performing arts

Bard’s varied play mix

Bard on the Beach’s production of Shakespeare’s Merry Wives of Windsor is an adaptation set at a recreation centre in a Vancouver suburb, where the women’s soccer team has just won the local championship. (photo by Emily Cooper)

World Cup Fever hit Vancouver this summer and Bard on the Beach was not immune as it launched its 37th season with a soccer-inspired version of the Shakespearean comedy Merry Wives of Windsor, which runs in repertory on the Mainstage until mid-September with a dark and dystopian Macbeth.

Merry Wives has been dubbed Shakespeare-Lite and for good reason. It is more of a chaotic farce than a dramatic piece. And Bruce Horak and director Rebecca Northan have taken the chaos one step further in what can only be described as major surgery on the original, setting the play at a recreation centre in a modern-day Vancouver suburb, where the women’s soccer team has just won the local championship. Younger audience members will appreciate the references to influencers, followers, TikTok and Twitter that pervade the script along with some X-rated cheeky moments, while purists may be appalled.

Receptionist Miss Quickly (Stephanie Davis) keeps tight control over the comings and goings of the patrons from behind her centre-stage reception desk and sings up a storm. There’s a yoga class, an art class with a thong-wearing male model, steamy sauna scenes and locker room hijinks.

Washed-up soccer veteran Falstaff (Ashley Wright) has come to town to woo two wealthy suburban housewives – Mrs. Page (Jennifer Lines) and Mrs. Ford (Melissa Oei) – to improve his dismal financial fortunes. However, he sends them both the exact same love letter and the ladies, upon comparing notes and discovering his agenda, set out to extract their revenge on the portly rogue and to teach their husbands a lesson for not trusting their fidelity.

To that end, Craig Erickson is sublime as the cuckolded (or so he thinks) Mr. Ford – although methinks that he doth protest too much. Wright, in his velour tracksuit, plays his part with aplomb (this is his third time in the role at Bard) and you almost feel sorry for him as he suffers the indignity of being hidden in a laundry basket, followed by an unceremonious dumping into muddy False Creek. Lines and Oei are fantastic as the scheming housewives. The entire cast exudes tremendous energy.

Interwoven with the main event is the subplot of Mr. and Mrs. Pages’ efforts to find a husband for their daughter and captain of the women’s soccer team Ann (Rachel Angco). Ann likes Fenton (Cameron Grant), the men’s team captain, but her mother wants a doctor. In this case, chiropractor Dr. Caius (Raf Rogers) – cue the chiropractor jokes … are they really doctors? Meanwhile, Mr. Page (Munish Sharma) wants local influencer Slender (Sara Vickruck) to be his son-in-law. Thus begins the war of the suitors.

Set designer Amir Ofek, who is a member of the Jewish community, has gone to great lengths to provide a soccer environment on a simple set with pentagonal-shaped-tile floors and some furniture, along with the obligatory soccer net and scoreboard. Costumer Barbara Clayden gets the suburbia chic right and sound designer Steven Charles has put together a great play list.

On the opposite end of the spectrum is Macbeth, one of Shakespeare’s masterpieces. Director Steven Drover’s vision of a post-cataclysmic not-too-distant future, with a clash of power, corruption and politics, resonates in today’s world.

In this version, the pot-stirring witches are replaced by three eerie zombie-like, masked creatures with distorted electronic voices providing a futuristic veneer.

photo - Munish Sharma as the title character offers a toast in Macbeth — Munish Sharma as the title character offers a toast in Macbeth. (photo by Emily Cooper)

Munish Sharma is superb in the eponymous role as the conflicted warrior-to-be-king. The production opens with his successful return, armed with the spoils of his triumphs.

Tess Degenstein is an ambitious Lady Macbeth who manipulates her husband into killing King Duncan (Anthony Santiago) so that he can reign over Scotland. Macbeth agonizes over whether to carry out the plot, while his wife laments the fact that, as a woman, she cannot do the killing herself. Once the bloody deed is done, her “out damn spot” soliloquy portends her descent into madness and ultimate death.

Macbeth continues on his murderous path, arranging for the death of his friend Banquo (Sebastian Kroon) and the family of his rival, Macduff (Jacob Leonard). Haunted by Banquo’s ghost, Macbeth becomes paranoid and he, too, descends into madness culminating in a duel with Macduff.

