Rothstein Theatre

A diverse Chutzpah! lineup

Ben Caplan opens this year’s Chutzpah! Festival Nov. 21. (photo from Chutzpah!)

In the last issue of the Jewish Independent, Chutzpah! Festival artistic managing director Jessica Mann Gutteridge, festival host and stand-up performer Iris Bahr and event comedy closers Jess Salomon and Eman El-Husseini, aka the El-Salomons, were featured. This week, the JI offers a glimpse into the rest of the lineup, by order of appearance.

Musician Ben Caplan opens the festival on Nov. 21 with a recorded performance. Before the recent COVID restrictions, the show was to be presented live from the Rothstein Theatre.

Caplan was on stage here back in January, bringing Old Stock: A Refugee Love Story – which is based on the true story of two Jewish Romanian refugees coming to Canada in 1908 – to the PuSh International Performing Arts Festival (jewishindependent.ca/searching-for-a-safe-harbour). This show, Caplan will be performing songs from his album Old Stock, which is adapted from this music-theatre work.

“The story of Chaim and Chaya, and, by extension, that of a great number of immigrants and refugees who have come to Canada, is full of a great many hardships and tribulations,” said Caplan when asked what lessons from their experience might be relevant in COVID times. “Their story is not free from conflict, both with the outer world, with each other and with themselves. What we see in their story is that, through perseverance, they are able to cross the narrow bridge of their precarity into a sweeter time. It is a nice reminder that no matter how dark things get, there are always brighter moments ahead.”

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Last Chutzpah! Festival, former Vancouverite Tamara Micner performed her one-woman show Holocaust Brunch here. On Nov. 22, she’s offering a first peek at a new work-in-progress from her current hometown, London, England.

photo - Tamara Micner in Old Friends — Tamara Micner in *Old Friends*. *(photo by Sam Micner)*

“Old Friends is very much in the early days – I would say it’s in kindergarten,” admitted Micner. “I’ve been working on it this year and the Chutzpah! Festival streaming will be the first time I perform some of the piece with a public audience. I don’t know exactly what the performance will look like or exactly what will be in it. It’s ‘nervciting’! I look forward to sharing some of the work with Chutzpah! audiences and doing a Q&A afterwards to speak more about the show. I’m hoping and aiming to present the full show in 2021.”

A key inspiration for Old Friends is the music of Paul Simon and Art Garfunkel, and their relationship.

“I find Simon and Garfunkel’s music comforting and uplifting…. The combination of Paul’s songwriting, Art’s voice and their harmonies are beautiful,” said Micner. “I also find the themes in their music resonant at this time – including loneliness, isolation, hope and a yearning for connection…. I’m also intrigued by the on-again, off-again nature of their relationship and the Jewishness in that – how we have a tendency to cling to each other, leave each other, not talk for years, but not be able to fully stay apart or let go. There’s a lot to mine in that, I think – where that comes from, what it’s about and how we can free ourselves from that cycle.”

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Also on Nov. 22, New York-based playwright Rokhl Kafrissen shares her new work-in-progress.

Rokhl Kafrissen’s Shtumer Shabes stars a drag performer as the Yiddish Theatre diva. (photo from Chutzpah!)

“Shtumer Shabes [Silent Shabbat] opens in the year 2000,” said Kafrissen. “A performance studies grad student named Jess is writing about the heyday of Yiddish theatre in Poland in the 1930s. Jess is studying what she calls the ‘hybrid potentialities of interwar Yiddish performance practices.’ How did Jews use their art to embody binaries like Yiddish and Polish, Jew and Catholic, urban and rural, capitalist and socialist? She argues that The Dybbuk is the ultimate expression of that hybridity.

“As the play opens, Jess stumbles into the chance to interview an honest-to-goodness Warsaw Yiddish diva. It turns out that Sonja, a 90-something veteran of the Polish-Yiddish stage, is living in her neighbourhood. Jess comes to believe that Sonja possesses a ‘lost’ play script: Shtumer Shabes. Her encounter with Sonja is also her opportunity to write history. But Jess is confronted by the elusiveness of ‘plain facts’ and the cost of writing history. For me, the encounter between Jess and Sonja represents two competing ways of understanding the past, through scholarship and through art.”

Imagining Sonja’s world wasn’t hard for Kafrissen, as she knows well Yiddish theatre, past and present, and the standard Yiddish reference sources. However, she did struggle with her protectiveness of the Yiddish past and her obligation as a journalist “to the people and productions I’ve been reading about, an obligation to tell their stories accurately and respectfully.”

“But, at some point, my inner journalist has to be thanked politely and shown the door,” she said. “If you’re going to write historically informed fiction (which is what I consider this piece), you have to be comfortable going beyond the facts. It gets even trickier because part of Sonja’s backstory … is flashback to the war, when she was imprisoned in the Warsaw Ghetto. I know enough about the Warsaw Ghetto to invent a plausible scenario. But depicting it feels daunting. The potential for kitsch or melodrama is high. My characters grapple with extremely sensitive issues, including allegations of collaboration with the Germans. It was important to me that if I was going to include such provocative topics, I had to stick closely to historical fact and stay within the realm of the possible. My characters would not be saints or holy martyrs, but real people, caught in the worst possible circumstances.”

Cast as Sonja is Shane Baker, who Kafrissen has known since she worked with him in 2009 on his one-man show The Big Bupkis: A Complete Gentile’s Guide to Yiddish Vaudeville.

“I quickly became a big admirer of Shane’s work,” she said. “He can go from the highest brow, as with his translation of Waiting for Godot into Yiddish, all the way to the lowest brow, as with his vaudeville show…. In the last few years, Shane had been working on a drag character called Miss Mitzi Manna. She was inspired in part by his close friendships with the last generation of Yiddish theatre grandes dames. So, when I got a 14th Street Y LABA Fellowship in 2019, I decided to write a play with a role for Shane in drag as my yearlong fellowship project. I knew from the beginning that the role wasn’t written for Mitzi Manna per se, but Shane’s development of the character was a huge inspiration. Writing the role of Sonja with a drag character in mind opened up a kind of playfulness and experimentation for me. Drag is such a dramatically rich device. It heightens our awareness of the artifice of theatre and interrogates the mimetic nature of theatre itself.”

A staged reading of Shtumer Shabes was supposed to have taken place last in April. “Unfortunately,” said Kafrissen, “that coincided with the world as we knew it collapsing. As I get ready to present excerpts from the play for the Chutzpah! Festival, I can see a tiny sliver of silver lining. Even with the pandemic, I’ve managed to sneak in some actor time in the last couple months, as well as getting thoughtful feedback on the script from folks both within my artistic circle and outside. The script is now so much better than the version I had in the spring, so I tell myself maybe it’s better that I didn’t present that earlier draft to the world.”

The Dybbuk by S. Ansky infuses Shtumer Shabes: Jess is obsessed with The Dybbuk and it’s why she went to grad school; and “Sonja’s career on the Warsaw Yiddish stage was tied up with the phenomenal, real world success of The Dybbuk,” said Kafrissen. “It was with a Dybbuk monologue that she auditioned for Yiddish drama school and the role of Leah (the young woman possessed by the dybbuk) was always her dream.”

