storytelling

Chutzpah! opens on Nov. 12

Lorin Sklamberg, left, Sasha Lurje and Craig Judelman close the 10-day festival of comedy, music, theatre, dance and storytelling on Nov. 23 with Yiddish Songs of Social Change. (photo from Chutzpah! Festival)

The Chutzpah! Festival returns for its 25th anniversary with a mix of festival favourites and new discoveries in a lineup of performances Nov. 12-23, showcasing music, theatre, comedy, dance and storytelling through a multicultural Jewish lens.

“This Chutzpah! Festival is one of collaboration and celebration, combining past artistic managing director Jessica Gutteridge’s vision and my own,” said the festival’s new artistic managing director, Shayna Goldberg. “Chutzpah!’s legacy over the last 25 years has been to share diverse work from a multitude of Jewish perspectives, and the offerings this year are just as thrilling and exciting as any other. For 10 days this November, come and experience the best of what Canadian and international artists have to offer.”

photo - Israeli-American comedian Modi Rosenfeld brings his Pause for Laughter Tour to Vancouver on Nov. 12 to open the festival — Israeli-American comedian Modi Rosenfeld brings his Pause for Laughter Tour to Vancouver on Nov. 12 to open the festival. *(photo from Chutzpah! Festival)*

The festival opens Nov. 12, 8 p.m., at the Vogue Theatre with Modi Rosenfeld, presented in partnership with MRG Live. The Israeli-American comedian brings his Pause for Laughter Tour here for the festival.

Erik Angel, also an Israeli-American comedian, brings his project Comedy for Peace to Chutzpah! on Nov. 22, 7:30 p.m., at the Rothstein Theatre. Aimed at uniting communities through humour and mutual understanding, Comedy for Peace brings together stand-up comedians – Jewish, Christian, Muslim – for a show of “no politics. just laughs.” Joining Angel will be Ashley Austin Morris, Natan Badalov and Zara Khan. (See jewishindependent.ca/comedy-can-unite-and-heal.)

Chutzpah presents the West Coast debut of 8 Gays of Channukah: The Musical (Canada) at the Rothstein Theatre Nov. 13, 7:30 p.m. Blending Broadway-style musical numbers with comedy, drag artistry and Jewish joy, eight stories are brought to life by show creators Gila Münster, Sarah Freia and Yan Simon. The show includes an opening act by a local artist and there will be an 8 Gays of Channukah Shuk, featuring the work of local artisans, where you can pick up some gifts for the holidays.

Lea Kalisch’s Shtetl Cabaret (Switzerland/United States/Canada) is a night of collaborations featuring Tobias Moss and local Vancouver artists including Mike Braverman and Jason Overy. This show, which takes place Nov. 19, 7:30 p.m., at the Beaumont Studios (19+ venue), presents Jewish music, from forgotten melodies to original songs, and mashups from rap to rumba and folk to feminism.

Yiddish Songs of Social Change (United States/Germany/Latvia), presented by the Golden Thread Septet, explores Yiddish music as a tool for and reflection of social change, and features Lorin Sklamberg and Sasha Lurje, with arrangements by Craig Judelman. Judelman has arranged the Yiddish and English songs in a style that reflects the context of the songs themselves and honours the centuries-old tradition of using all these influences to inform the creation of new Yiddish music. In addition to the performance on Nov. 23, 7:30 p.m., at the Rothstein, Sklamberg, Lurje and Judelman will lead a free workshop about Yiddish music and dance that same day, at 2 p.m. Come explore both traditional and contemporary versions of Yiddish music and learn how you can dance along.

Back by popular demand, Chutzpah! and Vancouver Opera present Ne. Sans Opera & Dance’s Take This Waltz: Celebrating the Music of Leonard Cohen (Canada/Israel). This operatic and contemporary dance performance inspired by Canadian singer-songwriter Leonard Cohen was originally presented in 2022 as a Chutzpah! Plus event. Created by local choreographer Idan Cohen and bass-baritone Daniel Okulitch, it features Okulitch alongside dancer/musician Ted Littlemore and a virtuoso live ensemble of strings and accordion. Take This Waltz is at the Rothstein Theatre Nov. 15 and 16, 7:30 p.m. (See jewishindependent.ca/celebrating-leonard-cohen.)

On Nov. 20, 7:30 p.m., at the Rothstein Theatre, Chutzpah! presents the North American premiere of Common Place (Australia/Israel) by power-duo dancer/choreographer Omer Backley-Astrachan and multiple-award-winning dancer Jana Castillo. Common Place is a physical exploration of belonging and togetherness, delving into shared action, collaboration and synchronization.

Deb Williams returns to Chutzpah! with the Flame, an evening of storytelling, on Nov. 17, 7:30 p.m., at the Rothstein Theatre. The Flame is a grassroots series where real people share their personal, true stories in front of an audience under Williams’s direction. This edition will feature a multicultural group including Karen Segal, Dhana Musil and others. Williams will also host an in-depth weekend workshop prior to the event (Nov. 15 and 16, at the Post at 750) to help storytellers hone their craft.

On Nov. 18, 7:30 p.m., at the Rothstein, Chutzpah! presents I’m Not a Comedian … I’m Lenny Bruce (United States), a one-man show exploring the life and battles of one of the most groundbreaking comedians of all time, Lenny Bruce. Created and performed by Ronnie Marmo and directed by Tony Award-winner Joe Mantegna, this show threads Bruce’s original comedic bits with insights from his writings.

Other workshops and talkbacks with festival artists, facilitated by members of the Vancouver arts community, will run throughout the festival. Visit the festival website for updates and registration information.

Most single tickets for Chutzpah!’s live performances are offered at a pay-what-you-will price, with the levels at $18, $36, $52 and $70 (+ gst/sc). I’m Not a Comedian … I’m Lenny Bruce is $40 (students/seniors), $54 (general) and $72 (VIP) (+gst/sc). ChutzPacks are also available, for $136: see four different regular-price shows of your choice. Tickets for Modi can be purchased through admitone.com/events. For tickets to any of the performances and more information about any of the events, visit chutzpahfestival.com or call 604-257-5145.

– Courtesy Chutzpah! Festival

Hebrew Bible stories inspire

On Sept. 16, Stephen Schecter will retell three stories from the Hebrew Bible at the 40th anniversary celebration of L’Chaim Adult Day Centre. He promises the stories will bring laughter and tears. (photo from Stephen Schecter)

“I love the Hebrew Bible,” Stephen Schecter told the Independent. “It is, after all, the template of Western literature and the DNA of the Jewish people. Its stories are all told twice, inviting the reader to ask what is going on here. And the stories invariably end badly, teaching us the importance of getting a handle on our passions if we want to have a halfway decent life together.”

On Sept. 16, in celebration of L’Chaim Adult Day Centre’s 40th anniversary, Schecter will share a few of his favourite biblical tales.

“Retelling these stories,” he said, “is my way of giving the Jews back their pride and their backbone, steeling them to be proud Zionists, once again going back to ‘In the beginning,’ which is the title of my show on Sept. 16. The stories – and I will be retelling three of them – when you examine them closely are rather funny, but this is no laughing matter. Some of them bring you even to tears.”

Schecter, who was a sociology professor at Université du Québec à Montréal, has always been interested in literature, but not necessarily the Hebrew Bible.

“When my kids had their bat and bar mitzvahs, I started going to Shabbat services again, which meant I read the weekly Torah portion and, lo and behold, I was swept away,” he said. “When a friend put me on to a contemporary rewrite of some of the books of The Iliad, I thought I could do that too but within my tradition. The upshot turned out to be a 170-page poem called ‘David and Jonathan,’ published in 1996.

