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Tag: Ron Stuart

Beckow’s music will live on

Beckow’s music will live on

Joan Beckow, left, Wendy Bross Stuart, centre, and Jessica Stuart, during a visit a few years ago. (photo from Jessica Stuart)

Acknowledging that the music world is “a fickle one in which skill, talent and ingenuity do not necessarily result in widespread acknowledgement or musical reach,” Jessica Stuart said Joan Beckow’s “music deserves to be heard. It deserves to be performed and played for many generations to come, and it is more than good enough to stand next to the work of Leonard Bernstein or Stephen Sondheim.”

Stuart and her mother, Wendy Bross Stuart – accomplished musicians in their own right – are co-directors of the Joan Beckow Project. Stuart is also project manager and producer of the project. Arts administrator Rosie Callaghan handles many of the behind-the-scenes details.

Beckow passed away on Jan. 13, 2021, at age 88. She was a close family friend of the Stuarts, and she and Bross Stuart collaborated professionally for more than 40 years. Jessica Stuart grew up surrounded by Beckow’s music, both because her mother and Beckow had worked together and because Stuart has performed a large body of Beckow’s work. The seeds of the Joan Beckow Project were planted in 2015, when Stuart discovered that none of Beckow’s music was available online and almost none of her choral or musical theatre music had ever been professionally recorded or transcribed. Beckow gave Stuart her blessing for the project.

Beckow started her career with a music degree from the University of California at Los Angeles. At UCLA, she composed six original musicals for the theatre department, where she collaborated with her friend, Carol Burnett. Beckow was resident composer and music director for the Stumptown Players, out of San Francisco, and, when she graduated, she started composing for Holiday Theatre L.A.

Eventually, Beckow found her way to Vancouver, where she worked with many theatres as a composer and music director, including the Playhouse, Carousel and Belfry theatres, as well as with the Shaw Festival. With Bross Stuart, she composed several musicals and, in 2002, It’s All in the Song, a summary of Beckow’s work, premièred at the Chutzpah! Festival.

photo - Joan Beckow, right, with Carol Burnett, in 1958
Joan Beckow, right, with Carol Burnett, in 1958. (photo from Jessica Stuart)

Beckow’s resumé also includes a degree in music therapy from Capilano College, where she was faculty for 10 years. And, over a 25-year period, she wrote original material for the Jewish Community Centre of Greater Vancouver’s Gotta Sing! Gotta Dance! theatre program for youth.

“Part of the reason I think it’s so important to record Joan’s work for the first time, is that, although her pieces have a natural beauty and intuitive sound, on paper (literally, the musical scores), her pieces look very complicated,” Stuart told the Independent. “Many of her songs cycle through multiple musical keys and several time signatures in one piece and I strongly believe that, if we want choral directors, vocalists and instrumentalists to choose this music to perform, they need the chance to listen and fall in love with it first.”

Beckow wrote hundreds of compositions, and Stuart and her mother started talking about song selection long before the project officially started.

“How does one sum up a composer’s career in one album? Well, we decided that we couldn’t, so we made it a double disc,” said Stuart. “One disc will focus on Joan’s musical theatre material, and the other will focus on her classical and sacred music, including many pieces set to text from the Jewish liturgy. There will be 22 pieces in total.”

Also part of the project is a 25-minute documentary, directed by Stuart’s father, Ron Stuart, in collaboration with editor Carlos Coronado.

“We applied to the Canada Council for the Arts, to the Concept to Realization program, in which we were able to define the scope of our project activities to include more than just an album recording,” said Jessica Stuart. “We wanted to tell the story of Joan’s life, culminating in the present-day recording of her debut album, albeit posthumous.”

In addition to the Canada Council support, the project has received support from the Ontario Arts Council and from Beckow’s son, David Beckow. But such undertakings are expensive. This one involves 30 musicians, and recording sessions in both Vancouver, where Bross Stuart lives, and Toronto, where Stuart is based.

“Even with the arts councils’ generous contributions, this massive undertaking still requires more financial support and, with some of this music having waited 70 years to be recorded for the first time, cutting corners is not an option we’re willing to consider,” writes Stuart on the Indiegogo fundraiser page.

As part of the project, Beckow’s songs have been “lush[ed] out.”