This year marks the 100th anniversary both of Ansky’s death in November 1920 and the première of the Yiddish version of the play a month later. “I love the idea of having our Chutzpah! program serve as Sonja’s final tribute to Ansky and his creation,” said Kafrissen.

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photo - Ella Rothschild’s Pigulim unfolds against the backdrop of a meal at a long dining table — Ella Rothschild’s *Pigulim* unfolds against the backdrop of a meal at a long dining table. *(photo by Efrat Mazor)*

Death … and life are at the centre of Israeli choreographer Ella Rothschild’s Pigulim, which is described as “a cultural narrative [that] unfolds against the backdrop of a meal at a long dining table where three characters suffer from unbearable loneliness and battle their way between life and death. Each character travels between their individual materialistic being and their consciousness, revealing their essential humanity in relation to existence and the quest for happiness.” A pre-recorded performance of the work will be shown at the Chutzpah! Festival on Nov. 23.

In the summer of 2019, Rothschild was selected as one of the first artists-in-residence at Suzanne Dellal Centre. She started Pigulim there and continued researching it in “other places in the world with different scenarios and different cast members.” This year, back at the centre, the piece premièred in its video version.

Pigul (pigulim, pl.) “describes a law from the Jewish tradition,” explained Rothschild. “It refers to a sacrifice that was prohibited to be eaten because of a forbidden thought that the priest (kohain) had in the moment he was making the sacrifice. It can mean abomination or loathsome, and it’s not a word used in everyday Hebrew. The idea that a thought can change reality has a direct connection to what I tried to present in Pigulim. If the thought one can have determines the reality of another entity, how much from our consciousness is being present in our reality and our society?

“Another aspect of choosing this particular name is another gap that unravels between the sound of the word and its meaning. Pigulim has a nice way of rolling in the mouth. The letters are round and when you pronounce it, it almost sounds like a name of a rare flower – but the meaning of it is the opposite. It contains strong emotions and gravity. Once more, it holds this gap between what we experience and the reality.”

This gap – “a certain detachment between our body and mind” – is something with which we must live, said Rothschild, and its loneliness is not changed by “how many people are surrounding you in the space.”

“As I see it and experience it, it is a state of being, not only of certain individuals but as a mass society,” she said. “I have learnt, through working with others, more about how this gap appears and how we perceive it. We behave inside these structures that are determined for us and, yes, it leaves a gap or an absence that we don’t really understand, or we will forever try to make sense of.”

However, there is more than just absence. “I did find out that we share more than we think,” she said. “We share beauty, laughter, sadness and grief. We cry from the same things and we worry and we fear. But we also love. And that is an overwhelming thing to share.”

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Israeli pianist and composer Guy Mintus – whose solo concert will be live-streamed on Nov. 24 – is about to release his third album with the Guy Mintus Trio: A Gershwin Playground.

Mintus’s study of piano didn’t follow a traditional path. “I didn’t start with classical piano,” he said. “I started on a little keyboard my parents got me, not an acoustic piano even, and I was studying a very mixed repertoire of adapted arrangements for beginning keyboard players. Among that repertoire were the Beatles, Israeli pop songs, Fiddler on the Roof and … two [George] Gershwin tunes: ‘It Ain’t Necessarily So’ and ‘Summertime.’ When I started playing those, my father handed me the Porgy and Bess album of Ella [Fitzgerald] and Louis [Armstrong]. That totally blew my mind and I started trying to emulate the arrangements on my keyboard (which had the ability to switch between different sound samples).

photo - Guy Mintus will play songs from his upcoming album, which celebrates George Gershwin’s music — Guy Mintus will play songs from his upcoming album, which celebrates George Gershwin’s music. *(photo by Ella Barak)*

“To me, these songs are timeless – musically and lyrically. They’re very rich and have a strong musical character but yet they remain very open and flexible to let you in and bring yourself into them. The lyrics also mostly speak of things that will always be relevant. It’s not by accident that generations and generations of jazz musicians have been interpreting Gershwin.”

One aspect of the music’s continued importance is that, “unfortunately, we’re constantly reminded by these horrific events that keep happening that racism is still very much around; that the colour of your skin can easily become a disadvantage right off the bat,” said Mintus. “When I’m thinking of Gershwin, I’m also considering his background as a Jewish-American composer coming from a family of immigrants. Of all things he could be fascinated by, he was fascinated by Black American music and ended up writing the first jazz opera bringing this marginalized music to the heart of the consensus. More than that, he wouldn’t allow Porgy and Bess to be premièred at the Met Opera because, at the time, they wouldn’t allow Black performers. He made it mandatory that, if Porgy and Bess is ever performed, main roles have to be performed by Black people. Now, Porgy and Bess has its controversies in regards to race and representation but I believe in the essence of its coming from a place of great respect to the incredible culture its getting inspiration from.

“I think that the Jewish and African-American communities actually share quite a lot in common,” he continued. “There’s certainly a collective trauma we’re each dealing with. To me, Gershwin was standing right in the middle of that – in ‘Rhapsody in Blue’ (which is on the album, as well, in a solo version) you literally have a meeting point between klezmer and the blues. I want to echo that connection, which is still very relevant to me, through my own lens as an Israeli who lived, studied and worked in New York. It’s important to give back, acknowledge and show respect where it’s due. Last July, the trio and I did an online fundraiser concert called Gershwin Global. It was in order to raise funds for the Jazz Foundation, who takes care of elderly musicians and emergency cases. This music comes from people who gave their lives to it – if we benefit from it, we’ve got to find a way to also give back to its source.”

The new album will be launched on Nov. 27 and, given COVID, touring it is not an option. Nonetheless, Mintus said it is worthwhile to put it out anyway. “Life goes on, music goes on and, in my opinion, it’s as relevant, if not more, to release new music in this period,” he said.

With the internet, there are many ways to connect with people all over the world, he added. “This poses a creative challenge how to find interesting, experiential ways to share this music with the world; how to share the story behind the album. Each single has a unique artwork, there are videos, a bunch of online live events that are planned – all of this is going to be available through my Facebook page (facebook.com/guymintusmusic). The fact that I’m not switching countries so often as normal allows me a different kind of focus and attention on how to turn this release process into the most fun, meaningful and creative process it can be.”

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photo - Racheal Prince and Brandon Lee Alley in Hourglass by Idan Cohen — Racheal Prince and Brandon Lee Alley in *Hourglass* by Idan Cohen. *(photo by Theo Bell)*

Chutzpah! artist-in-residence this year is choreographer Idan Cohen (Ne. Sans opera and dance). The world première of his Hourglass, which is presented by RBC, will be performed and live-streamed from the Rothstein Theatre on Nov. 25.

