play

The complexities of humanity

Mitch and Murray Productions’ presentation of Heroes of the Fourth Turning co-stars, left to right, Jennifer Clement, David Kaye, Elizabeth Barrett, Aaron Craven and Nyiri Karakas. (Shimon Photo)

This is a story about the interesting and intersecting balance of faith, peace, politics, sex, sexuality, deceit, forgiveness and mysticism with the modern world. How do we grapple with the changing self, while clasping hands with those we no longer align with, but feel we must commune?” said Mitch and Murray Productions’ Kate Craven about Will Arbery’s play Heroes of the Fourth Turning, which has its Western Canadian premiere Jan. 31-Feb.9 at Studio 16.

“It’s about letting go of preconceived notions,” she said. “It’s about being wrong, even when convinced otherwise. It’s complex and startling and astonishing and I truly think it is one of the great plays of this generation.”

Heroes of the Fourth Turning has won multiple awards and was a Pulitzer Prize finalist. In it, reads the synopsis, “four young conservatives have gathered to toast the newly inducted president of their tiny Catholic college – one week after the Charlottesville riots in 2017. Their reunion spirals into spiritual chaos and clashing generational politics, becoming less a celebration than a vicious fight to be understood.”

“The play’s title is a take on the book The Fourth Turning by William Strauss and Neil Howe, which hypothesizes the cycles of history and attempts to teach us how to live through these cycles via examples from past generations,” explained Craven, who is the theatre company’s board chair and operations manager. “They base their hypothesis on the past 500 years of American history and uncover what they deem as a distinct pattern: that modern history moves in cycles, each one lasting about the length of a long human life and each composed of four times 20-year eras, aka ‘turnings’ that comprise history’s seasonal rhythm of growth – maturation, entropy and rebirth. Otherwise broken down as the High, a period of confident expansion, followed by the Awakening, a time of spiritual exploration and rebellion. Then, the Unraveling, in which individualism triumphs over crumbling institutions. Finally, the Crisis (the Fourth Turning), when society passes through a great and perilous gate in history, a specific time that requires a generation of heroes to rise up, resolve crisis and reset imbalances created in prior turnings.

“The Fourth Turning was written in 1997, at the tipping point between Gen X and the Millennial generation,” said Craven. “It references the Fourth Turning being in line with the coming of age of Millennials, a generation which three of the play’s characters fit into.”

One of those characters is played by Jewish community member David Kaye.

“I play a Catholic man in his late 20s named Kevin who is currently experiencing tremendous crises of identity and faith while struggling with alcohol abuse,” Kaye told the Independent. “A graduate of the Transfiguration College of Wyoming, Kevin received wilderness training, learned to scale mountains, ride horses, build igloos, memorize poetry and speak conversational Latin. Initially believing that he was being groomed to become ‘a leader of the world,’ Kevin has realized that he was woefully underprepared to actually live in the real world.”

While the character is drunk for most of the show, he is the only one asking questions, said Kaye. “He is often the butt of the joke but, ultimately, I think Kevin is the wise fool. Kevin wants so badly to connect with other people, regardless of their political leanings or religious affiliations. He wants to have hard conversations and expand his mind and is open to new ideas; unfortunately, he is not the greatest conversationalist.”

The role has certainly expanded Kaye’s mind. Having attended Vancouver Talmud Torah and King David High School growing up, the actor said “all of the knowledge of Catholicism I have is from pop culture, so building my character’s world has involved quite a lot of reading in theology and philosophy that I was completely unfamiliar with. As far as being a Jewish actor in the context of this play, I think that Kevin is actually the easiest character for me to identify with because he is constantly questioning things, and that was a core part of my Jewish education and exploration.”

Craven, who is also Jewish, “had the unique experience of growing up in a bi-faith family, one half Jewish, the other Pentecostal Christian.”

“It’s a difficult thing to belong to a family unit which falls on both sides of the faith divide and subsequently (often) political divide,” she said. “Perhaps this prepared me for a play like Heroes of the Fourth Turning. I find myself reaching for empathy for these often confused, sometimes wildly misguided characters and that makes this play very uncomplicated and uniquely human.”