“From there, I went on to lecturing about the Hebrew Bible to multiple audiences in Montreal and ended up doing a one-man show on the first half of the book of Genesis in 2003 at the Saidye Bronfman Centre theatre [now the Segal Centre for Performing Arts]. In 2005, I moved to Vancouver and gave a number of series of talks on the Hebrew Bible to seniors at the JCC.”

Schecter continued to write about sociology and, in 2012, published a book called Grasshoppers in Zion about Israel’s situation in the Middle East. In that book, he said, “I explained how a reading of the Hebrew Bible could help Jews immeasurably in dealing with the Palestinians. No one listened, but I continued to write and now do so on Substack at schecter.substack.com.”

He also noted how people don’t listen to – or even know about – the lessons of the Hebrew Bible. Hence, he quipped, “the constant rewrites. Steinbeck’s East of Eden retells Cain and Abel. Shakespeare’s Romeo and Juliet turns the Dinah story into a five-act play. The end of the Book of Judges replays Sodom and Gomorrah, which now finds its rehash on our TV screens in Gaza. Not for nothing is the Hebrew Bible laced with irony, engendering that particular form of Jewish humour Sholem Aleichem and S.Y. Agnon each captured.”

The English-speaking world once used the Hebrew Bible to learn to read, but people have stopped reading it altogether, said Schecter.

“Many Jewish day schools do not teach it, especially at the high school level, which is where Jewish youngsters could begin to immerse themselves in their tradition,” he said. “When I attend shul, I often hear more about food banks than the wild poetry of the parashah [weekly Torah portion]. The answer to antisemitism lies not in refuting the arguments of those who slander us; it is in asserting the timeless truths of this sacred text, which lay out the indissoluble link between the Hebrew Bible and the land of Israel and our identity as Jews.

“I am blown away every time I reread these stories,” he said.

“So, I hope Jews come to see the show,” said Schecter. “I hope especially community leaders, activists, rabbis, principals and teachers come and hear these magnificent tales and see how they still speak to a modern audience. It is a show to celebrate the 40th anniversary of L’Chaim, the only adult Jewish day centre in the Lower Mainland, whose exceptional level of care would have well served even our founding patriarchs, all of whom could have used its services. Come and see why.”

“We are on our way to becoming the gold standard of adult day programs in Vancouver,” said L’Chaim executive director Leah Deslauriers of but one of the many reasons to celebrate the organization’s 40th year.

“L’Chaim is fortunate to have community support, from foundations to private donors, which allows us to offer an enriched program to our clients and their families. All of us at L’Chaim are forever grateful for this support,” she said, adding that “L’Chaim continues to grow, and shows no signs of slowing down.”

In the coming years, said Deslauriers, “L’Chaim will prepare to move into the new JWest building upon its completion. In the next 10 years, our hope is to increase our funded spaces from 16 to 22 each day. And, if demand increases, maybe even add an additional day and be open on Sundays.”

Tickets ($18) for In the Beginning, which takes place Sept. 16, 7 p.m., at the Rothstein Theatre, can be purchased at eventbrite.ca.

Enjoy the best of Broadway

“It may sound like a cliché, but I really believe that music is a unique language. You don’t have to know how to read it, you might not understand the lyrics, but it can still touch your heart and soul,” Omer Shaish told the Independent. “At the end of the day, it doesn’t matter what genre you listen to, it will always make you feel something. That’s what I always hope to do when I get on stage – use the music to touch people’s hearts and souls.”

photo - Omer Shaish brings My Broadway Shpiel – stories, Broadway tunes, popular Hebrew songs and original music – to Vancouver Aug. 21 — Omer Shaish brings My Broadway Shpiel – stories, Broadway tunes, popular Hebrew songs and original music – to Vancouver Aug. 21. *(photo from omershaish.com)*

Shaish brings My Broadway Shpiel to Vancouver Aug. 21, 7:30 p.m., at Temple Sholom. In addition to offering a night of Broadway tunes, popular Hebrew songs and his own original music, the performance will raise money for Temple Sholom’s campership program.

While Shaish never attended summer camp growing up, he did talk about growing up in the Jewish community.

“We’re one big family and I love that about us,” said the singer, who was born and raised in Rishon LeZion, which is about 20 minutes south of Tel Aviv.

“I spent most of my teenage years and my early 20s in Tel Aviv, where I was surrounded by great art, amazing people and incredible food!” said Shaish, who knew from a young age that he was going to be a singer.

“My parents say that, as a toddler, I’d pick up anything that could resemble a microphone and sing at the top of my lungs – everywhere. I always loved having an audience,” he said. “Even though, in real life, I sometimes come across as a bit shy and introverted, having an audience to sing for always made me feel at home. Up until today, having an audience, no matter how big or small, brings me to life.”

Shaish started his career as a vocalist in the Israeli Air Force Band, performing on military bases and in Jewish communities in Europe and Canada. He also is an actor, performing in Israel before moving to New York City in 2007 and graduating from the American Musical and Dramatic Academy. He has numerous theatre, vocalist and soloist credits to his name, but mainly has been touring internationally as part of the classical vocal trio Kol Esperanza and with his self-produced, one-person show My Broadway Shpiel.

“Even though I love acting, I’ve been focusing on singing in the past few years,” he told the Independent. “I realized, throughout the years, that I feel more at home just being myself on stage. I enjoy sharing these moments with the audience and it makes every show feel different and so alive. Playing a character can be interesting, too, but, for me, there’s nothing better than simply being myself.”

At the moment, Shaish calls Baltimore, Md., home. Previously, he toured the United States for many years, and lived a few years in Los Angeles and in Miami.

“I absolutely love traveling, seeing the world and meeting lovely, interesting people,” he said. “My friends always make fun of me and say that they never know where I’m at, to which I reply with, ‘neither do I.’ It can be exhausting at times, but it’s always worth it. I feel very lucky to do what I love and that gives me a lot of energy to keep at it.”

He’s looking forward to performing here.

“I love Vancouver!” said Shaish. “I’ve been there many times and I think it’s one of the most beautiful places on earth. The last time was only a few months ago, for rehearsals and a recording session. I’ve performed in Vancouver before and I can’t wait to be back and enjoy the views, the fresh air and, of course, the wonderful people!”

About the show he’s bringing with him, My Broadway Shpiel, he said, “As I tell my story and share some anecdotes about the Jewish story of Broadway, I sing some classics from Fiddler on the Roof and West Side Story, and all the way to some surprises by ABBA and Elvis Presley!”

One of his favourite moments in the performance is when he shares the experience of living in the United States with a foreign name.

“I have heard so many variations of my name from so many people that I have met,” he said. “‘Omer’ apparently isn’t very easy to pronounce. So, one day, I thought, why not write a song about it? I took Liza Minelli’s ‘Liza with a Z’ and turned it into ‘Omer with an E.’ At first, I wanted that to be the name of my show, but My Broadway Shpiel felt more fitting.”

As for the importance of music, he said, “This brings me back to how I see music as a language. It has superpowers. It can take us away from one reality and bring us to a completely different one within a split second. It triggers our emotions in such a powerful way. When people talk to me after a show and say that I made them laugh, made them cry, or made them forget about their day, I know I did something right.”

For tickets to My Broadway Shpiel, visit tickettailor.com/events/templesholom/1702794.

Library a rare public space

Samuel Elkind, head librarian at Vancouver’s Isaac Waldman Jewish Public Library, will be joining the team at Richmond Public Library later this month. (photo by Anne Lerner)

As head librarian at Vancouver’s Isaac Waldman Jewish Public Library, Samuel Elkind oversees everything from daily operations to long-term planning – curating collections, developing programs and building systems designed to serve the community. He put it plainly: “If I were hit by a bus tomorrow, I want the library to run without a hitch.” His core belief is that a library should be resilient, community-rooted and built to thrive beyond any one person.