“Both the residency and this opportunity to present at Chutzpah! are the best things that could have happened to me during a time when artists are facing difficult challenges,” Cohen told the Independent. “I believe with all my heart in the strength and importance of the arts for a healthy society. It is not a luxury but a necessity, especially within a specific culture. Judaism is not just a common history or a set of beliefs, but a diverse culture that needs to be ever-evolving, reinterpreted and recreated, respecting and learning from our common past while creating a shared future. Having Jessica [Mann Gutteridge] share some of the same core values, and acknowledge the importance of going forward with the festival this year, has been such an empowering force for me and my collaborators during these past few months.”

Hourglass is an exploration of aging set to music by Philip Glass. It is a duet with former Ballet BC company dancer Racheal Prince and returning Ballet BC company dancer Brandon Lee Alley.

“As dance artists,” said Cohen, “our focus is on our most intimate tool and instrument: the human body. When that body is extremely intelligent and qualified, as Racheal’s and Brandon’s bodies are, true magic happens on stage. It’s like an ancient fairytale told to you as a child: it represents both the past and the future, it’s exciting and haunting, and it teaches you something valuable through the most basic elements of storytelling. No need for fireworks or special effects.

“For this edition of the festival, we are presenting 30 minutes of dance to four out of 20 études composed by Glass played by the conductor and celebrated pianist Leslie Dala (Vancouver Opera, Bach Choir). Leslie was actually the one who first presented the idea of this project to me, and dancing and working with him has been a most gratifying experience. There are linear elements in the piece, but Glass’s music marries the abstract and the linear, the romantic and the intellectual, in a way that not many composers are able to do, and that’s what makes it so unique.

“Racheal and Brandon, who are young yet mature and highly experienced dancers, can embody different physical states in such a fascinating way,” said Cohen. “They had a significant role in our exploration of the theme of aging and time.”

Being a real-life couple means that Prince and Alley have been able to rehearse together safely during COVID, and the Rothstein Theatre is large enough for them to work with Cohen at a safe distance. “Since Leslie is also dancing (!) in the piece,” added Cohen, “we had to adapt in order to keep everyone safe, which is, of course, the priority. This has definitely been a great learning experience, and an immensely gratifying one.”

The Chutzpah! Festival runs Nov. 21-28. For tickets, which start at $18, visit chutzpahfestival.com or call 604-257-5145.

First-ever virtual Chutzpah!

The new artistic managing director of Chutzpah!, Jessica Mann Gutteridge, faced unique challenges in presenting the festival. (photo from Chutzpah!)

“This has been a challenging time for all communities. I hope that this year’s Chutzpah! Festival can bring a sense of joy, and the communal spirit that comes from sharing performing arts experiences with others, whether at the theatre or from the comfort of home,” said artistic managing director Jessica Mann Gutteridge in a recent interview with the Jewish Independent.

This will be the first-ever Chutzpah! The Lisa Nemetz International Jewish Performing Arts Festival that people will be able to watch at home. Given the COVID-19 pandemic, all of the performances will be available online, Nov. 21-28, with a few opportunities to attend small-audience shows that are being live-streamed from the Norman and Annette Rothstein Theatre. Not only will this be the first Chutzpah! presented digitally in the festival’s 20-year history, but it will be the first directed by Gutteridge.

“I knew that I had an exciting and challenging year ahead of me when I took the helm of Chutzpah! from Mary-Louise Albert, who was artistic director before me for 15 years,” said Gutteridge. “I really could not have anticipated how much the world would change just three weeks later, when the pandemic shuttered the Rothstein Theatre and the entire performing arts sector. The first month or so was spent focusing on our staff’s well-being and helping the many users of our theatre to reschedule and replan all the events that had to be canceled.

“The first thing I did for the Chutzpah! Festival was to take some time to think,” she said. “My board was wonderfully supportive from Day 1 and assured me that whatever scale I felt was right would be all right with them – even if I wanted to postpone for a year. I spent a great deal of time just thinking about the purposes of the festival, how it serves the community and the relationships we have with our audiences and community of artists. Even before COVID, when I was thinking about what my first festival might look like in a transition time, I felt inspired to bring together artists who had performed in the festival in the past with new artists who I hoped would join us in the future. So, I began by reaching out to artists from both groups so that we could just start to get to know each other, and find out how everyone was responding to this unprecedented situation.”

By early summer, said Gutteridge, it became clear that the health-related restrictions with respect to the pandemic would still be in place in November, “so I began to think about how we might incorporate digital presentations into the festival, and to talk to artists who were exploring this form of performance in their work.

“I was thrilled to learn that Iris Bahr, who was in the 2019 festival, is not only a brilliant actor and stand-up comic, but is also a podcaster who interviews other artists and public intellectuals with much wit and insight. I invited her to perform her solo stand-up, but also to function as our festival host and conduct live interviews with all the festival artists,” said Gutteridge. “Because Iris divides her time between Israel, New York and Los Angeles, we knew she would have to appear digitally and, though this adds another layer of technical complexity, I think it’s such a special opportunity that the present moment brings us – to join artists from across the world and have a chance to learn more about how the pandemic is changing and shaping their creative work.”

The festival’s online-only shows will include Bahr’s stand-up comedy performance (click here for story); New York-based playwright Rokhl Kafrissen’s Shtumer Shabes (Silent Sabbath) and former Vancouverite-current Londoner (England) Tamara Micner’s Old Friends, both of which are works-in-progress; a concert by Israeli pianist and composer Guy Mintus; and Israeli choreographer Ella Rothschild’s Pigulim.

There will be two shows live-streamed from the Rothstein, where limited audiences will be permitted. Ben Caplan will perform music from Old Stock, which is adapted from his music-theatre piece Old Stock: A Refugee Love Story (see jewishindependent.ca/searching-for-a-safe-harbour). And Chutzpah! artist-in-residence Idan Cohen (Ne. Sans opera and dance) presents the world première of Hourglass. Closing out the festival are Jess Salomon and Eman El-Husseini (click here for story), who will be live-streaming from Brooklyn, joined by yet-to-be-announced local comedians performing at the Rothstein.

The lineup is a fraction of what it would have been if not for COVID, but Gutteridge thought it important to proceed with the event.

“Well, for starters, I’m stubborn and I like a challenge!” she said of the decision. “I also knew that we were well-positioned with staff and support to execute a creative and fulfilling festival, even though it would not look much like past festivals. In talking to colleagues inside and outside the JCC, and hearing from our community via a survey in July, I understood that there was a lot of enthusiasm to keep experiencing the kind of performing arts presentations that Chutzpah! has offered for 20 years now. And, looking ahead to dark November nights, I think we can offer a communal experience that will bring some much-needed joy.”

In addition to focusing on quality entertainment, health and safety has been at the forefront of the planning.

“We have worked carefully with health and performing arts sector experts to make sure that we are providing the safest possible experiences for audiences, staff and artists, including at our physically distanced, intimate live events at the Rothstein Theatre,” said Gutteridge. “I’m also very impressed by how our artists have risen to the challenge. Rokhl Kafrissen, the playwright of Shtumer Shabes, has been working with her cast via Zoom since April, when they presented a workshop of the play in lieu of the debut performance they were scheduled to have at LABA in New York. Our audiences will have a chance to meet the artists and see excerpts from the play, with context about the work’s meaning and creation, all performed from the artists’ individual locations. It’s a special opportunity for our audiences to peek inside the creative process.