“Joan wrote most of her pieces for piano and voices, and the piano accompaniment always felt very orchestral, so adding strings, woodwinds and percussion felt completely natural and somehow brought even more emotional levity to the pieces,” explained Stuart. “The arrangements were done by Wendy and I, separately, but then requiring approval from each other before signing off. We agreed that these arrangements needed to keep a focus on Joan’s actual writing, instead of letting our imaginations run too wild, and we stuck to that. The results are quite wonderful!”

photo - Joan Beckow, in the late 1950s
Joan Beckow, in the late 1950s. (photo from Jessica Stuart)

As for the vocal contributors to the project, Stuart said, “The main consideration here was about getting the right voices for the right pieces. Wendy hired the personnel involved in the musical theatre portion of the album, which took place in Vancouver at Bryan Adam’s recording studio, the Warehouse.

“When I first conceived of this project,” she said, “I recognized that Joan’s classical and sacred music somehow had a kinship with jazz in terms of harmony, so I was eager to get the material into the hands of some of my favourite jazz musicians and improvisers based in Toronto. When choosing the personnel in Toronto, I went for both classical and jazz musicians, and even arranged a few pieces with sections earmarked for improvised solos. As suspected, not only did the music lend itself exceptionally well to improvisation, but Joan’s music had the Toronto jazz scene completely enamoured, and kind of in a tizzy, which was a real pleasure to watch.”

One of Stuart’s longtime favourite Beckow pieces is “Dwelling Places.”

“Joan once told me that she never wanted a harmony to simply exist as an ornament to a melody – that a harmony should be able to stand alone even if the melody were removed,” explained Stuart. “That, to me, is a profound idea, and I’ve always admired the myriad moving lines Joan was able to work into one piece concurrently within the accompaniment and vocal parts of her work. These lines lead you emotionally from one place to another, seamlessly, and all of sudden you have goosebumps and don’t even know why.

“Also, whether Joan was setting her own lyrics, or else poetry by Dorothy Parker, or else Jewish liturgical text, like ‘Dwelling Places,’ to music, she had an incredible gift for being able to mirror spoken cadence and intonation within her melodies.”

Stuart continued, “A new favourite of mine, though, discovered through the process of working on the Joan Beckow Legacy Project, is what I refer to as her ‘instant Christmas classic,’ called ‘A Christmas Wish.’ This is a song that stands up next to ‘Chestnuts Roasting on an Open Fire (The Christmas Song),’ and you can’t help but to imagine Bing Crosby or Frank Sinatra’s voice all over it. And I’m sure we’re all aware of the long-standing tradition of Jewish songwriters creating the best Christmas music, so it’s time we added a female composer’s take to the mix!”

For anyone wanting to know more about the Joan Beckow Legacy Project, there are regular posts on Facebook and Instagram. To contribute to the project via Indiegogo and watch a short video about it, visit igg.me/at/joanbeckowlegacy. There is a six-level range of incentives for donors, from a personal social media shoutout for a $25 gift, to a personal thank you in the liner notes of the album – and all the goodies of the prior levels – for a $1,000 contribution.

Format ImagePosted on April 8, 2022April 8, 2022Author Cynthia RamsayCategories MusicTags history, Indiegogo, Jessica Stuart, Joan Beckow, legacy, Ron Stuart, Wendy Bross-Stuart
Fox retires from VHEC

Fox retires from VHEC

Rome Fox has been associated with the Vancouver Holocaust Education Centre for 25 years. (photo from vhec.org)

Rome Fox has retired as assistant director of the Vancouver Holocaust Education Centre. She was recognized at the VHEC annual general meeting Oct. 20 by being named a Life Fellow of the organization.

Fox has been associated with the VHEC for a quarter-century, first as a volunteer, as a member of the board of directors and the executive committee and as co-chair of the annual Yom Hashoah commemorative event. Joining the centre’s staff as a part-time volunteer coordinator, Fox went on to serve as program coordinator, interim education coordinator and acting executive director, while also taking the lead on annual commemorative events.

In her remarks at the AGM, Fox reflected on the people she has met and worked with, emphasizing the Holocaust survivors.