She added that it feels like Arbery, the playwright, “is managing a perilous dance between faith, violence, truth and real-world events as his characters evolve and devolve in front of us. It feels much less about faith, religion and belief than it does about the crisis of being human. That’s relatable no matter who you are or which people you belong to.”

“This show can be viewed through many different lenses and each one will have a different takeaway,” said Kaye. The play will “ruffle some feathers,” he said. “But, if you are open to it, this is a show that will provoke thought, challenge perceptions, and might make you question the world around you.”

For Kaye, that is one of the main things he has learned from the character he is portraying – “that it is OK to question everything you have ever known to be true. It may be ugly and uncomfortable, but challenging your beliefs can lead to more authentic connections and a more fulfilling life.”

Craven said Mitch and Murray Productions’ goal has always been to present “bold, smart pieces that require the audience to be willing participants in the discourse and discussion. Our hope is that our productions showcase what it is to be a complex, imperfect human, as opposed to being a human who fits into a specific political, religious or cultural box, the aftermath of which potentially opens us up to empathy and understanding instead of division and despair.”

Set in rural Wyoming, Heroes of the Fourth Turning references hunting, there is a prop rifle on stage and gunshots are heard throughout the play. Other warnings include the use of coarse language and “heavy political debates which cover a range of difficult topics,” said Craven. “With this in mind,” she encourages people to come to the play with “a spirit of open-mindedness and an attitude of willingness – to see, hear and learn. All of which hearkens back to what I mentioned earlier about the plays Mitch and Murray attempts to produce – stories about a conflicted and imperfect humanity. We may not be able to see ourselves uniquely and specifically reflected in these characters, but there is certainly a reflection of humanity that is profound and deeply moving.”

Stories, she said, have “the capacity, when told well, to move and shape our molecules in a unique way. If we can be even a small part of creating compassionate debate, then we’re doing our job.”

For tickets ($15-$37) to Heroes of the Fourth Turning, visit mitchandmurrayproductions.com.

Survivors a cautionary tale

On Oct. 29 at the Phoenix Theatre in Victoria, there will be a one-night-only performance of Wendy Kout’s play Survivors, which is touring schools this month. (photo by Peter Nadler)

In light of the success of last year’s pilot tour, the educational play Survivors is touring middle and secondary schools throughout Vancouver Island this month. And, with the support of the University of Victoria, there will be one public performance of the play this month: at the Phoenix Theatre, Oct. 29, 2 p.m. Last year’s public shows sold out.

Following the mistaken honouring in Parliament recently of Ukrainian-Canadian Yaroslav Hunka, who fought in a Nazi unit during the Holocaust, there should no longer be any doubt about the ignorance of the history of the Holocaust. This conclusion is further supported by the existence of monuments in Canada that honour Nazi veterans who were members of the Galicia division of the SS in Ukraine. Furthermore, Canada’s Governor General Mary Simon has apologized for the Order of Canada given to Peter Savaryn in 1987. Savaryn was chancellor of the University of Alberta and president of the Progressive Conservative Party of Alberta in the 1980s – he also served with the Waffen-SS, a voluntary Nazi unit in Ukraine during the Second World War.

A 2019 study done by the Azrieli Foundation, Yad Vashem, the United States Holocaust Memorial Museum and the Claims Conference revealed Canadians’ lack of knowledge of this period in history. For example: 62% of millennials did not know that six million Jews were killed in the Holocaust and 22% of millennials hadn’t heard or were not sure if they had heard of the Holocaust. Nearly one-quarter of all Canadians believe that substantially fewer than six million Jews were killed (two million or fewer) during the Holocaust.

History shows that when it comes to racist attacks and xenophobia, Jews are often the “canary in the coal mine.” Holocaust awareness and education could not be more timely or important. “We’re not just telling history,” said Survivors playwright Wendy Kout. “We’re telling history as a cautionary tale for the present and the future.”