“Idan Cohen’s Hourglass, a new dance piece with live piano accompaniment, is being created this fall at the Rothstein Theatre as part of our creative residency program. With 318 seats and a large stage, the theatre is large enough for physical distancing, and Idan is working with a skeleton crew – often just himself and the two dancers at work. The dancers, Brandon Lee Alley and Racheal Prince, are partners offstage as well as on, so they are already in a household bubble. The other dance piece, Ella Rothschild’s Pigulim, comes to us from the Suzanne Dellal Centre in Tel Aviv, where the performance was previously recorded in a studio theatre, so that health and safety protocols could be observed and the dancers could form their own bubble.”

Tickets for the festival start at $18 and are available online at chutzpahfestival.com or by phone at 604-257-5145.

Bahr to host Chutzpah!

Iris Bahr pulls double duty at the 2020 Chutzpah! Festival, as host and performer. (photo from Chutzpah!)

Comedien, writer, actor, director, producer and podcaster Iris Bahr will both host this year’s Chutzpah! Festival, Nov. 21-28, and perform her stand-up live Nov. 26.

Known for her eclectic characters, Bahr will call on many of them as she converses with the other festival artists as part of her hosting duties.

“I’ll be conducting these conversations either as myself or as some of my characters, depending on the artist I’m speaking to,” Bahr told the Independent. “My alter egos include Shosh, the salty Israeli who has become popular on Instagram, Rae Lynn Caspar White, my ‘Southern redneck intellectual,’ and Shuli, my Orthodox character who is beyond excited to ‘dive into the arts’ for the first time.”

Many JI readers will know Bahr’s stand-up from having seen her perform at last year’s Chutzpah! The show will be somewhat different this time around.

“My stand-up will involve more crowd work and storytelling versus just straight-on stand-up to camera,” she said. “I have found that to be a more captivating and enjoyable experience for everyone involved when the audience can also engage and experience each other’s presence, it’s the closest we can get to a communal live theatrical experience in these challenging times.”

For more on Bahr, see jewishindependent.ca/bahrs-many-personas. For more about Chutzpah!, visit chutzpah.com and read the next issue of the JI.

Living and working together

Eman El-Husseini, left, and Jess Salomon with furry family member Esther Honey El-Husseini. (photo by Mike Bryck)

Jess Salomon and Eman El-Husseini, aka the El-Salomons, close out this year’s Chutzpah! Festival on Nov. 28. They will live-stream from Brooklyn, and local comedians will join the event from the Rothstein Theatre.

In performance, the married Jewish-Palestinian lesbian comedy duo leans into the things that make them unique. Their chemistry is not only evident on stage, but even comes out in an email interview, where the pair play off one another like, well, a couple who knows and loves each other well.

JI: You met when you were each performing solo routines and continued in that vein, I think, even after you were married. When and why did you team up professionally as well?

Jess: It didn’t really come from us. We weren’t out in comedy until we got engaged so it was only after that, that we started making jokes about our relationship. Sometimes, we’d follow each other on a show and it became obvious who we were talking about. Like how many Jewish-Muslim-Palestinian Canadian couples that moved to America from Canada are there? Another comedy couple might be able to be on a show together and say my boyfriend did this or my girlfriend did that, and no one would connect that they were referring to one another. So, we built in this reveal and, eventually, people started asking if we were going to share the stage together. We didn’t want to, but it’s a sacrifice we make for the fans!

Eman: The first time we shared the stage was at a gig in an old synagogue turned community centre in L.A. I went on first and introduced Jess for her performance. We bantered, unprepared, on stage for about 10 minutes. We had no idea a reviewer from Tablet was in the audience and, although we individually performed for about 30 minutes separately, that 10 minutes of banter stole the show…. We didn’t think much of it but, a year later, 2018, we were in our hometown of Montreal for the Just for Laughs Festival. The BBC World Service was in town to put on a comedy show. They called us and asked if we’d want to record a set together and we said, ‘absolutely not.’ First of all, they have a huge listenership and we wouldn’t be able to polish an act under such short notice and, second, no one wants or should want to work with their spouse. But, the British have a way to persuade, it must be the accent.

At the same time, because we were back in our hometown, Just for Laughs offered us two shows to do whatever we wanted. We decided to perform individually for 20 minutes and then 20 minutes together. We almost got divorced but the audience loved it! We sold out both nights and added a third. Who would have thought a duo act would be so sought after? We’ve been working together ever since, and we are still married! I think, at this point, if we ever separated, we’d have to be closeted about getting divorced.

JI: From where do you get the strength and confidence to be a stand-up comedian?

Eman: I have no idea why and how I’ve stuck with this career after my first set. I bombed so hard and, until today, continue to bomb at times, but there is truly an addictive element to making someone laugh. Even if it’s a single person in a room. Laughter is so genuine and isn’t easily had. I mean, even in our day-to-day life Jess and I will share with each other how we made a stranger laugh shopping for groceries or walking the dog. It’s so rewarding.

Jess: Making strangers laugh and then talking about it is 100% an Eman thing. Right now, we’re in an argument over a speech therapist I’m convinced she hired just to entertain while she insists she has a speech impediment that must be fixed.

Eman: I feel like my strength and confidence comes from my parents. Although my sister and I have a brother, I managed to be the favourite.

Jess: You do have a masculine energy they might be responding to.

Eman: A big reason I wanted to be a stand-up comic is because of how misrepresented and underrepresented Arabs, Muslims and particularly Palestinians are in the media. More often than not, I am the first Palestinian someone meets in real life. I feel like an ambassador of sorts, dispelling stereotypes about my people. Exposure is such a powerful tool in getting through to people and if you can make them laugh that’s a big bonus. Even if people are immediately turned off by what I represent, they are still curious to hear what I have to say. I remember headlining a show in Niagara Falls once. I had to be on stage for 45 minutes. Twenty minutes in, I realized I haven’t made a single person laugh….

Jess: I love that it took you 20 minutes! That’s confidence.

Eman: They were conservative-leaning so, I called them out, ‘Guys! I know you don’t like what I’m saying but I can tell you like me.’ That eviscerated the room! From that moment forward I knew I could never quit comedy even if I wanted to.

Jess: I tried to do a joke about the no smoking sign on the plane and quickly realized there were at least a few comics who had done the same joke. That’s when I realized it’s better when I pull from personal experience. Even if I’m not an ambassador like Eman. I’m not the first Jewish comedian people have seen.

illustrations - The El-Salomons have their own cartoon. (Illustrations by Jesse Brown) — The El-Salomons have their own cartoon. *(illustrations by Jesse Brown)*

JI: How and when did your new Crave Canada special, Marriage of Convenience, come about?

Jess: After performing in Montreal for Just for Laughs and the BBC in 2018, we kept working on our duo act and growing our audience on Instagram for our comics (@theelsalomons). We sent a tape of what grew into an hour-long show to Just for Laughs and that’s how we got booked for the Crave special.