Elkind’s approach leaves the Waldman in a secure place, as he soon moves on to Richmond Public Library. He will remain on the on-call list for the Waldman and assist through volunteering when he can, he said, in keeping with his “goals of guaranteeing the long-term continuity and stewardship of the Isaac Waldman Library.”

“It is my intention to stay on long enough to train my successor,” Elkind told the Independent. This is something that he, his boss, Hila Olyan, senior director of programs at the Jewish Community Centre of Greater Vancouver, and Eldad Goldfarb, the JCC’s executive director, planned from the beginning, he said.

“I want to make sure that whoever replaces me receives training comparable to that which they would receive in a larger system, which I was so fortunate to have,” he said of his start at the Waldman this past January. “The master’s of library and information studies prepares you very well for the job, but there are some things that can only be learned in the field.”

Elkind didn’t begin his career in a library, but he built one, even before becoming a librarian.

At a summer arts camp in New Jersey, he came across a neglected shelf labeled “library.”

“It wasn’t a library,” he recalled. “So, I built shelves, gathered books and set up a simple lending system. I had no idea what I was doing, but the kids needed stories – and that was enough.”

Even as his career moved in other directions, the idea of building spaces for stories stayed with him. Years later, while working in university admissions, he began to question his path. “I couldn’t figure out why I felt off,” he said. “But, after talking with colleagues and friends, I realized I was drawn to information access and protection, especially the preservation of stories that define who we are.”

That clarity led him to the University of British Columbia, where he completed a dual master’s degree in archival studies, and library and information studies. When the opportunity to lead the Waldman Library arose, he was ready. “I went to JCC camp. I taught at synagogues. It just felt like everything was falling into place,” he said.

Elkind came to the Waldman from Vancouver Public Library, where he worked a contract position as a children’s librarian. At the Waldman, he modernized the space – digitizing decades of program data, updating signage, rethinking the floor plan, and overhauling internal workflows. He also expanded the library’s public-facing programming, from weekly storytimes to Sunday Lego Stay and Play sessions, which align with the JCC’s activity schedule. “What do you do before or after swim lessons?” he asked. “Go to the library!”

“Our library is a bustling place, and has been becoming busier,” confirmed Olyan. “The library tends to service older adults and young children during the daytime hours but, come 3:30 in the afternoon, it is packed with school-age children reading books, playing games, doing crafts and checking out the computer. Sundays are busy with families and creative young people who take part in our weekly Lego club.”

To Elkind, these aren’t side projects – they’re core to what makes a library matter. His philosophy is grounded in third place theory – the idea that, beyond home and work, people need a third space to simply be. “Libraries are one of the last third spaces,” he said. “There aren’t many places left where you can just exist without spending money.”

That value is embedded in the library. “We’re providing space – quiet corners, conversation, presence – and those things are deeply needed,” he said.

Elkind’s inclusive lens extends beyond the JCC. He sits on the board of Out on the Shelves, Vancouver’s oldest queer library, established in 1983. He is also the founder of Gaming Without Othering the Self (GWOOTS), a tabletop RPG (role-playing game) initiative fostering queer community through collaborative storytelling.

“Role-playing games are group storytelling. More than just role play, it’s one of the most ancient human experiences. It’s about identity, imagination and connection,” he said.

GWOOTS runs weekly drop-in sessions across Vancouver with a focus on accessibility and community. “It started because I just wanted to run games for other grad students,” he said. “But I saw how many people were using RPGs to process experiences, explore identity and build relationships.”

For Elkind, GWOOTS and the Waldman are two different expressions of the same purpose. “At Waldman, I want to create space for the Jewish community. At GWOOTS, I want to create space for the queer community. But you don’t have to be Jewish or queer to feel welcome.”

Elkind’s commitment to belonging is shaped by lived experience. The day after the 2016 US election, he was sitting alone in a pizza shop near where he lived in California when two men entered wearing swastikas and began to spew antisemitic threats loudly. A waiter, sensing the danger, calmly ushered him out the back door.

“That’s one end of the spectrum,” Elkind said. “But I’ve also experienced radical acceptance in places I never expected.”

He gave the example of walking into a game store in Maryland and spotting a sign that read, “This is a radically inclusive space. If you have a problem with that, leave.”

His version of inclusion is not passive. “Tolerance implies I’m gritting my teeth and allowing it,” he explained. “I don’t grit my teeth for anything. I believe in acceptance.”

Storytelling, in every form, is central to Elkind’s work. “Whether you’re building a library, running a game or telling a story, you’re shaping memory,” he said. “And that’s sacred work.”

When asked what he’d say to someone who’s never stepped foot in the Waldman Library or joined a GWOOTS game, he doesn’t hesitate. “Come,” he said. “We want you here. We want you to feel accepted and loved. We want you to be part of something.”

“Our librarian ensures a safe, welcoming space for everyone,” said Olyan, who has started reviewing applications to fill the vacancy made by Elkind’s departure. She said the JCC is looking for someone who has both “the professional qualifications and experience to service our community to the highest standards. And, we’re looking for someone who holds the same cultural and community values of the JCC.

“So, what we mean is that a strong candidate ideally holds a master’s degree in library sciences and experience working in a community or school library. They also have a strong sense of community, responsibility and excellence. They love helping people (especially children and older adults) and they are knowledgeable about Jewish culture and/or literature.”

The Waldman is the only Jewish public library on Canada’s West Coast, said Olyan. “It brings people together and connects them with Jewish history, culture and tradition. The library hosts a collection of approximately 17,000 books, mostly by Jewish authors and relating to Jewish topics, including a vast number of Hebrew books. It offers computers, iPads, space to read and work, games and toys.”

The library opened in 1994, “thanks to the dedication of local community members and volunteers,” she said. “Its name honours the late Isaac M. Waldman, who worked as a structural and civil engineer, and was an ardent volunteer and generous supporter of local Israeli and Jewish nonprofit groups. Mrs. Sophie Waldman donated the funds that enabled the library to open, in memory of her husband.”

The library is run by the head librarian with a small team of library technicians, cataloguers and dedicated volunteers, said Olyan. “We’re always looking for volunteers who can support everyday operations, run special programs (including for children and older adults), and people willing to join our planning committee.”

For his part, Elkind said he has “absolutely cherished” his time at the JCC.

“I cannot recall a time that I have ever felt so appreciated in a position, or where I have been so able to see the positive results of my work,” he said.

“Over my time here, I have been fortunate to gain rare experience in library management, and have quickly become practically acquainted with aspects of the library field well outside of children’s and teen services, some of which might have otherwise taken decades for me to encounter. I make the move to RPL comfortable in my ability to operate in libraries of all sizes, and in any number of roles therein.”

At Richmond Public Library, Elkind will be working as a librarian on the children’s team, a role that includes providing information service and patron assistance to library-goers of all ages. When asked what he was most looking forward to at RPL, he said, “Is it weird to say that I am looking forward to receiving a performance review? I am still early in my career and have a lot of growth and learning ahead of me. It is important to seek that out in many forms.

“I have definitely grown in my current position, as a librarian and as an administrator, and I am so lucky to have had this opportunity – I do not wish to sell that short by any means. Having another librarian to supervise me allows for a different type of growth, and an opportunity to learn the things that I do not know that I do not know.”

Uriel Presman Chikiar is a student at Queen’s University and serves as executive vice-president of external relations at Hillel Queen’s.