Stephanie Davis provides the only levity in the production as the Porter with her “knock-knock” jokes, as she breaks the fourth wall to tease the audience. Her versatility comes through in her alternate role as a poignant Lady Macduff.

Ofek also designed this set – a bunker that was inspired, as he states in the program notes, by “images of tiled, medicinal-like slaughterhouses, abandoned indoor swimming pools and public shower rooms to create a spotless, underground tiled maze as cleanliness-obsessed Lady Macbeth’s domain.” Juxtapose this with the elevated mezzanine of the set, which exudes a dark, toxic outside-world vibe.

Alaia Hamer’s costumes reflect this juxtaposition, with the below-ground Macbeth household clad in simple white garb (the antithesis of the Macbeths’ aspirations) and the struggling others dressed in camouflage. Mary Jane Coomber’s spooky music provides a powerful soundscape. The fight scenes are fast-paced and energetic – kudos to fight director Jonathan Hawley Purvis for his choreography.

In the smaller Douglas Campbell Theatre, Bard is presenting Antigone and Goblin: Oedipus, adaptations of two plays written by Sophocles more than 2,000 years ago.

In Antigone, a masked Greek chorus sets the scene for the poignant story of a dysfunctional royal family and a sister’s fight to ensure that her dead brother has a proper burial – a struggle between moral courage and allegiance to the state. Yoshie Bancroft plays the eponymous lead and is simply stunning. Jennifer Lines as matriarch Jocasta, Kate Besworth (who adapted the play) as younger sister Ismene, Paul Moniz de Sá as King Creon (the uncle) and Cameron Grant as Haimon (the cousin and dead brother Polynices) find the right balance for each of their characters. The visuals are a feast for the eyes, from the stark white pillars and sand-coloured floor mosaic of the set to the draping earth-toned costumes, all suffused with John Webber’s evocative lighting. Greek tragedies are rarely performed in Vancouver so seize this opportunity to see this excellent production.

In contrast, Goblin: Oedipus is for audiences of 18 and older, as it is a treatise on patricide, incest, self-harm and suicide presented by three goblin-like characters (Moog, Wug and Kragva, playing multiple roles) who, at the beginning of the play, enlist 12 audience members to play the half-masked Greek chorus to tell the story of Oedipus and his descent into hell. There is slapstick, mayhem and bedlam in this interactive version of absurdist theatre and it all ends with the audience being invited to the stage for a dance party. Warning: coarse and suggestive language, not suitable for all.

For tickets to any of these productions, go to bardonthebeach.org or call 604-739-0559.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Chutzpah! needs your help

Chutzpah! Festival acting managing director Jessica Gutteridge. (photo by Tallulah Photography)

After nearly 25 years at the forefront of Jewish arts and culture in Western Canada, Vancouver’s international performing arts festival, Chutzpah!, faces an urgent financial crisis. And it needs your help to keep the stage lights on.

Shifting priorities in government arts funding, as well as the impacts of Oct. 7 and the war in Gaza, have created a perfect storm resulting in a dramatic drop in revenue.

How did this happen?

Chutzpah! depends significantly on government grants. Presently, the stagnant pool of arts funding, alongside a growing number of applications, means fierce competition for fewer dollars. In addition, Jewish arts programming officially falls outside of funders’ “designated priority groups.” Funders have told the festival that, this year, only 15-20% of proposals will be approved, and Chutzpah! has already been declined for several grants that it has received historically.

“The arts community, generally, is facing difficulties with sustainable government arts funding, as the funding pool has returned to pre-pandemic levels with more applicants seeking funding,” explained artistic managing director Jessica Gutteridge. “But there are compounded challenges that Jewish performing arts and artists are facing, especially as tensions escalate locally in response to the war in Israel. Jewish organizations and events require additional security and access to funding is hampered by the fact that Jewish artists are excluded from funding priority categories, due to a misunderstanding that Jews are a marginalized ethnocultural group, and not solely a religious group.”

Adding to the financial challenges, Chutzpah! opened last year within weeks of the Hamas attacks and war in Gaza, within an atmosphere of rising anti-Jewish hate that has been felt both globally and locally. Despite the festival’s efforts to ensure the safety of performers, audience and staff, ticket sales suffered dramatically. With Jewish arts organizations and events in Vancouver, across Canada and elsewhere targeted with petitions and protests, the erasure of Jewish language, art and culture is, once again, a real threat. As a community, we cannot allow this to happen.