Eman: We realized people preferred us together than individually, which is insulting considering we had about a decade each of solo experience. It’s understandable, there are so many stand-up comics but rarely any duo acts.

Jess: There’s no one I’d rather lose my individual identity for.

Eman: Aw.

JI: What is the origin of the cartoons?

Eman: Jess came up with the idea. We would get such a huge response on social media when we’d write these back-and-forth status updates about each other.

Jess: Huge is relative.

Eman: People asking when the sitcom was coming out.

Jess: And, knowing that it would take awhile for us to find the time to write a pilot that was pitch-ready and be in a place where we could sell a series, a weekly cartoon on Instagram seemed like a manageable place to start to develop the character version of ourselves and, hopefully, an audience. We also have a close family friend, Jesse Brown, who just happens to be an incredible illustrator that wanted to work on this with us. So that’s how it was born.

Eman: The El-Salomons was the hashtag for our wedding, and Jesse drew us for our invitations … my mother-in-law saw them and said, “He made you look thin.”

Jess: Actually, yes, that is how it was born.

* * *

Chutzpah! starts Nov. 21. For the full lineup and tickets, visit chutzpahfestival.com or call 604-257-5145.

Bahr’s many personas

Writer and comedian Iris Bahr performs at the Rothstein Theatre on Nov. 12 and 13, as part of the Chutzpah! Festival. (photo by Gail Hadini)

Award-winning writer, actor, director and producer Iris Bahr delves into serious issues using humour – and by being someone other than herself. She will bring some of her many characters to the Rothstein Theatre stage Nov. 12 and 13 as part of the Chutzpah! Festival.

Bahr hosts the weekly podcast X-RAE, as alter ego Rae Lynn Caspar White. In her one-woman show DAI (enough), she portrays 11 different characters in a Tel Aviv coffee shop. In her comedy series Svetlana, which ran for a couple of seasons, she starred as the Russian prostitute and political consultant. These are but a few examples of the personas she has created.

“I think I was about 6 years old,” Bahr told the Independent about when she did her first impression. “My family went on a trip to Italy and I began to imitate the tour guide, who kept going on and on in a heavy Italian accent about ‘marble from Carrera’ and so, for years after that, I would always be asked to ‘perform my Italian woman’ when my parents had company over.”

Using the example of the character of Rae Lynn, Bahr explained how an alter ego allows for a better conversation.

“I host my X-RAE podcast in character because I find it puts people at ease and they open up about topics they wouldn’t otherwise,” she said. “Rae Lynn flips from highbrow to lowbrow in a heartbeat and talks openly and outrageously about parenting, marriage and various R-rated topics. During my interview with Lawrence O’Donnell, for example, we veered from Marxism to Penn Gillette’s sex parties in a single breath.”

A magna cum laude graduate of Brown University, in Providence, R.I., Bahr studied neuropsychology, and has done brain research, as well as cancer research.

“I think I gravitated towards neuroscience because the inner workings of the brain fascinate me and I’m equal parts cerebral and highly emotional, and so that translates into all my work,” she explained. “I have a splintered identity, but not in a 50-50 kind of way – I actually feel 100% American and 100% Israeli at all times and that feeling of connection yet constant alienation lends itself to me inhabiting different characters and being able to truly commit to different viewpoints.”

Bahr was born and raised in the Bronx but moved to Israel as a teenager, staying there through military service; she still has family there. Her latest satire, The Olive Tree, about the Israeli-Palestinian conflict, recently had a soldout reading in New York and is set to open in spring of next year. DAI came to the stage in 2006 and audiences have included the United Nations, in 2007.

“I was invited to perform the show for over 100 ambassadors and delegates and the experience was unforgettable,” she said. “They were highly attentive and laughed at all the right moments, which I was not sure was going to happen. I felt like a diplomat for a day.”

Bahr said she wrote DAI “to communicate the intricacy and complexity of life in Israel, the inner conflicts prevalent in Israeli society, and how they are affected by living under constant threat of suicide bombings/sudden death, which, as any Israeli will tell you, instil not a feeling of helplessness but a vibrancy and love for life. On the flip side, is how that very fact is perceived by visiting outsiders and Palestinians affected by the conflict. The characters we meet in the café – from all walks of life, ideological spectrums and backgrounds – have no idea their lives will be ending abruptly [by a suicide bomber] and so their monologues range from outrageously humourous, vengeful, disillusioned and more.”

She first performed DAI at Baruch College in New York City, “as part of a festival sponsored by the Culture Project,” she said. “I had no idea it would get picked up immediately for a commercial run, and so that was a phenomenal development.

“A lot has changed since I first wrote DAI, in terms of how the conflict is manifesting itself on both sides, and yet the situation has sadly stayed the same. Thankfully, suicide bombings seem to be a thing of the past, but my dear childhood friend and father of four was stabbed to death only last year while out shopping, the Palestinian plight has not improved and the political climate is worse than ever. Nevertheless, the characters in DAI have sustained their relevancy; my German character talks about rising antisemitism in modern-day Germany, for example; my Israeli former military man talks of his son who doesn’t want to serve in the military; and the snooty ex-pat woman who lives in New York City, well, those types of women only seem to multiply by the minute.”

She stressed, “The play is not a polemic – it is a collection of social observations that speak from many different viewpoints. The piece aims to entertain, offer a visceral theatrical experience and, hopefully, also illuminate and enlighten. Thankfully, it has been warmly received amongst extremely ‘pro-Israel’ audiences and also ‘pro-Palestinian’-leaning crowds both in Europe and here in America. Of course, certain right-wingers think it’s too leftist and left-wingers think it’s too right, which is all I could really hope for as a piece about humanity.”

For tickets to see Bahr perform at Chutzpah!, and for more festival offerings, visit chutzpahfestival.com.

Dancing to Beethoven

ProArteDanza’s The 9th will première in Vancouver before heading home to Toronto. (photo by Alexander Antonijevic)

Ten years after its conception, ProArteDanza’s The 9th, a full-length contemporary dance performance, will have its world première in Vancouver at the Chutzpah! Festival Oct. 26-28.

“We were originally planning to première it in Toronto for November,” Roberto Campanella, co-artistic director of ProArteDanza, told the Independent in a phone interview. “We’re opening in Toronto Nov. 6, which is a week-and-a-half after Chutzpah! And then Mary-Louise [Albert] called and said, ‘How do you feel about bringing The 9th here?’ And I said, ‘Well, it would not be a bad idea for everybody involved to have that opportunity…. We love being at Chutzpah! We’ve been before, we have a longtime relationship with Mary-Louise.” (Albert is artistic managing director of Chutzpah!)

Campanella created The 9th with ProArteDanza co-artistic director Robert Glumbek in collaboration with the dancers. Inspired by Beethoven’s Ninth Symphony and performed to the score, the show has four movements and is about 70 minutes long, with no intermission.

Each dance movement was created and mounted on its own: the first, then the third, the second and, finally, the fourth, which the company performed this past June in Trois-Rivières, Que., for the festival called Dansencore. Regarding the full-length work, Campanella said “it’s one thing to put on one movement at a time separately, and we’re realizing it’s a completely different beast because we have to also layer [each movement] with the concept of a wall or, in this case, the symbol of the Berlin Wall, so it’s taking almost a different life for me and for Robert…. And it’s only eight dancers and it’s going to be incredibly physical and athletic and intense, so we also have to distribute our dancers in a way that we don’t kill them in the first movement.”