A family of storytellers

Ben Shneiderman, a retired computer scientist who lives in Vancouver, is a member of an extraordinary family. Recently, he promoted his Uncle Chim’s photography exhibition at the Zack Gallery, as well as the new English translation of his father’s book about the Spanish Civil War (1937-1939).

photo - Ben Shneiderman — Ben Shneiderman (photo from Ben Shneiderman)

It all started with Shneiderman’s grandfather, Benjamin Szymin, a respected publisher of Yiddish and Hebrew books in Warsaw before the Second World War. His daughter Halina (later Eileen) and son David (Chim) grew up surrounded by culture and tradition, inspired by the conversations of the best Polish-Jewish writers, artists and scientists.

“My mother Halina studied at the Warsaw university before she met my father,” Shneiderman said in an interview with the Independent. “After they married, in 1933, they moved to Paris.”

Shneiderman’s father, Samuel, was cut from the same cloth. He is considered one of the first Jewish war correspondents in Europe and America. In the 1930s, he published multiple articles and books in Polish and Yiddish on Jewish issues and social developments in Europe.

Ben Shneiderman remembered that his parents both decided early on that only his father would get a byline. “The times were different,” he said with a smile. “But they worked as a team. Mother did a lot of research. She typed the texts Father dictated, and then she edited and re-typed and fact-checked, until they were both satisfied. When Father went to Spain in 1937 to report on the Civil War, Mother went with him – she had her trusted typewriter with her.”

In 1938, Samuel Shneiderman compiled his reportages from Spain into the book War in Spain, which was published in Yiddish.

“The book included photographs taken by my uncle, Mother’s brother David, the legendary photographer Chim,” said Shneiderman. “Chim was also in Spain at the time, reporting on the war.”

In the past few years, the book has experienced an unexpected revival. “I had nothing to do with it, but I was glad,” said Shneiderman. “The book was published in Polish in 2021. Then, in 2023, it was translated into Spanish. In 2024, the English translation came from the Yiddish Book Centre.”

The English translation’s title is Journey Through the Spanish Civil War (translator Deborah A. Green), and Shneiderman gave a slide presentation on it and his family last month at the Jewish Community Centre of Greater Vancouver, under the aegis of the Cherie Smith JCC Jewish Book Festival. He explained that his parents left Europe just before the Second World War, but they couldn’t get his grandparents out of Poland. The older generation of his family did not survive the Holocaust.

As soon as his parents arrived in New York, they became immersed in the Yiddish writing and journalism milieu, and they both started publishing in English, as well. Together and separately, they covered the themes of postwar Europe, Israel, and Jewish life in the United States. Shneiderman’s father, in addition to writing articles for such publications as The National Jewish Monthly, the New York Times, Hadassah Magazine and The Reporter, also wrote non-fiction books, poetry and movie reviews. Plus, he edited several books by prominent Yiddish writers.

Growing up in a family steeped in writing and journalism, and with his uncle being a famous photographer, it might have been expected that Shneiderman would follow in their footsteps. His older sister did, in a way. “She moved to Israel in 1963 and taught English there,” he said. But he chose a different path.

“I was always interested in photography, like Chim,” he said. “I even won a photography contest in high school.” But, in college, he studied physics and math. “I had a cousin who was a physicist. He influenced me, but I was never much into physics. Mostly, I was entranced with math and with computers. I worked as a programmer for a couple physicists while still in college. I also took psychology classes, and philosophy. I wanted to know everything.”

He kept taking photos as a hobby, and that interest persists to this day. “I photographed many of my colleagues – pioneers of computer sciences. My pictures of them were published by a number of magazines,” he said. “Overall, I have over 40,000 photos. I also published them in my book Encounters with HCI Pioneers: A Personal History and Photo Journal, in 2019.”

HCI stands for human-computer interaction, which is Shneiderman’s primary field of research. “In 1973, I got the first PhD in computer sciences at my college,” he said.

In 1977, as part of an American delegation, he went to Russia on an exchange program. “We visited Moscow and Novosibirsk,” he said. “I met many interesting people there. One of them, a local computer scientist, Simon Berkovich, told me in confidence that he wanted to emigrate to the US and asked me if I could help. I said I would try. When he left Russia some time later, he had a stopover in Rome, like many other Soviet immigrants. Some of them went on to Israel, but Berkovich contacted me, and I wrote him a letter that I needed him for my work. He was able to come to the US with this letter. We even wrote a paper together. He is a professor now at George Washington University.”

Shneiderman recalls fondly his visit to a synagogue in Moscow: “Several of us went. I was concerned about our safety, but nothing bad happened. It was fun,” he said.

On the professional front, Shneiderman has always maintained that the current trend of developing artificial intelligence (AI) as autonomous machines wasn’t the way to go. In 1980 – 45 years ago – he even wrote a book on the subject, called Software Psychology: Human Factors in Computer and Information Systems.

“AI should be a tool, not a creator,” he said. “I don’t think a software should write books or paint pictures or drive cars autonomously. I think it should make people’s jobs easier, assist humans, not replace them. After all, a camera doesn’t take photos – I do. But my smart camera helps me manage the focus, the lighting and other parameters. Apple agrees with me. I worked for them as a consultant for five years.”

Shneiderman has been a firm proponent of this point of view for decades. He has expressed it in his publications and at industry conferences. In 1982, he co-founded what is now known as the Conference on Human Factors in Computing Systems. He also coined the term “direct manipulation,” which is the way we move objects on a screen with a mouse or a finger. He thinks humans should be an integral part of computer interactions, because only humans can make ethical decisions. No AI can ever know what it feels like to be a person. “There is no ‘I’ in AI,” he joked.

Shneiderman and his wife have been living in Vancouver since 2020, when they moved here from Bethesda, Md. “My daughter teaches anthropology at UBC,” he said. “We visited her often for years and even bought an apartment here. We liked it here. Then, COVID happened, while we were visiting, so we stayed in Vancouver. My wife was born in Canada and always had a Canadian passport, and I became a citizen last year.”

From Warsaw at the beginning of the 20th century to Vancouver 100 years later, this family continues to share stories.

“Grandfather told them in Yiddish,” Shneiderman said. “My uncle told them in pictures. My parents told their stories in words. And I told them in data, using computers as my medium. We are a family of storytellers.”

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

Theatre from a Jewish lens

Laen Hershler performing REMNANTS. Hershler brings an interactive version of Dr. Hank Greenspan’s play, which is based on 40 years of conversations with Holocaust survivors, to the Peretz Centre for Secular Jewish Culture on June 8. He will be joined by Vancouver Playback Theatre. (photo from grad.ubc.ca)

In June, Laen Hershler celebrates his first year as artistic director of Theatre Terrific. He also hosts, on June 8, Listening with Survivors, “an evening of deep listening and shared reflection as monologues from Holocaust survivors open into a live, interactive performance with Vancouver Playback Theatre.”

“I was deeply honoured and excited to step in as the artistic director of Theatre Terrific,” he told the Jewish Independent. “This community has always felt like home to me, both as a person and an artist. I look forward to continuing this welcoming tradition.”

“Theatre Terrific Society is a trailblazing mixed-ability theatre company that has been championing inclusivity in the arts since 1985,” reads the website. The society is “dedicated to tackling the challenges of accessibility, representation and inclusion in the arts by breaking down stereotypes and fostering empathy across diverse communities. It creates work that resonates with universal human experiences, bridging differences through storytelling. With a compassionate yet bold approach to theatre-making, it cultivates spaces where respect, rigour and risk drive the creative process.”

Theatre Terrific’s last production, called Proximity: The Space Between Us, was well received at the Vancouver Fringe Festival last September. Directed by Hershler and Susan Bertoia, it was created with the cast and is about the struggles of aspiring artists.

photo - In June, Laen Hershler celebrates his first year as artistic director of Theatre Terrific — In June, Laen Hershler celebrates his first year as artistic director of Theatre Terrific. (photo from instagram.com/theatreterrificvan)

Hershler is also an actor and improviser, and he is pursuing a doctorate in research-based theatre at the University of British Columbia. He is part of Vancouver Playback Theatre, as well, and, as an observant Jew, he performs complete with head-covering and tzitzit.