“It has been life-changing and very fulfilling to participate in the growth of such an important and dynamic museum dedicated to Holocaust education and remembrance,” she said. “I’m truly honoured, fortunate and privileged to work with you, our remarkable and resilient Holocaust survivor community, and I cherish the lessons I’ve learned from you. You made a difference not only in my life but in the lives of thousands and thousands of B.C. students, teachers, citizens and government officials.”

Fox also expressed pride at the changes in the organization and the innovative projects, campaigns and commemorative events with which she has been involved.

She said she treasures her relationships with the three executive directors with whom she has served – Nina Krieger, Frieda Miller and Roberta Kremer – and the meaningful work they have done.

“Every day, when you’re working there, you know you’re making a difference somehow, someway,” she told the Independent. “Somebody’s life is being touched. When you hear the remarks of students of the impact of survivors or when they take a workshop, the questions that they ask, you know that kids are starting to get this stuff.”

Both of Fox’s late parents, Sarah and Al Rozenberg, were Holocaust survivors from Poland. Her mother was in the Warsaw Ghetto and worked in a munitions factory. Ultimately, Sarah was sent to Majdanek, while her entire family was sent to Treblinka and murdered. Many of Sarah Rozenberg’s artifacts are in the VHEC’s permanent collections.

Fox knows less about her father’s story, but he was mostly on the run and helping people as they tried to escape Nazi-occupied Poland.

The couple met in a displaced persons camp and moved to Edmonton, where Rome was born.

In a moving testimonial video shared at the annual general meeting, staff, volunteers and survivors paid tribute to Fox.

Robert Krell, founding president of the VHEC, spoke of “the strength you bring to the centre and the comfort and compassion to our survivors through your own personal understanding of our nature and our struggles.”

Frieda Miller, past executive director, said: “If an organization can be said to have a heart, you were that heart. As daughters of survivor parents, we shared that unique bond, one that I think also uniquely equipped us for our work at the centre. But, Rome, what I want you to know is that your contributions were not just valuable but truly fundamental to the VHEC’s remarkable achievements of over a quarter of a century.”

Lillian Boraks-Nemetz, a Holocaust survivor, said: “I read somewhere that the sturdiest pillars of human morality are compassion and a sense of justice. In all my interactions with you, I have experienced both. In your work at VHEC, you have been supportive and encouraging, you understood what it means to be a survivor of the Holocaust and have helped to guide us in many ways.”

Wendy Bross Stuart and Ron Stuart, who worked with Fox on the musical components of countless commemorative events, thanked her for years of achievements.

“She’s approachable, kind, competent, committed – she’s got the whole package,” Ron Stuart said. “I think you can get some of those qualities in other individuals but to get the whole package is quite unique.”

Krieger, the current executive director of the VHEC, spoke of the absence Fox’s retirement will leave.

“Although it is nearly impossible for us to imagine the centre without Rome as an integral part of our team, I know that we will continue to ask ourselves: What would Rome do?”

Format ImagePosted on November 19, 2021November 18, 2021Author Pat JohnsonCategories LocalTags AGM, annual general meeting, Frieda Miller, Lillian Boraks-Nemetz, milestones, Nina Krieger, retirement, Robert Krell, Rome Fox, Ron Stuart, Vancouver Holocaust Education Centre, VHEC, volunteering

JI Reflections … on the occasion of the JI’s 90+1

image - JI Reflections 90+1 - Shirley Barnettimage - JI Reflections 90+1 - Ronnie Tesslerimage - JI Reflections 90+1 - Lucy (Langer) Laufer ... Carmel Tanakaimage - JI Reflections 90+1 - Avril Orloff ... Suzy Birsteinimage - JI Reflections 90+1 - Wendy Bross & Ron Stuart ... Pnina Granirer

Posted on May 7, 2021May 7, 2021Author JI readersCategories From the JITags Avril Orloff, Carmel Tanaka, Lucy (Langer) Laufer, Pnina Granirer, Ron Stuart, Ronnie Tessler, Shirley Barnett, Suzy Birstein, Wendy Bross-Stuart
Jessies, Order of Canada, Korczak, Rockowers, Federation & VHEC

Jessies, Order of Canada, Korczak, Rockowers, Federation & VHEC

Warren Kimmel won a Jessie Award for his portrayal of the title character in the Snapshots Collective’s Sweeney Todd: The Demon Barber of Fleet Street. (photo from Snapshots Collective)

The 37th annual Jessie Richardson Theatre Awards were held on July 15 at Bard on the Beach’s BMO Mainstage in Vanier Park. Fifty theatrical productions were nominated from last year’s theatre season.