Ten years ago, Dansencore commissioned Campanella and Glumbek to create the first movement. At the time, the festival was celebrating its 15th anniversary, as well as the establishment of Trois-Rivières, with Beethoven’s Ninth, said Campanella. “The idea was that there were different choreographers allocated for the four different movements … and we put the whole thing together probably in one day or two with the live orchestra and the live choir, so it was a mega-super-project. It all came together then.

“What we decided to do, with the permission, of course, of the festival, we said, ‘Can we present out first movement only for our company, ProArteDanza?’ We were granted permission and we presented just the movement itself as part of a mixed program the year after, or the same year, here in Toronto. Then we looked at each other, Robert and I, and said, ‘Why don’t we do a long version of it? Why don’t we continue? But let’s take our time. Why don’t we continue on the same path we’re doing, a movement at a time, we present it, we look at it and see what comes out of it?’

“And then, in 2010, I was in Berlin shooting a movie and I had a few days off,” continued Campanella. “I went to the Berlin Wall, which is essentially rubble, it’s just bricks, there isn’t much, but there are these audio-visual stations, where you can put headphones on and have a look at old footage of when they were building it; it’s pretty much the history of the wall. And there was one image that still, I would say, hit the spot, which was these two families on [opposite] sides of the wall waving at each other, probably they were related to each other … and the waving at each other was different from one side of the wall and the other. And then I thought, could it be that this [image] is actually our Ninth Symphony concept? So, I talked to Robert and I said, ‘Can we explore that and see where it goes?’ And that’s when the ball started rolling for us, but always maintaining the idea that we were not going to present the whole thing until we had all the four movements done and presented.”

The timing of The 9th’s completion comes with a few coincidences, said Campanella. Most notably, the final concert date, in Toronto, is Nov. 9 and, he said, “Nov. 9, 1989, is the actual day of the fall of the Berlin Wall,” so the show will occur exactly 30 years after the wall’s fall. He also noted that ProArteDanza’s show, which is called The 9th, ends on the ninth and that, at the 1989 celebration of the fall of the Berlin Wall, Leonard Bernstein conducted the Ninth Symphony.

For Campanella, the fall of the Berlin Wall is “about freedom, it’s about brotherhood, it’s about unity and diversity, celebrating all of that.”

In addition to the challenges of portraying these concepts, Campanella said it’s been fascinating to reimagine the movements that were created in the early years.

“We look at what we did 10 years ago and we cringe,” he said. When he and Glumbek watched videos of the piece, “you should have heard us, we were thinking, ‘Who choreographed that?’”

The pair have broken through many artistic walls since then in their respective careers, said Campanella, that they decided “this is not us anymore and so we are going to revisit it, reassess it, reevaluate what we’ve done and why.”

He pointed out that the original first movement was also created by a different cast. “There is only, I think, one [dancer] left who’s done everything. So, there are things that are born with a certain cast but there is a turnover of cast, [so] it will inevitably take a different direction naturally, as well as us being different now than 10 years ago.”

Part of what’s great about dance, he said, “is that you have the ability to remount things. A painting, once it’s done, it’s done. You’re going to hang it somewhere and you’ll look at it; it’s done, it’s over. For us, we have that ability to remount and re-look at it and say, ‘Who am I now that’s going to be in this current version of it?’ So, it’s been a very fascinating process.”

Campanella said, in creating The 9th, he and Glumbek “took our time because we really wanted to respect first and foremost the score of this magnificent piece of artwork,” referring to Beethoven’s composition.

In The 9th, more than one version of the symphony is used. Of those that were not chosen, Campanella said, “some of the versions are what we think are excruciatingly slow for us. Maybe they are amazing versions for musicians, for the experts, [but] they’re not conducive to the physical movement part of it.”

For tickets to The 9th, visit chutzpahfestival.com.

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.”

Comedy for youth sport

Comedian Jacob Samuel headlines A Night of Shticks & Giggles Feb. 21 at the Rothstein Theatre. (photo from JCCGV)

In just one week, I will be standing on stage at one of the most exciting events I have ever been a part of. On Feb. 21, some of the funniest stand-up comedians in Vancouver will join me in the Jewish Community Centre of Greater Vancouver’s Rothstein Theatre, using laughter to raise money for JCC youth sports scholarships.

A Night of Shticks & Giggles is co-produced by the JCC and Rise of the Comics. Headlined by 2017 Yuk Off champion Jacob Samuel – It’s good to finally see a successful Jewish comedian, right!? – it will also feature a performance from Larke Miller, who I remember watching on The Late Late Show with Craig Ferguson, as well as several other local comedic stars.

While the show will be one of those guaranteed good times for the audience, for me, it also represents a unique opportunity to combine two of my great passions.

Passion #1: As the delegation head for the JCC Maccabi Games – an athletics and arts program that provides Jewish teens the opportunity to travel and experience an Olympic-style international event – I have the responsibility and honour of raising scholarship funds to enable as many teens as possible the chance to participate in this life-changing event.

Passion #2: As a stand-up comic still in his rookie season, I get to meet, learn from and share the stage with some of the city’s top comics. Not to mention the opportunity to stand and perform my craft in front of an audience of 200+ in the Rothstein. (Gulp!)

As a producer of the show, the fact that I will be performing my own original set kind of makes me like that kid who got to start on the soccer team because my dad happened to be the head coach. Except, in this case, I also run the soccer team, picked my dad to be the coach and, oh boy, he’s putting me in!

While I might not end up being the funniest comic of the night, I can promise A Night of Shticks & Giggles will deliver the funny in spades.

Among his many local appearances, Samuel has performed on the Rothstein stage before, when the Jewish Independent team held their JI Chai Celebration in December 2017. He followed that up with his Yuk Off championship win, and his career has taken off since.

Harris Anderson, Joey Commisso and Randee Neumeyer have all inspired me with their irreverent, clever and sharp takes on life, as well.

Another one of the comics, Ed Konyha, used to run the award-winning open mic Stand-up and Deliver, the show in which I finally found the courage to perform my very first set as a stand-up comic.

Finally, Scotty Aceman, emcee for the night and producer of Rise of the Comics, has worked with me on a few shows now (this being the largest by far!) and is a huge inspiration for anyone thinking of quitting their day jobs and following their passion – no matter how little money it makes them. Aceman had a career in the cellphone business before giving it all up to bring comedy to Vancouver’s masses. Today, Rise of the Comics showcases Vancouver’s incredible comedy scene, producing and selling out regular live shows while featuring these local talents on their YouTube channel. His latest venture, Rise After Dark, offers people the chance to bring stand-up comedy right into their living room or private event.

Shticks & Giggles is a well-supported community event with a powerhouse of partnerships including the Chutzpah! Festival; Axis, the Jewish Federation of Greater Vancouver’s young adult initiative; and, of course, the Jewish Independent.