“Since my shift to diligently keeping Shabbat about eight years ago, my acting career moved from mainstream theatre, which almost always necessitates working on Friday/Saturday nights, to applied forms of theatre,” he said. “These include playback theatre, forum theatre and academically situated theatre, which are much less dependent on weekend shows. I love performing in these types of shows since they tend to be very socially engaged and meaningful projects.”

Hershler’s responsibilities at Theatre Terrific include arranging all the classes, courses and productions, and hiring the instructors, directors and other artists for TT’s projects. He teaches, directs and sometimes performs in the company’s offerings, and works on establishing connections with the broader community of theatre companies regionally and internationally, especially all-abilities arts organizations.

“I love the meaningfulness of the work, the creative freedom and the amazing human beings I get to work with,” he said. “I appreciate the opportunity to create work and opportunities for theatre artists of all abilities and to produce meaningful and evocative theatre. The challenge of the work – which is learning to hold a radically inclusive space that allows for high-level artistic work while including artists across spectrums of physical, neurodiverse and cognitive abilities – is also something I cherish.”

Hershler’s theatre career began at the Jewish Young People’s Theatre of Vancouver, which was based out of the Peretz Centre for Secular Jewish Culture. The program was guided by Lynna Goldhar Smith, who he credits as being a huge influence – he began classes with her when he was 8 years old and stayed with YPT until he was 14. He said a large percentage of people that he acted with in YPT are still involved in the arts today.

Since graduating with his master’s at the University of Cape Town in 2011, Hershler has been an instructor in the education faculty at UBC in Vancouver and in the creative studies faculty at UBC in Kelowna. He began his career as a performer and educator touring and giving workshops in France, Korea, Australia, Kenya, South Africa and elsewhere on various aspects and uses of physical theatre for both children and adults.

“I loved my role as the Tooth Prince while performing for 5-year-olds (and their parents) at one of the most prestigious theatres in Seoul, Korea,” he said.

A couple of years ago, at the Peretz Centre and at Or Shalom, Hershler performed the one-man show REMNANTS, which was written by Dr. Hank Greenspan and first produced, for radio, in 1991. Based on 40 years of conversations with Holocaust survivors, the work delves into the survivors’ experiences, exploring themes such as loneliness, rage, storytelling and the dynamics of relationships across generations.

“It was a deeply meaningful project,” said Hershler, who is bringing REMNANTS back to the Peretz Centre on June 8, in a different form.

“In this version,” said Hershler in an email, “these monologues will open into a space for collective reflection, storytelling and discussion through playback theatre – a form of theatre that invites the audience’s voices and experiences into the performance itself, creating a space for deep listening and dialogue. For this, we will be joined by Vancouver Playback Theatre.”

The evening will be about listening to the Holocaust survivors, as well as one another, he said, “to find overlap and connection with our own lives, today, in this moment in time – to learn with, to learn from, to learn alongside.”

Hershler would like to do more Jewish storytelling.

“I would love to create work that brings down the mystical tales of Rebbe Nachman of Breslov, an interest I inherited from my father, who has long been a storyteller of Nachman tales…. Being Jewish is who I am, and it pulsates through all the work I do,” he said. “All my artistic work emerges from this prism, from a Jewish lens, from a Jewish neshamah (soul).”

For tickets to Listening with Survivors, go to peretz-centre.org. For more information about Theatre Terrific, visit theatreterrific.ca.

Cassandra Freeman is a freelance journalist and improv comedy performer living in Vancouver.

An almost great movie

Coexistence, My Ass! follows Israeli activist and comedian Noam Shuster Eliassi as she develops her show of the same name. (photo from DOXA)

Coexistence, My Ass!, directed and produced by Amber Fares, is almost a great documentary. But it fails to ask at least two key questions that would have made for a more in-depth portrayal of an interesting and complex human being.

Coexistence, My Ass!, whose May 4 screening at the DOXA Documentary Film Festival already has sold out, is about comedian Noam Shuster Eliassi, who was born in Wahat Al-Salam / Neve Shalom / Oasis of Peace, a village in which Jewish and Palestinian Israelis have chosen to live together. It has been considered a model of coexistence and Shuster Eliassi grew up amid the idealism it represented, and speaks Arabic fluently. She and her best friend (to this day), Ranin, a Palestinian Israeli living in Oasis of Peace, were among the kids trotted out as the generation who would bring peace.

Shuster Eliassi’s mother is Jewish Iranian and her father is Jewish Romanian. The couple met in high school (in what country is not revealed), so basically grew up together. They decided to live in Oasis of Peace and became, says Shuster Eliassi in her act, what most Israelis love to hate most: woke, progressive leftists. “They believe in the radical idea that Israelis and Palestinians deserve the same equal human rights! Crazy. So radical.”

It seems important to know why Shuster Eliassi’s parents left their respective countries to live in Israel, but especially her mother. With Iran as the main funder of Hamas’s – and other terrorists’ – murderous activities, and the fact that tens of thousands of Jews had to flee after the 1979 revolution, it seems that Shuster Eliassi’s mother’s experience is crucial to understanding Shuster Eliassi. But this question, if ever asked, doesn’t make it into the film.

Shuster Eliassi is an intelligent and accomplished person. By age 15, she had graduated, so to speak, from being one of the kids giving flowers to visiting celebrities (who would often mistake her, because of her dark skin, for being Palestinian – and with such good Hebrew!) to speaking around the world about coexistence and the possibilities for peace. At 21, she got a full scholarship at Brandeis University for being a peace activist. She even met the Dalai Lama, who, she quips, didn’t think she was Palestinian – “He just thought I was Indian.”

At 25, Shuster Eliassi landed a “peace worker’s dream job” – a position at the United Nations. We don’t learn much about what her job entailed, but there are clips of her speaking about the West Bank and Gaza as being the biggest prisons in the world, and how “the occupation” affects Palestinians and Israelis. Career-wise, she was on a wave of success, she says in her show, when she saw Ukrainian President Volodymyr Zelenskyy’s TV program, made before he was elected, about a comedian who becomes president. Zelenskyy, of course, then did become president, so Shuster Eliassi observes that, if she wanted to take her political career seriously, she needed to start writing jokes.

photo - Comedian Noam Shuster Eliassi in performance — Comedian Noam Shuster Eliassi in performance. *(photo from DOXA)*

This takes us to where the film begins, with her at Harvard in 2019, where she’s been asked to deliver a peace-building project. She tells them that Coexistence, My Ass! will be that project, and she’s accepted.

In the documentary, we see the development of Coexistence, My Ass! and how Shuster Eliassi’s views change as the political situation in Israel deteriorates and the violence increases. Her parents are often her sounding board, as are friends and fellow comedians. We witness the results of a hate crime – the school in Oasis of Peace was set on fire in September 2020. We see moments of happiness, most unexpectedly, perhaps, when Shuster Eliassi returns to Israel from the United States with COVID and must be quarantined in a hotel, where sick Jews and Palestinians are being isolated from the general population.

“And everyone is radically getting along. This is a 5-star oasis of peace. If they continue getting along, my comedy career is over. Just kidding, you’ve read the news, I have material for years. Netanyahu has my back,” says Shuster Eliassi in her act. “Somebody give him a beeper,” she adds sheepishly, referring to Israel’s taking out of Hezbollah with exploding pagers in September 2024.

Months before Oct. 7, 2023, Shuster Eliassi was disillusioned and would get into yelling matches with Jewish Israelis protesting the Netanyahu government and dangers to democracy because their protests didn’t also explicitly call for equal rights for Palestinians. Whereas pre-COVID, she says, “My biggest responsibility is to speak to my people…. The Jewish audience is where we have to work,” the purpose of Shuster Eliassi’s comedy ceases at some point to be a way to encourage peace and becomes a form of resistance.