In the small theatre category, the Snapshots Collective’s Sweeney Todd: The Demon Barber of Fleet Street, which included several Jewish community members in its creative team, garnered eight nominations: director Chris Adams and costume designer Emily Fraser were acknowledged, along with the outstanding performances by Jewish community member Warren Kimmel, Colleen Winton, Oliver Castillo and Jonathan Winsby, and the production as a whole for its quality and innovation. In the end, the show won four Jessies, for the performances of Kimmel, Winton and Castillo, as well as nabbing the award for outstanding musical production.

Jewish community member Itai Erdal won the award for outstanding lighting design category for his work in Arts Club Theatre Company’s The Curious Incident of the Dog in the Night-Time. Erdal was also nominated for his lighting in Théâtre la Seizième’s Le Soulier.

At the July 15 ceremony, community member David Diamond received the Greater Vancouver Professional Theatre Alliance Career Achievement Award.

For more information, visit jessieawards.com.

* * *

On June 27, 2019, Governor General of Canada Julie Payette announced this year’s appointments to the Order of Canada, including, as officers, two local Jewish community members: Gordon Diamond, for “his steadfast leadership in business and for his philanthropic support for causes related to health care, education and social services,” and Dr. Peter Suedfeld, for “his groundbreaking research on the psychological impacts of extreme environments and stressors on human behaviour.”

* * *

On June 18, 2019, at Government House in Victoria, B.C., the Janusz Korczak Medal was awarded to Ted Hughes, OC, and Helen Hughes, OC, while the Janusz Korczak Statuette was awarded to Irwin Elman, the past advocate for children and youth of Ontario. The awards were bestowed in recognition of caring for children in the spirit of Dr. Janusz Korczak.

The ceremony started with welcoming remarks by the event’s host, Lieutenant Governor Janet Austin, and Holocaust survivor and writer Lillian Boraks-Nemetz spoke about Korczak, with a personal touch. The awards were presented jointly by Jennifer Charlesworth, B.C. representative for children and youth, and Jerry Nussbaum, president of the Janusz Korczak Association of Canada. And the event was emceed by Jerymy Brownridge, private secretary to the lieutenant governor and executive director of Government House.

* * *

The Jewish Independent won two American Jewish Press Association Simon Rockower Awards for excellence in Jewish journalism this year (for work published in 2018). The awards were presented at the 38th annual AJPA banquet, held in conjunction with the association’s annual conference in St. Louis, Mo., June 23-26.

Bruce Brown’s “The draft: a dad reflects” – in which he shares his experience of sending his son off to serve in the Israeli Air Force – placed first in the personal essay category for its circulation class.

The JI’s editorial board – Pat Johnson, Basya Laye and Cynthia Ramsay – took second place in the editorial writing category for its circulation group. The submission, which included the editorials “Holocaust education needed,” “Impacts of nation-state” and “What is anti-Zionism?” elicited the following comment from the Rockower judges: “Riveting and well-explained editorials on anti-Zionism, the identity of Israel as a nation-state, and a local controversy involving Holocaust education.”

* * *

photo - Ambassador Nimrod Barkan at Jewish Federation of Greater Vancouver’s annual general meeting on June 18
Ambassador Nimrod Barkan at Jewish Federation of Greater Vancouver’s annual general meeting on June 18. (photo from facebook.com/pg/jewishvancouver)

At Jewish Federation of Greater Vancouver’s annual general meeting on June 18 at King David High School, Federation elected two new directors – Karen Levitt and Melanie Samuels – and the board appointed a new executive. While Karen James has completed her term as board chair, she remains on the board as immediate past chair. Alex Cristall takes over as chair, Penny Gurstein is vice-chair, Bruce Cohen is secretary and Jim Crooks is treasurer.