This is why Chutzpah! urgently needs support. The challenges the festival faces are serious, but not insurmountable, and organizers are taking several steps to try and secure its future.

Chutzpah! is speaking with new philanthropic foundations, exploring capacity-building needs in the short- and long-term. Increasing its capacity would give the organization more resources to diversify and grow revenue through grants, audience development plans, sponsorships, private donations, and more.

As well, the festival has established a circle of advisors – a few community members who are passionate about the arts, the Jewish community and Chutzpah! With their help, the festival hopes to strengthen its base of individual donors and identify prospective program sponsors and partners.

Chutzpah! is also reaching out directly to its community of patrons and supporters to share the challenges it is facing and ask for support.

“We’ve been so heartened by the response to our campaign to date. We’ve nearly reached 50% of our goal,” said Gutteridge.

The goal is to raise $60,000 by May 31. There are five ways people can help:

1. Contribute to the campaign. You can donate online directly and securely through CanadaHelps (or by cheque to Vancouver West Side Theatre Society).

2. Help Chutzpah! grow its network of support by sharing information about the situation with like-minded friends/colleagues. Add a brief note explaining why you support the festival and ask them if they might consider doing the same.

3. If you or your contacts donate before May 31, campaign co-chair Emet Davis will match all gifts, up to a maximum of $10,000.

4. Increase your own impact by offering a formal or informal matching gift challenge within your personal or professional networks. Simply direct friends and colleagues to the festival’s donations page, confirm gifts, then issue your matching gift. Let the festival know if you do this.

5. Be a sponsor. Sponsorships subsidize production and associated costs for festival performances. There is a range of giving levels, recognition and other benefits.

“With rising costs for artists, staff and production expenses, all needed to bring the high-quality work that Chutzpah! audiences are accustomed to, we are looking to gather a small but mighty group of philanthropists and arts lovers to support us – producer-level supporters,” said Gutteridge. “This group will help offset the challenges we’re facing with limited government arts funding and rising costs, by financing specific content for the festival and joining us to share those programs with their networks. We can match their artistic interests to our programming – for example, help produce a series of Israeli artists, or step up to support an evening of klezmer music.”

“Until several years ago, I only attended Chutzpah! occasionally,” said Davis. “To be honest, I think I took for granted that it was a permanent fixture in our community. But, when I made a decision a few years ago to engage more meaningfully in Jewish community, the festival became part of my journey – it has deepened my knowledge and my sense of pride in my identity. Chutzpah! is about something much more than entertainment – it’s about the preservation and celebration of our language, art and culture. Now more than ever, I’m reminded we can’t take that for granted.”

Donate via chutzpahfestival.com or save Chutzpah! the processing fees and give by cheque to Vancouver West Side Theatre Society, mailed to 950 West 41st Ave., Vancouver, BC, V5Z 2N7.

– Courtesy Chutzpah! Festival

Stand Up celebrates 20th

Stand Up for Mental Health founder David Granirer. (photo from smhcomedysociety.org)

Stand Up for Mental Health (SMH), a program started in Vancouver that teaches stand-up comedy to people with mental health issues as a form of therapy and to destigmatize mental illness, celebrated its 20th anniversary this spring.

“It feels like such an accomplishment. Helping so many people has been the highlight of my life,” said David Granirer, the founder of SMH. “One thing I am really good at is making other people into stars, and I feel like I have done that a lot. Over the past 20 years, I have trained about 700 comics. So, that’s a lot of stars.

“I had no idea what I was doing when I started out, so I had no expectations about the program being successful or not. I could never have imagined this,” he said.

Granirer, a counselor by profession, as well as a stand-up comic, told the Independent that the two-decade journey has been unforgettable. “Everything stands out,” he said. “Every show, every comic I have ever trained, every laugh we have gotten.”

When considering some of the more memorable bits over the years, he recalled writing a mental health version of the Beatles song “While My Guitar Gently Weeps.” In Granirer’s rendition, the guitar has dizziness, dry mouth and is too depressed to get out of bed.

Granirer, who is open about his own struggles with mental illness, has trained groups in more than 50 cities, in Canada, the United States and Australia, in partnership with various mental health organizations. He plans to continue the program and run it in more cities in the coming years.

The idea for SMH originated from a course Granirer has been teaching at Langara College since 1998 called Stand-Up Comedy Clinic. Occasionally, he would see people have life-changing experiences by getting on stage and using comedy to tell a club full of people who they were.