After Oct. 7, when some of Shuster Eliassi’s family and friends abandon their belief in coexistence because they feel peace with Palestinians isn’t possible, Shuster Eliassi goes the other way, giving up on coexistence because she feels – though doesn’t state explicitly – that peace with Jewish Israelis is not possible.

Moria, a comedy writer, advises Shuster Eliassi that people need to hear what Shuster Eliassi has to say, but it can’t just be “genocide, genocide!” The role of a comedian, says Moria, is “to bring people together. To unify. We can’t stop the killing, but we can unify people. To get people to see the world through your eyes.”

“No, that’s not what I’m doing,” responds Shuster Eliassi, who explains that her goal isn’t to unify, it’s “to voice resistance to this insane show of force that has swept everyone up blindly.”

Shuster Eliassi’s friend Ranin reluctantly retains hope for coexistence because, otherwise, she tells Shuster Eliassi, there is no place for Palestinians and Arabs within Israel. For Shuster Eliassi, though, by the end of the film, there seems to be no place for Jews in Israel. She only sees fault with Israel, and somehow thinks that Hamas wouldn’t want to kill all Jews if Israel had dealt with “the occupation.”

If memory serves, Hamas is only mentioned once in the documentary, in a clip from Shuster Eliassi’s show, where it is part of a joke, perhaps one told before 2023, it’s not clear. Why Hamas plays little or no role in Shuster Eliassi’s view of the evolving situation is the second of those two key questions that would have made Coexistence, My Ass! a better film.

While Shuster Eliassi laments that Israelis – even the coexistence crowd – are not able to meet Palestinians where they’re at, she is unable to meet her fellow Jewish Israelis where they are at. While she is comfortable performing at a Palestinian festival where she’s greeted by a man wearing a “Palestine vs the world” T-shirt that, on the back, has a Palestinian flag over all Israel, she isn’t comfortable with Israelis who would fill out that same map with no Palestinian territories. While she is correct that peace is only possible between equals, she only sees one oppressor – Israel. Not Hamas. Not any other international party, like Iran. Just Israel.

Many of the people at the sold-out screening of Coexistence, My Ass! will think it’s the most amazing film ever because, despite attempting to be fair – and it seems like Fares honestly did try to present multiple sides – it ultimately heralds their anti-Zionist beliefs and justifies them. Others will be disappointed that Coexistence, My Ass! ends up being just another anti-Israel film, which will, no doubt, win more awards than it has already, despite its critical flaws.

Sharing parts of their lives

Iris Bahr opens the Chutzpah! Plus Spring Edition on March 19 with Stories from the Brink: My Festive Near-Death Adventures. (photo from Chutzpah! Festival)

The Chutzpah! Plus Spring Edition kicks off with comedy, though the laughs will mix with thoughtful moments of reflection on life, family, being Jewish, and more. Live, all the way from New York, Iris Bahr will perform at the Rothstein Theatre on March 19, and Talia Reese will be on stage there March 20.

Bahr is coming to Chutzpah! with her show Stories from the Brink: My Festive Near-Death Adventures.

“I don’t want to give anything away,” Bahr told the Independent. “Let’s just say I talk about my childhood in the Bronx, where I had to lead a double life. My bacon-eating parents sent me to an Orthodox yeshivah, which, as you can imagine, was extremely stressful. I was also stung by an entire beehive. But there’s a lot more. Just come and see. I really look forward to sharing the story and coming back to the theatre. I’ve missed it. Vancouver’s one of my favourite places to perform.”

Bahr explained why she has ventured into the non-fiction realm with her performance work.

“Some very significant events happened in my life, like my mom’s stroke, which was the basis of my previous show See You Tomorrow, that I performed in Vancouver a few years ago,” she said. “I felt a need to not only share the story because it was a very dramatic story, but, even more so, as I was in the depths of caregiving for my mom [in Israel], first with a stroke and then with dementia, I realized how isolating it was, especially with a loved one with dementia. And I realized how important it was, as an artist, to create a new piece about it, because so many people undergo similar caregiving trials and tribulations. I’ve been doing that show for over three years, and the amount of people that come up to me after, thanking me and hugging me and telling me they found comfort and were also entertained and were able to find the humour thanks to the show, is truly the reason I keep doing it.

“With my current show, Stories from the Brink, I had been exploring this theme of near-death experiences for awhile, first on a podcast that I created and then near-death-themed stand-up shows, with guests sharing their own stories,” continued Bahr. “But, after Oct. 7 and my experience in Israel on that morning, which was obviously terrifying and gut-wrenching, and the rise in antisemitism and extreme anti-Israel sentiment, it was very important for me to create a show that was framed by that experience that I knew would reach people from all persuasions and attitudes. But that is only one small piece of the mosaic of the show which is also filled with a lot of other life shmutz and a lot of humour.”

For Bahr, humour is one of the ways in which she handles challenges.

“Any coping mechanism that can find light amongst the darkness is a highly effective one,” she said. “And, as someone who has always reveled in the world of humour and made it a living, it seems like an obvious go-to when dealing with dark times. It’s not even a conscious decision, it just exists as a muscle, an internal reflex.”

While See You Tomorrow was written as a long-form story, Stories from the Brink comprises vignettes. Bahr explained that See You Tomorrow “takes everyone on a ride and hyper focuses on one aspect of a story. There are some tangents there, but it really is this one event that has a clear beginning, middle and end in a finite time.”

She took a different approach with Stories from the Brink because, she said, “I have a larger theme that I’m trying to explore from many different facets. The vignettes kind of tackle that theme from different angles and ways. And, it’s also a very colourful way to put a show together. It’s like a mosaic and there’s something beautiful about a mosaic, as well. Mixes it up a bit, especially for those audience members that have short attention spans.”

But audiences don’t have to be concerned about remaining focused on Bahr, who is an accomplished storyteller. Being an engaging performer, she said, “comes from physicality to voice to emotional presence and being authentic, being in the moment. Especially with storytelling, you have to have that combination of performance and authenticity and live in the present as you are recounting these stories. Otherwise, you’re just kind of giving a clinical recap, as I tell my students. You also have to really paint a picture and create a world and you have to depict the characters, including yourself, in a very full manner.”

Reese, who went from being a comedian to being lawyer and back to being a comedian, agrees about the importance of being a good storyteller. It has served her well both as a lawyer and as a stand-up comedian.

“So, this is random, but I’m a really good summarizer,” she said. “At the law firms, my thing was summarizing case law for memoranda and stating the facts of a case succinctly but informatively in a pleading,” she explained. “I think I took that skill to joke writing. Word cutting is so important, saying just enough to get to your punchline then move on to the next.

“I also really enjoy telling stories, which is helpful in law and in comedy. I can tell a good story, ya know? That’s why I have a low tolerance for stories that dwell on unnecessary details. I zone out fast, which is why I think I was so tough on teachers. But I’m all about entertainment value. Entertain me or go away.”

photo - Comedian Talia Reese takes to the Rothstein Stage on March 20 — Comedian Talia Reese takes to the Rothstein Stage on March 20. *(photo by Limor Garfinkle)*

Reese shared that she was the “class clown” growing up, which meant she was “thrown out of class a lot.”

“It really depended on the teacher though,” she said. “I was just so bored in middle school and most of high school and the teachers were such characters. Getting to act in plays was a saving grace for me. I enjoyed doing Neil Simon comedies so much. I wish I was still doing that.”