At the AGM, several honours were bestowed: Stephen Gaerber was the recipient of the Arthur Fouks Award, Megan Laskin the Elaine Charkow Award and Sam Heller the Young Leadership Award. Tribute was also paid to James; as well as Jason Murray, outgoing chair of CIJA’s local partnership council; Richard Fruchter, chief executive officer of Jewish Family Services; Rabbi Noam Abramchik and Rabbi Aaron Kamin, rosh yeshivah of Pacific Torah Institute; and Cathy Lowenstein, head of school at Vancouver Talmud Torah. Ambassador Nimrod Barkan attended the AGM as part of his last visit to Vancouver before he completes his term as Israel’s ambassador to Canada.

Federation thanks the directors who came off the board – Eric Bulmash, Bryan Hack, Rozanne Kipnes and Laskin – for their dedication to community and that they chose to share their time and talents with Federation. In Bulmash’s case, he will continue to contribute, but in a different capacity, as he is Federation’s new vice-president, operations.

* * *

At its annual general meeting on June 19, the Vancouver Holocaust Education Centre announced the two winners of the Kron Sigal Award for Excellence in Holocaust Education. The VHEC also inducted two new recipients of the Life Fellows designation.

The designation of Life Fellow recognizes outstanding dedication and engagement with the Vancouver Holocaust Education Centre Society through long-term involvement and significant contributions to the organization’s programs and mandate. This year, VHEC is delighted to have two recipients, Wendy and Ron Stuart, in recognition of their longstanding contributions as artistic directors of the VHEC’s community-wide Yom Hashoah commemoration.

Each year, the VHEC presents the Meyer and Gita Kron and Ruth Kron Sigal Award to a B.C. elementary or secondary teacher who has shown a remarkable commitment to teaching students about the Holocaust and its important lessons. This year’s recipients are Nicola Colhoun and Dr. Christine Paget from West Vancouver Secondary School.

In their remarks, Colhoun and Paget shared, “As social studies teachers … we are tasked with the lofty goal of having students care about what has come before them to shape the world they live in now…. Through the testimonies of survivors, the past becomes tangible, it becomes human, and it becomes relevant to students…. So many of our students come away from the Holocaust Symposium saying things like, ‘I get it now.’ ‘I didn’t realize, but now I understand.’ They understand why the history of the Holocaust matters. And they also understand why they need to speak up for inclusion, and stand against racism and persecution of any kind, from the school hallways to the hallways of power.”

The VHEC’s executive is Philip Levinson, president; Corinne Zimmerman, vice-president; Marcus Brandt, second vice-president; Joshua Sorin, treasurer; Al Szajman, secretary; and Ed Lewin, past president.

Format ImagePosted on July 19, 2019July 18, 2019Author Community members/organizationsCategories LocalTags AJPA, Christine Paget, Gordon Diamond, Itai Erdal, Janusz Korczak Association, Jessie Awards, Jewish Federation, journalism, Kron Sigal Award, Megan Laskin, Nicola Colhoun, Peter Suedfeld, Rockower, Ron Stuart, Sam Heller, Snapshots Collective, Stephen Gaerber, theatre, Vancouver Holocaust Education Centre, VHEC, Warren Kimmel, Wendy Bross-Stuart, Yom Hashoah
Experience Sweeney’s revenge

Experience Sweeney’s revenge

Colleen Winton as Mrs. Lovett and Warren Kimmel as Sweeney Todd in Snapshots Collective’s production of Sweeney Todd: The Demon Barber of Fleet Street, which runs Oct. 10-31. (photo by Nicol Spinola)

“To seek revenge may lead to hell, but everyone does it, if seldom as well as Sweeney,” said Stephen Aberle, quoting from the finale of Sweeney Todd: The Demon Barber of Fleet Street. Aberle plays Judge Turpin in the Snapshots Collective production of the musical, which will take place at Mrs. Lovett’s Pie Shop, or at least a facsimile of it, at 348 Water St., in Gastown, Oct. 10-31. Most shows are already sold out.

“Part of the power of the piece,” explained Aberle, whose character sets Sweeney on his murderous path, “is that we can identify with all of the characters, see their strengths and their flaws, and observe how much we share with them. That’s what makes it troubling, that irresistible doubt: would I do anything differently?”

Let’s hope most people would, as Sweeney Todd slits quite a few throats in his barber’s chair – providing the main ingredient for Mrs. Lovett’s pies – before getting to the object of his revenge, Judge Turpin, who abused Sweeney’s wife and exiled Sweeney for a crime Sweeney didn’t commit.