“One woman had a fear of flying and told me that the day after our event she had to get on a plane and she said, ‘My fear was gone. I felt like once I’d done stand-up I could do anything,’” Granirer said. “And I thought, wouldn’t it be amazing to be able to give this experience to people who wanted to do comedy but who also wanted to change their lives? And since I work in mental health and I also have a mental illness, I thought that would be the perfect place to start.”

For Filomena Black, a graduate of the course, SMH has been a lifeline. An introvert by nature, she said she has been able to be more comfortable around people.

“I’ve lost my self-conscious focus and become more engaged in enjoying other people’s company. I’m now looking forward to successfully meeting challenges in all aspects of my life rather than avoiding them,” Black said.

Asked to tell one of the jokes in her repertoire, Black responded, “I used to run away from home a lot, but my kids always found me.”

Another SMH graduate, April Soon, also speaks highly of the program, lauding Granirer for shining a light on what people with mental health issues can do and not letting finances be a barrier to participation.

Soon, a veteran of public speaking through Toastmasters, did not find standing up before a crowd as intimidating as others might have and, these days, she not only performs at SMH gigs but at other venues around Vancouver.

“When bad things happen to me now, I wonder how I can use it as material,” said Soon. “SMH has helped reframe my thinking and provided good resilience training.”

On a lighter note, she added, “Being involved with SMH has exposed me to many other mental illnesses I want to try out.”

Kevin Scow similarly expresses his gratitude, saying the program has given him his voice and was vital to his recovery.

“This came to me at exactly the right time,” he said. “Instead of seeming strange … now they know I am strange … and they love me all the more for it. Thanks to David and my fellow alumni for nurturing my voice and helping with making it funny. My First Nations side says thanks.”

image - SMH’s 20th anniversary was recognized last month with a proclamation from the Province of British Columbia declaring April 13 as Stand-Up for Mental Health Day — SMH’s 20th anniversary was recognized last month with a proclamation from the Province of British Columbia declaring April 13 as Stand-Up for Mental Health Day.

SMH’s 20th anniversary was recognized last month with a proclamation from the Province of British Columbia declaring April 13 as Stand-Up for Mental Health Day. The proclamation reads, in part, that SMH provides a program for thousands of people “to improve their lives and combat the stigma surrounding mental health and … is an opportunity to raise awareness of and show support for people managing mental health issues or illnesses.”

Since 2004, Granirer and his comics have performed more than 500 shows for mental health organizations, government departments, corporations, universities, correctional facilities and the military. Granirer also gives “laughter in the workplace presentations” to organizations across North America, helping them use humour to lower stress, improve wellness and cope with change. Granirer, too, is the author of The Happy Neurotic: How Fear and Angst Can Lead to Happiness and Success.

SMH’s classes in Vancouver last for six months and students step on stage for two shows, a debut and a graduating performance. As Granirer says, “The comics go from knowing nothing about stand-up to killing it.”

Stand Up for Mental Health is currently recruiting for its next class, which starts July 30. For more information, visit smhcomedysociety.org.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

The Moaning Yoni returns

In this scene from their solo physical comedy The Moaning Yoni, Joylyn Secunda is playing the vulva character, Yoni, who is based on the archetype of the Jewish mother (inspired by their own grandmother) – Yoni is strangling the Disembodied Voice of the Patriarchy with a tampon string. (photo by Eric Zennstrom)

Joylyn Secunda is an actor, dancer and puppeteer. In The Moaning Yoni, Secunda brings to life more than a dozen characters to tell the story of a young college student named Zoë who is just trying to fit in, until one day she applies an elixir, and her vulva starts to talk. From Tinder to Tantra, The Moaning Yoni explores the intersection of gender, sexuality and spirituality.

Secunda has performed The Moaning Yoni some 50 times in cities across Canada. Other recent credits include Scrooge in A Wonderheads Christmas Carol (the Wonderheads), Zephyr in Crisis on Planet Z (Monster Theatre), Seek in Pop Pop (Presentation House) and puppeteer in The Breathing Hole (National Arts Centre).

The Moaning Yoni contains mature language and sexual themes. The Feb. 3, 7:30 p.m., show at the NEST on Granville Island will be hosted by drag artist Continental Breakfast. Tickets are $25 and can be purchased from eventbrite.com.

Uprising observed

The Vancouver Holocaust Education Centre and the Jewish Community Centre of Greater Vancouver were among 125 partners presenting a global commemoration of the 77th anniversary of the Warsaw Ghetto Uprising recently.