In high school, Reese said, “I was all about acting in comedies and then, in college, I was the director of a comedy troupe where I wrote all the sketches and played many wacky characters. Coming out of U of Penn, I felt tremendous pressure to choose a more traditional career path, so I did the law thing. Law school was an amazing education but the all-encompassing practice was not the life I would have ever envisioned for myself, so I took a stand-up class on a lark and wound up sticking with that.”

Coming from an acting and then sketch comedy background, Reese wasn’t sure she’d be good at stand-up. “But,” she said, “it was the only way to do comedy on my own schedule, after putting the kids to bed. I’d go to open mics and talk about my life, try out jokes, build setups around lines that I thought were funny. One by one my stories would pop, or a joke would come to life, and it was the most exciting thing since college, when I wrote those sketches. I think I found my voice, and am still finding it, when I started to talk more about my actual life, telling specific stories. And it always amazes me when something so random that struck a chord in me will get an audience going too. It validates that I’m not crazy. Or that I am, but everyone else is too.”

Reese, who describes herself as Modern Orthodox, grew up in a Reform environment, “but we always had a traditional Friday night Shabbat dinner at my savta and sabbah’s house,” she said. “I think, given that my father is Israeli and of Sephardic descent, having Shabbat with my grandparents and cousins every week gave me a strong sense of Jewish identity. Also, my grandparents on my mother’s side survived the Holocaust and I have childhood memories of being in the room when they played cards with their friends, most of whom were Polish and some had numbers on their arms.

“My ‘Jewishness’ played such a strong role in forming my personal identity that it wasn’t a stretch to become more religious for me, or for my parents and siblings, who consider themselves baal teshuva as well.”

She adapts her comedy routine to the situation, she said. “I try to be respectful of religious institutions that hire me to do a night of clean comedy. I know where that line is and I’ll go right up to it and then walk it back. I like to play with an audience’s expectations. Like I talk about my two failed marriages. Then mention that I’m still in one of them. As far as getting to know my audience, at a live show, I’ll usually do some crowd work to see what I’m working with, or throw questions out up top.”

As for how she works, she said, “If I make myself laugh with a thought, I write it down. If I make my friends laugh with a story, I write it down. Then comes the development. Will this be good for the stage? Are there enough moments in the build-up that keep it funny? Like, I was thinking about how my daughter’s name is too long for how much I have to yell at her. Isabella, too many syllables, it’s exhausting. So, just abbreviate. Isabreakfast! Isabedtime! Who knows, maybe that will make it into the act!”

* * *

Spring Chutzpah! Plus

The Jewish Independent interviewed Jessica Gutteridge, artistic managing director of the Chutzpah! Festival and the Rothstein Theatre, in advance of the March 19-23 Chutzpah! Plus Spring Edition.

JI: Why has Chutzpah! decided to do a spring edition?

JG: Chutzpah! has for many years presented special programming outside of the main festival through our Chutzpah! Plus program. It has been a goal of the festival to expand this programming in order to deepen our engagement with audiences and to take advantage of artists’ touring schedules that bring them to the area throughout the year. In late winter 2024, we were delighted to offer a Winter Weekend of programming. Now, with a shorter fall festival, we are able to shift some of our programming into the spring, offering opportunities throughout the arts season for audiences to enjoy what the festival has to offer.

JI: Last fall, there was concern about the future of Chutzpah! How is it looking now?

JG: We were gratified to see the community come together to support Chutzpah! at a time of crisis, contributing generously and expressing a shared commitment to Jewish arts and culture. Adjusting our festival schedule to a shorter fall flagship festival plus our spring edition has also aided our sustainability. Important capacity-building support has come from philanthropic organizations like the Diamond Foundation and the Azrieli Foundation.

But significant challenges remain. The grant-funding landscape has not improved appreciably and, with more organizations competing for less funding, costs rising and the general economy precarious, it’s critical that we keep the momentum going. Not only is it important that the community continue to sustain us as donors and sponsors, we need audiences to “vote with their feet” and come out to festival shows and events – and bring friends. Showing support and getting to enjoy fantastic artists – it’s a win-win!

The Chutzpah! Plus Spring Edition runs March 19-23. Universus, a dance double-bill by Belle Spirale Dance Projects and Fernando Hernando Magadan is at Vancouver Playhouse March 21-22, 8 p.m.; Yamma Ensemble is at Rothstein Theatre March 21, 10 a.m., and March 22, 7 p.m. (for more about Yamma, see jewishindependent.ca/unique-in-style-rich-in-culture); and City Birds, a new project in the tradition of Americana by Tamar Eisenman and Sagit Shir, will perform music for families March 23, 11 a.m., at Rothstein Theatre. For tickets, visit chutzpahfestival.com or call 604-257-5145.

A gift of light in winter

Thanks to Doodle the village orphan, the people of Chelm celebrated Hanukkah even during “The Long Winter of the Cabbage.” (image from reformjudaism.org)

In literature, a cabbage might be a symbol for anything and everything disagreeable. In the village of Chelm, however, a cabbage is sometimes just a cabbage.

They called it “The Long Winter of the Cabbage” and, in the village of Chelm, few people were happy. There was a food shortage – all there was to eat was cabbage. Cabbage for breakfast, cabbage for lunch, and cabbage for dinner. No one was looking forward to Hanukkah.

As Rabbi Kibbitz was heard to mutter, “A diet of cabbage may sustain, but it doesn’t make you want to sing with joy.”

Except for young Doodle, the village orphan, who honestly and truly loved cabbage, and reveled in every bite. Doodle, however, had learned to keep his appreciation for all things brassica to himself. When everyone else is miserable, they really don’t want to hear someone appreciate the things they dread.

In previous years, the villagers held a Hanukkah party in the social hall, lighting candles and then dancing, and complaining about Mrs. Chaipul’s lethal latkes.

But, this winter, the thought of Mrs. Chaipul’s latkes made from cabbage made everyone shudder. So, the Hanukkah party was canceled.

“It’s the weather,” Mrs. Chaipul said. “Too cold. Too wet. Too much snow. Too much ice. Too much wind.”

“I’ll say there’s too much wind!” said Reb Cantor, the merchant, before he withered under Mrs. Chaipul’s glare.

Reb Cantor himself was particularly unhappy. Recently, the villagers of Chelm had gotten into the habit of buying and giving gifts to each other to celebrate Hanukkah.

“They’re not Christmas presents,” explained little Shemini Schlemiel, who had come up with the idea. “They’re Hanukkah gifts!”

The problem with these Hanukkah gifts was that they had become a large part of Reb Cantor’s business. The merchant discussed this at great length with his friend Rabbi Yohon Abrahms, the school teacher, but their cabbage-addled brains devised no brilliant solution. Not even a foolish solution.

When the first night of Hanukkah arrived, with a cold wind and rain mixed with snow, that turned to muddy slush in the darkened streets, the villagers of Chelm stayed home. They shivered in front of their fires. They poked at their cabbage stews and their cabbage briskets (don’t ask).

Everyone wanted to complain, especially the children, who had become accustomed to getting presents, but nobody had the energy.

Except young Doodle, the village orphan, who had already finished a bowl of Mrs. Levitsky’s sweet and sour cabbage soup, and was about to ask for more, when he noticed the dark mood in the Levitsky house.

“What’s wrong?” Doodle asked.

“Nothing,” Martin Levitsky, the synagogue’s caretaker, said, glumly. “I’m tired of cabbage.”

“I think I’ll go to bed early,” Chaya Levitsky said, taking off her apron. “Help yourself to as much cabbage as you want.”

“But we haven’t lit the Hanukkah candles yet,” Doodle said.

“Meh.” Both Levitskys shrugged, and began making their way to their bedroom. “You do it, Doodle. We’re going to sleep.”

Now Doodle was really worried.

He ran to the window, looked outside, and saw that no other houses in the village had candles lit in their windows.