“When we decided on doing Sweeney Todd,” director Chris Adams and choreographer Nicol Spinola told the Independent in an email interview, “we knew we wanted Warren Kimmel as Sweeney, so we approached him first to see if he would be interested in playing the title character. He was on board almost immediately and we started moving forward to cast the rest of the show. We next approached Colleen Winton for the role of Mrs. Lovett and held auditions for the rest of the cast. We weren’t shy in letting auditioning actors know that our show was going to be different and that seemed to excite them. We were thrilled with the turnout and were able to cast the show exactly how we saw it.”

And the intimate audience – theatre capacity is about 56 – will be right in the midst of it all.

“The show is staged around the entire venue with some seats being directly in the action,” said Adams and Spinola, who are also co-producers of the show, with Ron Stuart, Wendy Bross Stuart and Kat Palmer. “There will be interactive moments between the actors and the audience, although there is no audience participation required. Sometimes the action will take place right in front of you and other times the action will be across the room.”

Kimmel looks absolutely terrifying in the production’s 44-second teaser.

“It’s always more fun, interesting, to play dark or evil characters than good ones and, for the most part, I am cast as good guys rather than bad guys so this is fun from that point of view,” said Kimmel of playing the title character in the musical, composed by Stephen Sondheim, with book by Hugh Wheeler. “Also, Sweeney Todd is probably one of the most challenging pieces in the musical canon to perform, so that makes it a stimulating and scary experience as well, which is, I suppose, fun in a twisted fashion.”

“I think this is a tremendously important story for our time,” said Aberle, “a time when the power structures that reinforce men’s privilege and women’s presumed subservience (as well as racialized, class-based and other power imbalances) are being challenged by some; desperately defended by others. We read about Judge Turpin analogues just about every day in the news. I think it’s particularly important for those of us who possess power to check in with a story like this and consider our own exercise of that power. To what extent am I being a self-serving brute in this situation? Are there ways I might reduce that extent? The play, it seems to me, asks questions like those pretty insistently.”

About how he has chosen to portray Judge Turpin, Aberle said, “I’m looking for him the way I generally look for a character: by trying to figure out what he wants in the context of the given circumstances. That context, for a judge in mid-19th-century England, was power, privilege and prestige.

“One of the things that makes Judge Turpin interesting, to me, is that he’s not merely a psychopath or even a simple, spoiled narcissist: he tries to do ‘the right thing’ according to social convention and struggles with his desires (though more because of deeply ingrained inner shame than because he really understands his own power to harm, or empathizes with his victims). There are some questions about the man that I’m interested in exploring. What was his blue-sky vision of the perfect outcome when he set this engine of vengeance rolling, 15 years before the play begins? Why, especially given the power of his urges, has he gone through life so far without marrying? Why did he adopt a year-old infant as his ward? There are several plausible answers – and plausible combinations of multiple answers – for each of these, and I’m enjoying playing with them.”

Echoing Kimmel’s assessment of the music, Aberle added, “And, really, let’s face it. This is Sondheim at just about his Sondheimiest. If I can sing the material more or less in time and on pitch, I’ll be pretty happy.”

“The music plays a central role in telling this story,” Bross Stuart, the show’s musical director, told the Independent, “and there is no one more brilliant than Stephen Sondheim to do this for us. Central to the core of this music is the Gregorian chant, ‘Dies Irae’ (‘Day of Wrath,’ ‘Day of Judgment’) theme, heard throughout this work. We hear fragments of this musical motif hidden everywhere. Extended, shortened, pulled out of shape, but it’s there. We know it is the underpinning of Sweeney Todd’s motivation. It helps us understand Mr. Todd’s state of mind; and how revenge morphs into mental illness. When we are in the asylum, in Act 2, some of the ‘patients’ sing a demented version of ‘Dies Irae.’

“Another example is Sondheim’s use of a repeated note for more than 100 bars. Why does he do this? It is Mr. Todd’s obsession with murdering Judge Turpin. Even while the men are having a seemingly ‘friendly’ conversation, Todd is thinking along more sinister lines.”