Survivors explores hatred, the capacity to survive and thrive, and serves as a call to consciousness of the present challenges. Combining history with life lessons, the audience is guided through a time when hatred was normalized. The audience is both uplifted by the survivors’ triumphs and inspired to take action against present and future racism.

The play tells a chronological history of the Holocaust through the personal prism of experience, interweaving the stories of 10 Holocaust survivors, four of whom were still alive when the play premièred in New York in 2018. Though each has a unique story, all the survivors “went through this horror and came through the other side to build meaningful, contributing, beautiful lives,” said playwright Wendy Kout.

The Victoria production of Survivors will be touring throughout the four Western provinces for the next few years. For more about those tours and the organizations collaborating on them, visit jewishindependent.ca/theatre-that-educates and holocausttheatre.com. For tickets to the Oct. 29 matinée at Phoenix Theatre, go to eventbrite.ca.

– Courtesy Victoria Theatre Productions

One is never too old to learn

I had the privilege of seeing Mark Leiren-Young’s play Bar Mitzvah Boy when it premièred at Pacific Theatre in 2018. It was funny, edgy and insightful, and well-acted by Gina Chiarelli and Richard Newman. It contained a lot of local references, making it even more special.

What I see from the Playwrights Canada Press edition, which was published in 2020 and arrived at the JI sometime in 2021, is that Leiren-Young’s notes on various aspects of the play allow productions to change certain references and pronunciations to localize the action, thereby making it special no matter where it is performed. For instance, the audience first meets Rabbi Michael Levitz-Sharon, who is in her mid-30s to maybe 45 years old, on a jogging path, “dressed in sweats and a ball cap for a local sports team.”

The next scene: in the rabbi’s office, there sits a man in his mid-60s or older, Joey Brant, “decked out in prayer regalia – including tefillin, which are on incorrectly.” This is our first hint that he, despite initial appearances, is not a rabbi or a religious Jew. When Michael arrives, Joey assumes that the relatively young woman in running gear doesn’t belong at the synagogue – and certainly isn’t the congregation’s spiritual leader. This exchange sets the tone for the essentially two-person play that unfolds. The other cast member is Sheryl, the receptionist, who is never seen, only heard. As described by Leiren-Young, the actor of this role (which was Jalen Saip in 2018 at Pacific Theatre) should have “the accent you want the woman who runs your local deli to at least pretend to have.”

I love having these types of stage direction “made public.” It is a completely different experience to read a play than to attend it in person. It’s almost like listening to the acoustic version of one of your favourite pop musicians – if they are able to sing on key and play their chosen instrument skilfully, they really are excellent at their craft. Similarly, if the words of a play still make you laugh and cringe and move you emotionally in other ways, with no cues from actors or audience members, it is a very well-written play. Bar Mitzvah Boy in book form made me do all those things – I chuckled a lot throughout, and also got teary near the end. Michael and Joey (the bar mitzvah “boy,” btw) are both dealing with some serious, raw issues.

Since I finished the book, I’ve been revisiting some of the many topics it covers. I’ve thought about my own beliefs about Judaism and faith, what happens after we die, what makes a good friend, parent or spouse, how people navigate challenges differently, the ways in which a congregation (or any other group) can be both supportive and trying at the same time.

Leiren-Young dedicates the publication to his mother, Carol Leiren: “I guess it was worth sending me to Talmud Torah.” For viewers or readers of Bar Mitzvah Boy, it certainly was worth it – thank you.

Grateful for ability to play

Six members of the 35th Street Gang, with the author second from the left in the back row. (photo from Cassandra Freeman)

Sheena and I don’t recall why we were trying to measure the house with a ball of string. We just remember me holding one end of the string, throwing the rest down from my bedroom, and her running all around the house with the rest of it till she got back to me. We were 8 years old and we were part of what we proudly called the 35th Street Gang.

At a recent reunion, 43 years later, seven of us mischievous women decided that playing was a powerful thing. It was about athletic activity, creativity, community building, trust – and simply some of the funnest times we’ve had.

Fairly early in our lives, “we seven” decided we owned the block. That’s why we called ourselves the 35th Street Gang. For some of us, a rite of initiation to the gang was to climb with hands and bare feet up to the very top of the pole and touch the signs that read 35th and Maple, then slide right back down again.