“Not again,” Doodle whispered. It was the time of year. Sometimes the cold and the dark…. Was everyone just too tired of cabbage to celebrate?

“Wait!” Doodle shouted.

This startled the Levitskys, who stopped in their tracks.

“You want us to have a heart attack, Doodle?” Reb Levitsky asked.

“No, I want you to wait two minutes while I light the Hanukkah candles.”

“All right.” Mrs. Levitsky sighed. “Go. Go already.”

Doodle ran to the cabinet and brought down the Hanukkah menorah. He set two candles, and began to sing the blessings.

At first, the Levitskys stayed quiet, but soon they began to hum.

When Doodle used the lit shammos to set the second candle’s taper alight, the Levitskys joined him.

And then, together, they all sang the words of the Shehecheyanu, giving thanks simply for being alive.

Moving quickly but carefully, Doodle set the lit menorah in the front window of the Levitskys’ house.

At that very moment, Reb Cantor the merchant happened to look out his window. As did the entire Schlemiel family.

So did Rabbi Kibbitz and Mrs. Chaipul, who had been in the middle of a three-way argument with Rabbi Yohan Abrahms. All three forgot what they had been fighting about.

Through the rain and the sleet, everyone in the village of Chelm saw the two lights burning in the Levitskys’ window.

They all fell silent. They all ran to their cupboards and shelves, got their hanukkiyahs, said or sang the blessings, and lit the candles.

Soon, there were bright lights burning in the windows of every home.

Even though it was still raining and snowing, and all there was to eat was cabbage, those small flames made everyone feel warmer. Songs were sung, children began to spin dreidels, gambling for cabbage, and a few brave souls tried to make cabbage latkes, but without much success.

That year in the village Chelm, there were no presents. The lights in the windows were gifts enough.

Izzy Abrahmson is a pen name for storyteller Mark Binder. To find out more about ‘The Long Winter of the Cabbage,’ Mrs. Chaipul and Doodle, read The Council of Wise Women. This new novel for adults is available in print, ebook and audiobook. For purchase links, visit bit.ly/council-book.

Who holds power over you?

Jeremy Goldstein, centre, and volunteer participants in the Newcastle, Australia, performance of Truth to Power Café earlier this month. Members of the Vancouver community will participate in the event here on Nov. 3. (photo by Cassandra Hannagan)

“Who has power over you and what do you want to say to them?” This is the question at the centre of Jeremy Goldstein’s Truth to Power Café, which he will present – with the help of local community members – Nov. 3 at the Rothstein Theatre as part of the Chutzpah! Festival.

“As with all our events, we invite participants to sign up to the project through a combination of open call and personal invites, which we send out in close collaboration with our presenter, who, in this case, is the wonderful Chutzpah! Festival,” explained Goldstein. “We don’t normally confirm the line-up until a week or two before the performance, so it’s a little early to say what people will speak about, but we’re looking for Vancouverites willing to engage in a process of compassionate truth-telling. When we combine this with my own memoir, told through poetry, image, film and music, it makes for fantastic theatre.”

The deadline was earlier this week for local community members of all ages, experiences and backgrounds to apply to be a part of the event. Selected participants will present a short monologue related to the question of who has power over them and what they want to say to that person, whoever it may be, a parent, sibling, boss, politician, neighbour, friend. In a 2022 Total Theatre Magazine article, Goldstein wrote, “Participants’ voices are heard and understood through the political and philosophical beliefs of Harold Pinter and his Hackney Gang.”

“Nobel Prize-winning playwright Harold Pinter wrote about power and occupation. His inner circle, the Hackney Gang, were a group of working-class lads who met in 1947,” Goldstein explained to the Independent. “They knocked about London’s East End in the 1950s, where they took on the bullies and fought with antisemitic fascists. The gang included my late father, Mick Goldstein, and the late poet/actor Henry Woolf, who became known as the ‘King of the Avant Garde,’ and with whom I co-created the show directed by Jen Heyes.

“For 60 years, the Hackney Gang held firm in their belief of an independent media and in speaking their truth to power,” said Goldstein. “They remained on the side of the occupied and the disempowered and their allies. These are the people we invite to appear in the show with me.

“Ultimately,” he added, “the show has become a love letter to the memory of my father Mick, and his friends of 60 years, Henry Woolf and Harold Pinter.”

Goldstein started Truth to Power Café eight years ago.

“Back in 2016, I was presenting New York’s queen of the underground and former Andy Warhol Factory superstar Penny Arcade at Soho Theatre in London,” he said. “I wanted to stage a pre-show event so I opened up my address book and invited 24 Londoners to respond to the question, ‘Who has power over you, and what do you want to say to them?’ Over four nights, I saw the theatre come alive with raw and compassionate truth-telling and was compelled to make a show out of it.”

But there were unexpected challenges.

photo - Jeremy Goldstein brings his Truth to Power Café to the Chutzpah! Festival Nov. 3 — Jeremy Goldstein brings his Truth to Power Café to the Chutzpah! Festival Nov. 3. (photo by Cassandra Hannagan)

“Two weeks before the first night, my face became numb and the doctors told me I had a stage 4 lymphoma,” shared Goldstein. “At the time, I didn’t know if I would live, let alone make it to the Soho Theatre performances. Eighteen months and a stem cell transplant later, I was cured and premièred the show at Festival 18, the arts and culture program for the Gold Coast Commonwealth Games in Australia.

“I’ve been on the road with it ever since, playing everywhere from poor working-class mining communities in the north of England to remote townships in the Australian outback to Queer Zagreb in Croatia and on to Lincoln Centre in New York – Truth to Power Café is a genuine global hit.”

Since it began, the show has had some 800 diverse participants taking part in eight countries.

“Some participants are established writers, artists and community activists, whereas others have never spoken up in public before, let alone centre-stage, under lights in their local theatre, sharing intensely personal life stories in front of their friends and family,” said Goldstein. “I’ve become a vessel through which these stories are told. It’s a very privileged position to be in and I don’t take it for granted. I want people taking part to have a positive experience, so I’m very aware of people’s well-being as part of the process leading up to each performance, and into the show itself. I check in with everyone after the show. Many of our participants have become my friends.”

He is well aware of how confronting power can put a person in a vulnerable position.

“The basic rule in life is don’t rock the boat or to tell a white lie to keep the peace, so whether you choose to speak from the personal, political, professional or even all three, speaking truth to power can put you at risk,” he said. “We, therefore, make the show in a safe space or, in the words of one our recent participants, Ed Wright: ‘To talk truth to power, to find our own power, we need to be able to feel safe. To have our power returned to us when it has gone missing, we need to know we have been listened to.’”

The question being asked – “Who has power over you and what do you want to say to them?” – is meant to challenge ideas of power and give voice to people who don’t normally have a chance to speak out, said Goldstein.

“People from marginalized communities tend to talk about progressive change, whereas those with privilege and power want to maintain the status quo and have more power,” he said. “We live in the post-truth age of the demagogue, where fake news is the new norm. In politics, the oppressed often have to fight for the right to simply say what they are experiencing and, in personal relationships, that artificial barrier is also in place. If you have an approach to allowing the conversation to happen, the chances of change occurring are much higher.”

The Nov. 3 Chutzpah! show is Truth to Power Café’s Canadian première and its 60th performance.

“It’s extremely rare to have two significant milestones back-to-back,” said Goldstein, “so I can’t wait to celebrate this with the good people of Vancouver.”

Chutzpah! runs Nov. 1-10. For the full lineup and tickets, visit chutzpahfestival.com or call 604-257-5145.

New this year for the Chutzpah! Festival: Jewish Community Centre of Greater Vancouver members receive discounted ticket prices and concession purchases at the theatre. Select Student/Senior/JCC Member tickets and ChutzPacks and bring your membership card to the theatre.