“Sweeney Todd, as far as we can tell, is a normal man with a wife he adores and a new young daughter,” said Kimmel. “Without spoiling the plot altogether, life deals him a hand that most would find impossible to survive, let alone overcome, and so we have a perfect vehicle to allow us to ask what we would do in his position and, if we are honest with ourselves and had the courage to follow through, we could easily imagine doing the same things he does.”

photo - Warren Kimmel looks absolutely terrifying in the production’s promotional material
Warren Kimmel looks terrifying in the production’s promotional material. (photo by Nicol Spinola)

But, he added, “In the end, I think it is a very moral story and the final destination is morally inevitable – although we feel for him and want to see him get his revenge, and although he and Mrs. Lovett almost get away with what they have done, it cannot be…. The world is set to rights at the end of the piece.

“You could say that this is just a Victorian melodrama, a deliciously dark tale underlining all the Christian moral virtue of the period,” he continued. “However, like all great drama, I think the rules of the game are timeless – first dramatized in Greek times or even biblical times. You cannot fool God; you cannot escape the price that must be paid for transgressing His rules. There is a fashion now to believe that we have moved past these religious moral strictures and that religion has less to offer a modern society but, in the end, this is a morality tale that resonates with very deep archetypal themes. No matter how justified it may seem, revenge will lead nowhere good.

“From a performance point of view, it is always a gift to be able to play someone truly morally compromised and, in a broader sense, I think that is what the theatre is really for: to allow us to watch this story and go through all that life is able to throw at us, to imagine, to understand and even to justify truly extraordinary behaviour, and yet to laugh and cry and cringe and know that, at the end, the moral compass of the world is back on true north.”

An emotional connection to the show is one of the reasons that the Stuarts wanted to be involved in this production. “We saw the original Broadway production in New York City in 1979, with Angela Lansbury and Len Cariou,” said Ron Stuart. “It was brilliant and riveting and unique in the genre – like West Side Story was 20 years before or Showboat before that.

“Our co-producers had the concept of an immersive version of the show at a Gastown venue around Halloween, and we thought it was an interesting way to present the work.”

In addition to funding, he said, “with projects of this scale, we are also very hands-on. Our director, choreographer, music director and assistant director are also producers. We readily share our contacts in a variety of specialities, such as costumes, set design, lighting, instrument rental, legal issues, marketing, etc. Moreover, we are a collective under Equity rules, so we all have ‘skin in the game.’”

This is Palmer’s first experience as a producer. “It has been nice to learn from professionals who have been through this journey from beginning to end,” she told the Independent.

Knowing that they wanted this show to be immersive, the venue not only had to work from a mechanical perspective, “but add to the experience,” said Palmer, who is also in the ensemble.

“It’s been a fun challenge,” she said, “to be switching between my assistant stage managing hat and my performer hat – ‘this prop will need to be pre-set here, oh no, this is the lyric, this person has a quick change.’”

Palmer described the show as being very difficult technically, “there is not just Stage Left and Stage Right to worry about, there is a whole building.”

This is part of the attraction for Bross Stuart.

“We, the musicians, are very close to the audience and to the actors,” she explained. “Communication, page-turning, singing as you play – could be problematic. And the action is very immediate and very gripping. Very exciting!”

“My favourite number in the show,” said Palmer, “has to be our opening number, ‘The Ballad of Sweeney Todd.’ Our amazing choreographer, Nicol Spinola, has created something so eerie, unique and unsettling. It immediately brings the audience right into this dark and thrilling world of 1840s London. Not only does it sound fantastic to have our entire cast of 17 singing Sondheim’s challenging music, but it also sets the mood for the entire show. I get chills performing it and I am very confident the audience will have never experienced anything like it before.”

For more information and tickets to Sweeney Todd, visit sweeneytoddthemusical.ca. And plan to have dinner at the venue before the show – pies, of course.

“Our pies come fresh each day from the Pie Hole located on Fraser Street in Vancouver,” said Adams and Spinola. “We are offering a traditional steak-and-stout meat pie, an aromatic Moroccan chickpea vegetarian pie and a delicious Thai coconut curry vegan pie. Pies can be added on when you are purchasing your tickets.”

Format ImagePosted on October 5, 2018October 3, 2018Author Cynthia RamsayCategories Performing ArtsTags Halloween, Kat Palmer, musical, Ron Stuart, Sondheim, Stephen Aberle, Sweeney Todd, theatre, Warren Kimmel, Wendy Bross-Stuart
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