Tickets for A Night of Shticks & Giggles are $20 and can be bought online at ticketpeak.com/jccgv. Doors open at 7:30 p.m. on Feb. 21, with the show set to begin at 8 p.m.

Kyle Berger is coordinator, sports department, Jewish Community Centre of Greater Vancouver, and co-producer of A Night of Shticks & Giggles.

Chutzpah! opens with Open

Ezralow Dance’s Open comprises many themes. (photo by Angelo Redaelli)

Los Angeles-based Ezralow Dance kicks off this year’s Chutzpah! Festival at the Rothstein Theatre Feb. 15 with, appropriately enough, a work called Open, for its embodiment of myriad ideas and ways in which to express them.

Chutzpah! also features a range of creative expression every year, with performers from around the world in dance, comedy and theatre. As has become tradition, the Jewish Independent will highlight several of the performances prior to the month-long festival. This week, we focus on dance, speaking with Daniel Ezralow, as well as Israel’s Roy Assaf.

* * *

“Open is a testament to what I believe,” Daniel Ezralow told the Independent in an email interview. “When my wife (who collaborated with me) and I were thinking of a title for the show, we played around with a lot of options, but when we came up with the one word Open, it expressed everything that I wanted to say. Be open, open yourself, open to others, open your eyes, open your mind, open your heart and stay open to the world in many senses.

“It was a way of saying, leave your judgments at the door and try, just try, to be open-minded. I find that we are so full of judgment, many times we fail to see the beauty of what is so simple and directly in front of us. I am constantly attempting to open my mind and receive what comes to me. There is a wonderful concept, ‘to want what you get, not get what you want.’ I think Open has something to do with this.”

In his work, Ezralow is certainly open to new ideas and a wide variety of media. In his 40-some years in dance, he has performed with several companies, co-founded others and choreographed for numerous groups around the world, including Batsheva Dance Company, Paris Opera Ballet, Maggio Musicale Fiorentino and the Atlanta Ballet. He choreographed the opening ceremony of the 2014 Winter Olympics and Cirque du Soleil’s Love. He has created for dance festivals, Broadway shows, gymnastics competitions, television, film, commercials and other corporate projects, awards programs, pop star performances and music videos. The award-winning choreographer, director and multimedia artist has a vast and eclectic resumé, to say the least.

“I remember as a child always asking my father ‘why?’ I asked him why about just about everything. There is no question I am naturally curious,” said Ezralow. “I was once working with Chaim Topol on a project in New York City and we were in a taxi together. I asked him why – why does he work, why does he do the things he does? I’ll never forget the response he gave me. He said, ‘Curiosity.’ At that point, I understood that was the same thing that made me do the things I do. My mother always encouraged me to ask questions and to do what I believed in. I do lose myself in creations, but usually it is not an escape. In my best moments, I also try to live life like a creation and lose myself in it.”

In looking at his body of work, it’s hard to believe that Ezralow didn’t take a formal dance lesson until he was in his late teens, when he was a biology student at University of California, Berkeley.

“Dancing chose me so strong, I had little choice to shy away from it,” he said of his change in career direction.

“At the time, I was deeply disappointed with the American medical system. I felt it had nothing to do with helping people and was mostly about a hierarchy to achieve a status of life. The system was very closed to acupuncture, Eastern ideas and anything alternative. At the time, this made me feel that it was really askew and not for healing and helping people but rather for diagnosing, medicating with pills and cutting in surgery.

“Hopefully, this has changed and we are now entering a period of truer possibilities,” he said. “I just saw a wonderful documentary titled Heal, which delves into the human possibilities to heal ourselves. This is the kind of medicine I would like to get involved with. I also feel that the work I do is healing – dance is healing!”

About his goal as an artist, he said, “As I have grown, I have shed some of my desire to be a performer/exhibitionist and have been humbled with age, which has allowed me to dig deeper to understand that all I ever really wanted was to make people happy. Happy can mean crying, happy can mean laughing, happy can mean many things to me. I really just want to help people to be inspired to live another day of their lives on this planet.”

Ezralow’s father’s family came to Los Angeles via Winnipeg, of all places.

“My grandfather ran from the Russian revolution to Canada and settled in Winnipeg, where my father was born, who was one of a family of five. My grandfather was a carpenter,” he explained. The family moved to Los Angeles, he said, “probably because my grandfather saw there was opportunity. They settled in Boyle Heights, the poor Jewish area of L.A., and he began building houses. One by one, he would build a house, sell the one they lived in and move to the new house. I took a tour of Boyle Heights with my father before he passed away and he pointed out all of the homes my grandfather built and the family had lived in.”

According to the Jewish Journal, Ezralow’s parents met in Los Angeles; his mother was born in Poland, but the family emigrated when she was quite young.

“My mother grew up a Sabra in Palestine, before the declaration of the state of Israel,” he said. “All of my family on her side are still in Israel and I would travel every other summer with my family to Israel, so I am connected by heritage to a people I know intimately from my entire childhood. This has given me a sense of Jewishness as natural and surrounding me.

“In Los Angeles, as well,” he continued, “there is a very strong and permeated Jewish community, which I grew up in and was a bar mitzvah. But, after that, I felt that there was too much dogma in religion. I have worked many times with Batsheva in Israel and still have a deep connection to everyone. I am sometimes sad to see what is happening with the conflict there. But I feel a strong sense of Jewish humanity in my soul. It is something that is universal and not selective to one religion.”

* * *

photo - Roy Assaf Dance’s Six Years Later — Roy Assaf Dance’s *Six Years Later*. *(photo by Costin Radu)*

Roy Assaf is both creator of and a performer in the two award-winning pieces he is bringing to the Chutzpah! Festival, starting Feb. 22.

“I dance in both works, the duet Six Years Later and the trio The Hill,” he said in an email. “Back in 2011 and 2012, when these works were created, it felt perfectly natural for me to choreograph and to dance the work at the same time. Nowadays when I create, it is not at all the obvious choice.”

Assaf was born in Israel, and dance has been a part of his life for as long as he can remember. About 15 years ago, he started working with Emanuel Gat, initially as a dancer, then as an assistant choreographer. Assaf’s first choreographed work, in 2005, won two awards at the Shades in Dance competition in Tel Aviv. In 2010, he worked with the Noord Nederlandse Dans company in Groningen, Holland, creating for them a work called Rock.

“I was invited by their artistic director, Stephen Shropshire,” said Assaf about that commission. “The amount of trust that Stephen gave me while working with his company strengthened my belief in myself that I could and should keep making pieces.”

Since then, Assaf has created or co-created works for many other companies, including two full-length pieces supported by the Intima Dance Festival, a work for L.A. Dance Project for the Biennale de Lyon, a collaborative piece for the Royal Swedish Ballet, and a piece for the Gothenburg Ballet. This past fall, he began creating 25 People, working with third-year Juilliard students in New York City, where he was on faculty for a semester, which he is resetting with dancers in Israel.

For Assaf, dance is not simply art for art’s sake.

