opened a lot of doors,” they said, not only reminding them of their love for theatre, but giving industry exposure that would lead to subsequent projects. They said it was great to learn from the Realwheels instructors and to be surrounded by Vancouver’s local theatre community. Such access to advice from seasoned professionals, as well as a close community of fellow actors, was “invaluable,” they said.

This period of self-discovery, as Rush Quibell called it, coincided with an exploration of their religious identity. They were curious about exploring Judaism, despite being raised in a Christian household and distancing themselves from religion during adolescence. Their fascination with Judaism formed through conversations with Jewish friends and from connecting with Jewish people on social media. “I didn’t realize you could convert,” they said. “It was a feeling of, ‘I think I found it,’ and ‘this feels right.’” They said the community at Temple Sholom made them feel welcome and comfortable enough to explore Judaism. Days before our interview, Rush Quibell’s conversion became official.

During their time at Realwheels, Rush Quibell learned about a musical theatre course offered by the Arts Club. Musical Theatre 101, led by Peter Jorgenson, provided an amateur setting that allowed them to gain confidence for professional auditions. With this new foundation, when Rush Quibell came across a Facebook post about TUTS auditions for The Prom, they seized the opportunity. Jorgenson and other Arts Club instructors helped them prepare an audition song and organize sheet music.

After securing a role in the show’s ensemble, Rush Quibell faced the challenge of navigating their wheelchair use. TUTS was very accommodating, they said, renting a lift for them to get on and off stage – which was, admittedly, “a little terrifying” to navigate at first.

TUTS continues to remain dedicated to improving accessibility, said Rush Quibell, noting that they are not the first disabled performer at TUTS, just the first wheelchair user. “It’s difficult being the first at anything, but it is also super-rewarding,” they acknowledged.

“This is a really neat experience,” they said, highlighting the importance of authentic and diverse representation on stage.

Reflecting on their own theatre journey, Rush Quibell shared, “If I went to a show and saw a wheelchair user on stage, perhaps I would have gone into theatre sooner.” They are hopeful that their work on The Prom can set a precedent for future disabled actors who aspire to join TUTS, or the theatre in general. “We’re showing the audience and everyone I’m working with that this is a totally viable and normal thing to do,” they said.

Authenticity and acceptance are core messages of The Prom. The production follows four Broadway stars who travel to small-town Indiana to support a local student, Emma, in challenging the rules and expectations of her community so she can take her girlfriend to the prom. Rush Quibell highlighted that, while the show explicitly addresses LGBTQ+ inclusion, its themes extend to anyone seeking meaningful representation and inclusion. “We are talking about literally everyone, not just gay and straight,” they said.

Participating in TUTS has been a great experience for Rush Quibell, and they were looking forward to opening night when the Independent interviewed them.

The cast has been kind and supportive, frequently sharing information on upcoming theatre projects and auditions, said Rush Quibell, adding that The Prom’s story resonates with many of their castmates.

Rush Quibell’s role in the show’s ensemble has been “a blast” – they get to balance singing, dancing and acting, doing so with energy and enthusiasm. In this show’s ensemble, “you do everything,” they said.

Our interview ended with Rush Quibell saying The Prom promises to be a heartwarming, comedic and vibrant production a story well worth sharing in 2023.

For tickets to the show, and to Matilda, visit tuts.ca.

KDHS hits all the right notes

Rachel Gerber, playing Donna Sheridan, performing “Money, Money, Money” in King David High School’s production of Mamma Mia! (photo from KDHS)

High school theatre programs have the power to unite a student body. At King David High School, community values are inseparable from the student experience, and their recent production of Mamma Mia! May 3-4 was a captivating demonstration of exactly that.

Mamma Mia! follows a young bride’s search for her birth father, leading her to invite three of her mother’s former lovers to her wedding. It is a tale of love, friendship and family, told through the beloved hits of the iconic ABBA. I was lucky enough to see the King David High School production of the show on its sold-out closing night May 4. The audience was brought to its feet by the final song, “Waterloo.”

Staging a musical such as Mamma Mia! requires teamwork and camaraderie. The show largely relies on its ensemble and King David’s ensemble and principal actors seamlessly collaborated in their singing, dancing and acting. Several of the actors agreed that the most meaningful part of the process was the cast coming together over the course of rehearsals and the performances.

The cast featured students from grades 8 to 12. The on-stage band, led by Johnny Seguin, was professional and impressive, providing a soulful and steady backbone for the actors. With an electric musical score, a heart-warming plot and countless laughs, any theatre’s take on Mamma Mia! is sure to delight its audience, and this production was no exception.

The graduating seniors of King David claimed the stage in roles that showcased their respective talents. The curtains rose as Kailey Bressler, playing Sophie Sheridan, enchanted the audience with an angelic rendition of “I Have a Dream.” Bressler – who, full disclosure, is my sister – portrayed Sophie with a balance of sweetness and confidence, accompanied by her breathtaking voice. While I did not see Mhairi Hemingson’s portrayal of Sophie the day before, she earned herself rave reviews – I heard she gave a genuine and graceful performance.

The introduction of Sophie’s mother, Donna Sheridan, and the Dynamos sent laughter and excitement throughout the audience. Nikki Wiseman brought energy and humour to the character of Rosie, skilfully counterbalanced by Kiera Katz’s poised and classy portrayal of Tanya. Both Wiseman and Katz said that a memorable part of the rehearsal period was developing the dynamic between their characters, and their efforts paid off, eliciting roaring laughter with each interaction. Completing the trio was Rachel Gerber’s portrayal of the matriarch, Donna. Gerber’s performance emanated confidence, energy and depth, bringing some to tears with her rendition of “The Winner Takes It All.”

The leading male characters of the show – Sophie’s three possible dads – also delivered heartfelt and vibrant performances. Shai Rubin’s Sam was dignified and upbeat. Ori Haber, who played Harry, shared that his favourite part of rehearsals was crafting the intricate interactions among the dads, who happen to be his real-life best friends. The actors’ friendship translated on stage, especially with the masterful comedic timing of Yair Cohen, playing Bill. Another standout was Jesse Millman’s exuberant stage presence as Sophie’s fiancé, Sky.

As King David prepares to send off its graduating class, Mamma Mia! proved to be the ideal narrative for its seniors. The story captures the journey of navigating unique paths while having the comfort of community to fall back on. It is about growing up and self-acceptance in an ever-changing world. Gerber and Bressler’s rendition of “Slipping Through My Fingers” perfectly captured the emotional core of the story – it was an emotional moment for the families of the graduating class, as well.

With their talent and joy, this remarkable cast and crew made Mamma Mia! a pleasure to watch, and a beautiful testament to the strength of King David’s community.

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.