Beginning and ending with stirring renditions of the “Partisans’ Hymn,” the online event, which also commemorated the end of the Second World War 75 years ago, featured a long list of singers and performers from Hollywood, Broadway and elsewhere, including Dr. Ruth Westheimer, Mayim Bialik, Whoopi Goldberg, Adrien Brody, Lauren Ambrose and dozens more.

We Are Here: A Celebration of Resilience, Resistance and Hope, which took place June 14, was produced by the Museum of Jewish Heritage: A Living Memorial to the Holocaust, Sing for Hope, the National Yiddish Theatre Folksbiene and the Lang Lang International Music Foundation.

“Zog Nit Keyn Mol” (“Never Say”) is generally called “The Partisans’ Song” or “The Partisans’ Hymn” in English and is an anthem of resilience amid catastrophe sung at Holocaust commemorative events. Written in the Vilna Ghetto by Hirsh Glik after he learned of the six-week uprising by Jews in the Warsaw Ghetto, its stirring concluding lines translate as, “So never say you now go on your last way / Though darkened skies may now conceal the blue of day / Because the hour for which we’ve hungered is so near / Beneath our feet the earth shall thunder, ‘We are here!’”

Other musical performances included a Yiddish rendition of Leonard Cohen’s “Hallelujah,” adapted and performed by pianist and singer Daniel Kahn; “Over the Rainbow,” from the 1939 film The Wizard of Oz, composed by Harold Arlen with lyrics by Yip Harburg, two friends from the Lower Eastside of Manhattan, against the spectre of a darkening Europe; and “Es Brent” (“In Flames”), a musical cri de coeur written in 1936 by Mordechai Gebirtig after what he viewed as the world’s indifference to a pogrom in the Polish town of Przycik.

Andrew Cuomo, governor of the state of New York, spoke of his father, the late former New York governor Mario Cuomo, who helped ensure the creation of the Museum of Jewish Heritage, the world’s third-largest Holocaust museum.

One of the other presenting partners, the National Yiddish Theatre Folksbiene, is the longest continuously producing Yiddish theatre company in the world, now in its 105th season. It was founded to entertain and enlighten the three million Jews who arrived in New York City between 1880 and 1920.

Sing for Hope, another partner, believes in the power of the arts to create a better world. Its mission is to “bring hope, healing and connection to millions of people worldwide in hospitals, schools, refugee camps and transit hubs.”

The Lang Lang International Music Foundation aims “to educate, inspire and motivate the next generation of classical music lovers and performers and to encourage music performance at all levels as a means of social development for youth, building self-confidence and a drive for excellence.”

The program, which runs approximately 90 minutes, is available for viewing at wearehere.live.

Mary-Louise Albert: Bidding adieu to Chutzpah!

Mary-Louise Albert was not only a dancer in the first-ever Chutzpah! Festival, but its poster model (see image below).

As the 19th annual Chutzpah! Festival approaches, ready to embrace its new season – no longer a spring festival but a fall one – it will have to loosen its embrace on its artistic managing director, Mary-Louise Albert. After 15 years heading Chutzpah!, this is her last. Albert is moving on to the next part of her creative and personal journey, and the Jewish Independent spoke to her about the festival, its legacy and what might lie ahead for her.

JI: What do you think the main impact of the Chutzpah! Festival has been for the Jewish and general communities and the relationship between the two?

MA: Presenting and facilitating the growth of professional performing arts is an exciting and multi-layered approach to uniting communities. I am very proud that we have brought the festival to a point of national and international recognition, as well as being one of the flagship Jewish festivals in North America.

Through the insistence of high standards and by supporting new work, the festival has increased an understanding and appreciation of programming that embraces an eclectic range that is Jewish arts and culture, in particular from a Canadian perspective. Expanding on this programming, Jewish and non-Jewish artists share our stages, increasing our ability to bring many Canadian and North American premières to Lower Mainland audiences. Seeing, over the past 15 years, audiences from all walks of life and backgrounds embracing the festival is particularly rewarding.

JI: Have you accomplished what you set out to do when you took over the festival 15 years ago?

MA: Yes, which feels very satisfying to be able to say. I wanted the festival to not only survive but thrive in a very competitive local and national performing arts scene, which is tricky given a cultural umbrella. This meant attaining an international standard – not just a couple of high-profile shows, but across the board. It also meant the dance and music programming had to expand, which has in particular allowed for funding opportunities and artist growth.