Kick the can was one of our favourite games. It was a combination of tag and hide-and-go-seek. I remember shivering with anticipation in a neighbour’s garage, hiding from the girl who was “it.” Of course, she found me before the others, and we raced down the short hill and around the corner, each of us trying to be the one who would kick the can first. I’m betting that we ran faster than we ever did in phys ed class. (Some adults still play this game I discovered, and you can search for them on meetup.com.)

Roller skates were all the rage in the early 1970s. They attached to the bottom of your sneakers with a metal key. I can still feel the vibration from the wheels going all the way through my body from the contact with the cement below. And just skating in the middle of the road wasn’t good enough for us. One of us, Louise, created a song we all sang and did the motions to while skating. It went like this: “Butterflies fly, and so do I, and I like it, so I don’t sit, I fly … so do I.”

The most daring kind of play we did was tobogganing. Daring because we slid down a severely slanted sidewalk covered with snow and ice. The year I was 8, winter was particularly cold. That did not deter us and neither did the teenage boys who threw ice balls at us on the way down. We were determined to have a good time.

We had a regular toboggan that fit three of us, a red slippery carpet, and a small round “flying saucer” one that would go round in circles as you went down. The bump we all made in the middle of the run was the most fun. We would fly off that thing so high it took a few seconds to come back down to earth again.

One time, I was sitting in the middle of the flying saucer and flew off that bump and started spinning in circles. I still remember that moment when I realized – too late – that I was going to hit the huge chestnut tree at the bottom of the run. And so I did. Thwack! My back hit that tree so hard it took all the breath out of me. Realizing a few seconds later that I was all in one piece, I got up and marched back up the hill and slid all the way down again on someone else’s toboggan.

We did all of these things running in and out of my parents’ house. As a result, all of my friends still know about all the Jewish holidays and what a kosher kitchen is. They would even march in on Passover with non-kosher-for-Passover popsicles to torment my poor older sister who was trying to keep the holiday. Today, they remember my parents, Joyce and Bernie, as being their second parents growing up. One of us, Madeleine, even says that she became a war crimes prosecutor because she learned about the Holocaust from spending so much time in our house. (See jewishindependent.ca/working-for-human-rights.)

When John Fraser became a member of Parliament, we used his election signs to build a huge maze in the Frasers’ front yard. We crawled around until our knees hurt. We had such a great time until we learned that he and his wife would be leaving for Ottawa with their three daughters. We said our sad goodbyes and waited for the time we would see them again.

Looking back, I am thankful I was involved in an old-fashioned kind of play that created lifelong friendships. Now, at our reunions, we become kids again and laugh our heads off for hours.

Cassandra Freeman is a freelance writer and teaches improv games for parties and performance.

Outside play is vital for kids

As children, most of us at least once created a space of our own built of cushions, sheets, cardboard, branches, tables, almost anything – a space of our own that mimicked the house in which or near which it was built. This is a cross-cultural phenomenon that serves to help children establish their identities, according to David Sobel.

Sobel is a faculty member in the education department at Antioch University in New England. The author of Children’s Special Places: Exploring the Role of Forts, Dens and Bush Houses in Middle Childhood, he teaches conceptual development in science education, a course called the Ecology of Imagination Childhood.

“I’m teaching upcoming teachers in a master’s program, so folks with undergrad degrees, most of whom have done other stuff and are coming back,” he said. “The first thing that is interesting [about kids building their own spaces] is that this is a fairly cross-cultural phenomenon. Not necessarily all children do it, but a lot of children do it in different cultures and settings around the world. They tend to do it between the ages of 6 and 12, therefore, it suggests this is some sort of genetically determined behavior that serves some kind of survival value.”