“I would like to give people room to imagine,” he said. “It’s certainly not about distracting people – I really hope we are in the business of encouraging or facilitating engagement in one’s own life. What a pity it would be if dance principally served to distract or disconnect someone from his or her experience. Please do come to a performance and be fully yourself there – see what you see, recognize what you recognize, run with your fantasies, meet your uncomfortable places.”

The duet Six Years Later explores the relationship between two people who have come together after having been separated for a long time, while The Hill is a commentary on war, based on the Hebrew song “Givat Hatachmoshet,” about a particularly devastating battle that took place during the Six Day War in 1967, a battle that Israel won but with great losses.

Despite the different subject matter, Assaf has described both pieces as having a lot in common.

“They share a spine, in terms of physical material,” he explained. “If you look closely, you may discover that they are both dealing with much of the same movement – but that the same movement has undergone a very different treatment in each work. You might say they share a point of origin, but parted ways in their process. Each work followed a path to its logical conclusion. Both, however, deal with the story of human touch: its effect, its consequence.”

For all of the Chutzpah! dance offerings and the full festival schedule, visit chutzpahfestival.com.

Chutzpah! tix now on sale

David Broza, left, and Ali Paris will perform in concert. (photo from Chutzpah! Festival)

Tickets are now on sale for the 17th annual Chutzpah! Lisa Nemetz International Jewish Performing Arts Festival, which will run from Feb. 16 to March 13, at venues including Rothstein Theatre, York Theatre, Scotiabank Dance Centre and the Biltmore Cabaret.

“We are all excited for another year of presenting an electrifying array of internationally acclaimed dancers, musicians, comedians and theatrical artists to our audiences in Canadian, Western Canadian and world premières. We’re headed for an energizing and thrilling journey from stand-up comedy to theatrical drama to rich global music to explosive and elegant dance!” said Mary-Louise Albert, Chutzpah!’s artistic and managing director.

photo - Italy’s Spellbound Contemporary Ballet returns to Vancouver, bringing with them Carmina Burana — Italy’s Spellbound Contemporary Ballet returns to Vancouver, bringing with them Carmina Burana. *(photo by Mariano Bevilacqua)*

As it does every year, the 2017 Chutzpah! Festival dance series presents some of the most sought-after contemporary choreographers in the world. This year’s performances include the return of Italy’s Spellbound Contemporary Ballet with their full-length Carmina Burana; Israel’s Yossi Berg and Oded Graf Dance Theatre with their acclaimed 4Men, Alice, Bach and the Deer; and Kyle Abraham/Abraham.In.Motion (United States) brings a mixed repertoire of some of Kyle Abraham’s most popular works in their Western Canadian première. Vancouver’s Shay Kuebler/Radical System Art première their completed and full-length version of Telemetry, while local choreographer and performer Tara Cheyenne Friedenberg and Italy’s award-winning Silvia Gribaudi navigate the role of comedy as a catalyst to questions of gender, culture and language and understanding – this is world première presented with the Dance Centre. As well, in Chutzpah! Plus (May 13-14), there is Birds Sing a Pretty Song (Canada/United States/Israel/Argentina), an exploration through dance, film, interactive media and live music created by Rebecca Margolick and Maxx Berkowitz during a yearlong fellowship in New York City with LABA: A Laboratory for New Jewish Culture.

Among the Chutzpah! Festival 2017 musical highlights is Grammy-winners the Klezmatics 30th Anniversary Tour (United States). In concert together will be David Broza, whose music reflects the three different countries in which he was raised (Israel, Spain and England), and Ali Paris, who fuses Middle Eastern and Western music styles, and plays the qanun, a rare 76-string zither that dates back to the 14th century. Also in concert together will be Shalom Hanoch – touted as “the King of Israeli Rock” and compared to musicians such as Neil Young and Mick Jagger – who will be joined on stage by his longtime music producer, partner and keyboard player Moshe Levi.

Now based out of Chicago, Marbin, founded by Israeli guitarist Dani Rabin and Israeli saxophonist Danny Markovitch, is a progressive jazz-rock band, and MNGWA [ming-wah] opens their performance, mixing elements of psychedelic rock, dub, African rhythms, and vocals in four languages. Israeli singer Maya Avraham, who is known by Chutzpah! audiences from her performances with the Idan Raichel Project, comes to Vancouver with her band of Israeli and American musicians, and Lyla Canté (United States/Israel/Japan/Argentina) also joins the festival – exploring the intersection of Sephardi, flamenco and Ashkenazi music. For Chutzpah! Plus (April 2), composer Landon Braverman and Friends put on an evening of musical theatre – while currently based in New York, Braverman is originally from Vancouver.

With respect to theatre, one of this year’s Chutzpah! highlights is Wrestling Jerusalem, created and performed by Aaron Davidman. Set in America, Israel and Palestine, the play follows one man’s journey to help understand the Israeli-Palestinian conflict. Davidman’s solo performance is a personal story that grapples with the complexities of identity, history and social justice.

Another theatre draw is Folk Lordz, high-speed and multicultural improv featuring two members of Edmonton-based Rapid Fire Theatre, which was co-created by Todd Houseman and Ben Gorodetsky and brings together the unlikely combination of Cree storytelling, Chekhovian character drama and spontaneous comedy.

Comedy highlights include Mark Schiff (United States), who has headlined major casinos and clubs and has appeared many times on both The Tonight Show with Jay Leno and Late Night with David Letterman. He has had HBO and Showtime specials, was a featured act at the Montreal Comedy Festival and regularly opens for Jerry Seinfeld.

Also on the comedy front, there is a double bill: Ali Hassan and Judy Gold. Canada’s Hassan appears in his one-man show Muslim Interrupted; Hassan is a stand-up comedian, actor, chef and radio and television celebrity, and is the host of Laugh Out Loud on CBC Radio and SIRIUSXM. Gold’s (United States) most recent TV appearances include guest-starring roles on Louie, Broad City, The Unbreakable Kimmy Schmidt and Inside Amy Schumer, and she has a recurring role on the upcoming series on TBS Search Party. Gold has had stand-up specials on HBO (Cable Ace Award), Comedy Central and LOGO and was twice nominated for the American Comedy Award for funniest female comedian.

After the success of Chutzpah’s first literary event in 2016, this year’s Chutzpah! features author Christopher Noxon in Hollywood Stories, a special pre-festival event. Noxon is an author, journalist and illustrator and his humorous and unflinching Plus One is a novel about an interfaith family set in contemporary Los Angeles. Noxon is married to television writer and producer Jenji Kohan, creator of Orange is the New Black. This event is presented with the Cherie Smith JCC Jewish Book Festival and will take place on Feb. 5.

Single tickets for Chutzpah! range from $23 to $50 and are on sale now from chutzpahfestival.com, the festival box office, 604-257-5145, or Tickets Tonight, 604-684-2787. Chutzi Packs are also available – see four different shows for $94 – and new this year is a special five-show dance pack for $115.

Tickets will be available in-person starting Jan. 30 at the on-site festival box office at the Jewish Community Centre of Greater Vancouver. For hours and other information, visit chutzpahfestival.com.