An area I’m very proud of is connecting urban and rural communities through creation residencies. Many B.C.-based Chutzpah! artists have had creation residencies in both the North Island region and in the Norman and Annette Rothstein Theatre, resulting in world premières, with these productions going on to tour nationally and internationally. For example, this year, Geoff Berner, T.J. Dawe, Toby Berner, Tallulah Winkelman and Jack Garten will be Chutzpah! artists-in-residence for a week in Sointula, Malcolm Island, where they will perform as well. Chutzpah! will be sending UNA dance company from New York City to perform in Sointula, Port McNeil and in Alert Bay with the N’amgis nation directly before their Vancouver performances, which is a rare and meaningful opportunity for all involved. Sharing artistic wealth with underserved regions of B.C. is and has been an important aspect of the festival for the past few years. It is also in keeping with the times.

image - Chutzpah! 2001 poster featuring Mary-Louise Albert — Chutzpah! 2001 poster featuring Mary-Louise Albert.

JI: In a couple of interviews I’ve read, you speak about how your training and working as a dancer was helpful to you in running Chutzpah! Could you speak a bit to that?

MA: I was trained in ballet and contemporary, danced professionally for 20 years and, within this time period, became a mother of two children. I was 45 when I stopped performing and, through support from the Dancers Transition Resource Centre, embarked on a new adventure of being the oldest “kid” in the class for a few years at Capilano U and BCIT’s Business School.

I was then hired by Gerry Zipursky [then-executive director of the Jewish Community Centre of Greater Vancouver, which is home to the Rothstein Theatre] and an inquisitive hiring committee (who I will always be grateful to) … and embarked on this job where I needed to come in running and move things forward. All this took stamina, tunnel vision, a somewhat sharp brain (and elbows), nerviness, flexibility and passion – things that a combination of dance training and a professional dance career prepares you for.

JI: In relation to Chutzpah!, what are one or two of your “I’m most proud of” moments?

MA: There are so many that I am proud of, but I would have to say the festival has been a trailblazer in presenting Israeli artists – and often in their first Canadian or North American appearances. Artists such as the Idan Raichel Project, Kibbutz Contemporary Dance Company, Batsheva Dance Company, Balkan Beat Box, Yemen Blues, Idan Sharabi, Roy Assaf, Avishai Cohen Quartet, Itamar Borochov Quartet, Dudu Tassa, Diwan Saz, Maria Kong, Baladino, Victoria Hana, David Broza and Mira Awad, A-WA and many more. And continuing this year with AvevA, Yemen Blues, Guy Mintus Trio, and Rami Kleinstein.

As well, I’m very proud of the growth of the dance and music programming and how this growth has affected positively and in a multi-faceted way the artistic development of many artists.

JI: What’s next for you?

MA: I live in both Burnaby and in Sointula on Malcolm Island. Development of contemporary dance, rural B.C. and social causes are beckoning. At 64, I still have a bit of “oomph” left to pursue.

JI: If there is anything else you’d like to add, please do.

MA: I’m honoured and thankful to have worked with so many excellent professional colleagues in the arts world and at the JCC in accomplishing the festival’s achievements, as well as working with some wonderful volunteers. However, there are two volunteers in particular who I want to give a special thank you to. People with integrity and grace who have stuck by me and the festival from the very beginning – Harriet Wolfe and Lloyd Baron.”

Juvenile arthritis awareness

Kids on the Block uses a puppet show to teach kids about juvenile arthritis. (photo from Cassie and Friends)

Juvenile arthritis (JA) affects three in 1,000 kids in Canada, making it one of the most common chronic conditions affecting children today. Yet, JA is still relatively unknown and often misunderstood.

According to Jennifer Wilson, executive director of Cassie and Friends Society for Children with Juvenile Arthritis and other Rheumatic Diseases, “Arthritis has been mislabeled as ‘an old person’s disease,’ leaving kids who suffer from JA misunderstood for their differences and the disease’s complications.”

In 2006, David Porte and Debbie Setton discovered that their then-20-month-old daughter Cassie had JA.

“When Cassie was not quite 2 years old, she woke up one morning and couldn’t walk,” recalled her mom, Debbie. “I took her to the children’s hospital and, after X-rays, blood work and several visits by specialists over the next few weeks, we received the diagnosis of JA, a painful, lifelong autoimmune condition.