According to Sobel, there are a couple of different goals achieved through this practice. One is that they are creating another world or a home away from home. Young kids will do this inside the house. As they get to the ages of 5, 6 or 7, they start to do it outside, but near the house.

book cover - Children’s Special Places: Exploring the Role of Forts, Dens and Bush Houses in Middle Childhood “They will gradually do it further away from the house, as a home they’ve created rather than that their parents have created, and it’s a way for them to establish themselves as unique individuals out in the world,” he said. “So, it has the function of identity creation … a special place or den, as a chrysalis out of which a butterfly will emerge. The butterfly is the self of the child that will emerge around the ages of 12 or 13.”

Sobel believes the behavior is instinctual, not a culturally transmitted one, though he admitted he has not yet unequivocally eliminated cultural influence as a variable in the cases he has observed. The behavior, Sobel thinks, is a mechanism to increase bonding with the natural or physical world.

“The theoretical model of Joseph Chilton Pearce, who wrote about the magical child, says that children are moving around [age] 6 or 7 from the family matrix, from being bound and held in the family, to moving out to the earth matrix, the physical world matrix,” he explained. “Kids are establishing a relationship with the natural world. It’s becoming a safe place for them, a source of energy, from the perspective of developing a healthy relationship with the natural world, eventually an environmental citizenship. Creating a home in the world that’s often made of natural materials gives them a sense of safety in a place that can feel a little scary or dangerous.”

Sobel contends that, in many cases, kids are discouraged from creating this sort of space or are not given access to the appropriate materials to do so, making it into less of a phenomenon and more of a function of parental and cultural permission or restriction.

“It’s good for parents to recognize it as a healthy behavior,” he said. “So, if kids show the impulse, it’s good to encourage it rather than discourage it. Also, in the natural play areas, there’s the theory of loose parts, which essentially says that what children want in a play landscape is a variety of loose parts or pieces that they can disassemble and assemble to create their own places.

“It’s great for parents to provide loose parts or for city parks to provide loose parts, so kids can construct things – branches, sand, stone and cardboard boxes – to encourage the creation of kid places.”

Sobel understands the hesitation of parents and public stewards to provide such tools, seeing them as accidents waiting to happen, but he thinks it is appropriate to allow a moderate amount of risk while also eliminating the most dangerous hazards.

“You want to encourage safe tool use,” he said. “So, if kids are going to be using pocket knives, make sure they know how to use them correctly, and you take them away when they don’t abide by those rules. With my son, as an example, when he was 7 or 8, I came home and found little fire scars on the concrete floor in the barn, which is our garage. He was interested in building little fires. In the barn, this was not a good idea, so I constructed a fire ring for him and made him a fire kit with matches and appropriate things. I told him he could build fires if he wanted to, but only here … that he has to respect the impulse, but also limit [it] … giving it some structure.”

Sobel suggested reading children’s literature that includes stories about the creation of such spaces as a great way to lead to positive building behavior.

He added that, while the impulse is fine indoors at the beginning, it eventually wants to be outdoors. When doing it outdoors, he advised becoming aware of the city’s zoning laws, as there will be areas in which the construction of subsidiary or outlying sheds, buildings or forts is not permitted. Another modern-day complication, he added, is “the digitalization of kids lives.” The time “not just for fort building, but any kind of natural play experiences outside, is getting eroded because of the lure of digital entertainment. But also, parents feel like digital entertainment is safer than the woods or exploring the neighborhood.

“With all this digitalization, kids are less likely to have an interior sense of balance, they are more overweight and they are having more vision problems as a function of not exercising certain kinds of motor development in their eyes,” he said. “The sedentary lifestyle is unhealthy for children.

“Place creation is part and parcel with having kids with more physically active lifestyles. It’s important for kids to understand the motor diversity of outdoor natural play, as opposed to just having them involved in a sport, which tends to limit motor skills to certain kinds of behaviors.”

According to Sobel, there is a vein of Jewish theology that can be drawn upon which supports nurturing our relationship with the natural world. He is helping organize a conference of Jewish early childhood programs in the New York area, where topics such as nature preschools and forest kindergartens for the Jewish early childhood community will be discussed.

He also said that there is a vibrant nature-based education community in Victoria and Vancouver, giving the example of educator Dr. Enid Elliot at Camosun College in Victoria.

Rebeca Kuropatwa is a Winnipeg freelance writer.