“Despite being a physician, I remember feeling very scared and alone, especially as Cassie’s disease progressed to involve more and more joints. Both David and I struggled to find information and support to cope with Cassie’s condition.

“About six months after Cassie was diagnosed,” she said, “David entered the Scotiabank Charity Challenge Run. We were overwhelmed with the support we received from family and friends, raising over $18,000 in a few weeks. We decided to do something long-lasting and create a charity that would help other kids and families like us.”

Debbie and David named the Vancouver-based charity Cassie and Friends, and it has been working to transform the lives of kids and families affected by JA and other rheumatic diseases locally and across Canada.

“Cassie’s disease has followed a pretty typical course of flares and remissions,” said Debbie. “At her worst, she had 16 joints affected (knee, ankles, toes, wrists, fingers). During the flares, she was unable to do the things she loves, like dance. In fact, at times, she found it hard just to walk or hold a pen. Thankfully, she is in a remission phase right now, on two different injectable medications to control the inflammation.”

According to Debbie, Cassie sometimes gets sad or frustrated because of her arthritis or its treatment. But, for the most part, Cassie is exceptionally positive and does not let her arthritis stop her. Further, Cassie’s condition has had an impact on her older brother, Ben, making him a more empathetic person after observing his sister’s struggles, said his mom.

“In the beginning, it was difficult for David and me, not knowing anyone else with a child with JA,” said Debbie. “But, now we feel like we have a whole community around us to share in the ups and downs of Cassie’s disease.”

To help kids learn about JA and other rheumatic diseases, David and Debbie created Kids on the Block (KOB) in 2009. And the KOB puppet show has been traveling, mainly around Metro Vancouver, to raise awareness about childhood arthritis, and to educate students and teachers about the issues these children face.

“The life-sized puppets – decked out in Cassie’s toddler clothes – act like real children,” said Debbie. “They help students understand what it’s like to live with JA and their skits illustrate some of the challenges a classmate with JA (or really any disease or challenge) might be facing: pain, isolation, depression and mobility challenges. Students have the chance to ask the puppets questions at the end of the performance. The puppets also help children feel positive about themselves, accepting individual differences and learning valuable personal skills.”

photo - Kids on the Block was at Vancouver Talmud Torah on Jan. 24 — Kids on the Block was at Vancouver Talmud Torah on Jan. 24. *(photo from Cassie and Friends)*

The first-ever performance of KOB was at Vancouver Talmud Torah, when Cassie was in kindergarten. With Cassie about to graduate from the school, the show was brought back for another performance earlier this year. Cassie suggested it would be more special and have a greater impact if she were to introduce the program with her own story. At the show, there were two other children in the audience with either JA or another rheumatic condition.

“It was my suggestion to bring Kids on the Block back to VTT on Jan. 24, 2018, for the younger kids, including my Grade 1 buddy,” said Cassie. “It was fun to introduce the puppet show to the kids. They all know me and I could explain it to them in an easier way, because I am a kid and they are, too.

“I also really enjoyed watching the show again, because I didn’t remember it from kindergarten. After I had done the introduction, I also got many compliments on it because it was in the weekly email.” (Cassie’s presentation can be seen on YouTube.)

“Arthritis in kids is much more than aches and pains,” said Wilson. “JA is a chronic autoimmune disease characterized by uncontrolled inflammation and pain that can occur in any and often several parts of a child’s body. Children with JA will spend countless hours treating their condition and are often confined to the sidelines in sports, school and even life – especially during painful flares.

“For many children,” she said, “JA will also involve complex medical interventions, such as joint replacements, surgeries and aggressive, immune-suppressing medications, like chemotherapy and biologics. There is no cure and there are few treatments that are safe and specific for a growing child. Sadly, that can lead to feelings of embarrassment, social exclusion and even bullying … for a child who is already dealing with a painful, chronic and sometimes invisible disease.”

KOB is 100% free to schools and is intended for students in kindergarten through Grade 4. The show travels to 40 to 50 schools in British Columbia every year. It is supported in part by the sponsorship of Mardon Insurance and Gore Mutual Insurance Foundation.

According to Wilson, Cassie and Friends is the only charity completely dedicated to kids and families affected by juvenile arthritis and other rheumatic diseases. For more information, visit cassieandfriends.ca or email info@cassieandfriends.ca.

Rebeca Kuropatwa is a Winnipeg freelance writer.