Zelda Dean

Will you help or hide?

Bema Productions’ The Last Yiddish Speaker cast, director and crew: standing, left to right, Tess Nolan, Kevin McKendrick, Andrea Eggenberger, Nolan McConnell-Fidyk and Ian Case; seated, Siobhan Davies, left, and Zelda Dean. The play imagines a world in which the Jan. 6, 2021, attack on the Capitol in Washington, DC, was successful and Christian nationalists have taken over the United States. (photo by Peter Nadler)

Victoria’s Bema Productions is staging the international premiere of Deborah Laufer’s The Last Yiddish Speaker at Congregation Emanu-El’s Black Box Theatre June 18-29.

The drama imagines a dystopian world in which the Jan. 6, 2021, attack on the Capitol in Washington, DC, was successful and Christian nationalists have taken over the United States. In the play, a Jewish father and daughter must be careful and cunning, as any deviation from the norm could be deadly. When an aged Yiddish-speaking woman lands on their doorstep, they must decide whether to take the risk of helping the woman or focus on saving themselves.

Laufer has numerous full-length plays to her credit, as well as dozens of short plays and even musicals (written with composer Daniel Green). Her plays have been produced around the world and she has been recognized with numerous awards.

While The Last Yiddish Speaker focuses on Judaism and the right for Jews to exist, the play could be about any marginalized group, in any country.

“Although the play is set in the USA, the theme is universal: the struggle of good over evil,” Zelda Dean, founder and managing artistic director of Bema, told the Independent. “In this play, Canada is still a safe place for Jews.”

That said, it has a message for Canadian audiences, as well, Dean said. “It is very important that we address social and political issues, particularly with the huge increase in antisemitism in Canada. The play is entertaining, engaging and enlightening. It takes place in 2029, when the fascists have taken over the USA. It is timely and powerful.”

Directed by Kevin McKendrick, The Last Yiddish Speaker features Ian Case, Siobhan Davies, Nolan McConnell-Fidyk and Dean.

McKendrick is an award-winning director, notably being recognized by the Alberta Theatre Projects for significant contributions to theatre in Calgary. Case, a veteran stage actor on Vancouver Island, is also a director and arts advocate. Davies, meanwhile, is a stage and cinematic performer – she will be appearing in the upcoming film Allure, shot in Victoria. McConnell-Fidyk is a local actor who appeared in Survivors, a play aimed at spreading information about the Holocaust to audiences from Grade 6 and up. (See jewishindependent.ca/theatre-that-educates and jewishindependent.ca/survivors-play-brings-tears.)

Before the November 2024 presidential elections, Laufer told Philadelphia public radio station WHYY about her reasons for writing the play, including that she was deeply disturbed by the events of Jan. 6. “I thought, ‘Is this the end? Is our democracy completely ended?’” she said.

“The play reminds us there are times in history when we have the choice to speak out against oppression or choose to remain silent. You get the government you deserve,” McKendrick told the Independent. “How will you respond when faced with outright injustice?”

Tickets for The Last Yiddish Speaker can be purchased at ticketowl.io/lastyiddishspeaker.

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

Coping with loss, grief

The creative team of Bema Productions’ staging of Rite of Passage, with director Zelda Dean (centre). (photo from Bema Productions)

Victoria’s Bema Productions is staging Rite of Passage, a story of family, grief and coming of age by Los Angeles-based playwright Izzy Salant, at Congregation Emanu-El’s Black Box Theatre March 19-30.

The play centres on Harold, an autistic youth preparing for his bar mitzvah. His mother is suddenly absent and others are not sharing with him why she is not there. Harold’s father struggles with whether he should tell Harold the truth.

“The complex and incredibly human characters go through terribly hard times, yet handle it with grace and humour, even when things are in turmoil and the stakes are high,” Dean told the Independent.

At a young age, Jesse Wilson, who plays Harold, became involved in the local theatre scene that worked with the Victoria Society for Children with Autism. Noticing his passion for the arts, his mother encouraged and supported him in taking classes and performing.

Wilson appeared in Bema’s 2019 production of O My God, in which he played the autistic son of the lead character. He has also performed with a Victoria-based summer Shakespeare company.

“Because autism presents in such a diverse way, depending on the individual, I worked closely with Jesse, who is on the spectrum, to ensure that we portrayed the character in an honest way,” Dean said.

Salant, who will be in Victoria for opening night, said the play follows his family’s story. His mother died by suicide in 2007, and he had written extensively about the experience and his grief. But, he said, he had not explored his family’s grief as well.

“I sat down with my father and aunt for around six hours in the fall of 2016 and, later that same year, I wrote the first draft of the play in a playwriting class as a sophomore at the University of Massachusetts Amherst,” Salant, a journalist and social media manager at Jewish News Syndicate, told the Independent.

Rite of Passage playwright Izzy Salant. (photo from jns.org/writers/izzy-salant)

At the time, the play was called From the Point of View of a Journalist. Several drafts later, it became Rite of Passage. After numerous workshops and rewrites, the work remains focused on the central premise of how to move forward amid grief.

In 2020, at the start of the pandemic, Salant and his writing partner, Ryan Dunn, posted Peace Talks on New Play Exchange, a digital library. Written in 2019, the play explored the Arab-Israeli conflict and how it extended to college campuses.

Shortly afterward, Dean reached out to them asking about rights. Bema performed the piece on Zoom and, later, live at the Victoria Fringe Festival in 2022.

“My working relationship with Zelda has been amazing and she’s served not only as an amazing confidant and director, but mentor,” Salant said. “So, when I told her about Rite of Passage, she was overjoyed. She watched a live reading of it via Zoom back in 2022 and told me she wanted to do the play, and, three years later, after many rewrites and discussions, here we are.”

The first full reading of Rite of Passage took place at the University of Massachusetts in 2018, and Salant produced it the same year. During the pandemic, he met Noah Greenstein, an actor and theatre producer from Boston, and sent him the script. Punctuate4, a company for which Greenstein associate produced, liked the script and organized different readings throughout the United States.

Regarding the Victoria production, Salant said, “I’ve been incredibly involved from a writing standpoint. I’ve had almost weekly calls with Zelda about what’s working, what may need to be tweaked, rewritten, etc. The script has gone through around three draft changes from the time Zelda told me she was going to perform it this season to the show that you’ll see live.

“I’m incredibly grateful to Zelda for putting on this production, as I am to Punctuate4 for all their work, in part because numerous other theatres in my career have told me they loved the play but don’t know if they could realistically stage it, somewhat because Harold is autistic.”

Besides Rite of Passage and Peace Talks, Salant has written Balagan, The Scenic View and Unrequited. He also has penned several short plays and one-act plays, including 2082, which follows two best friends on a road trip to New Mexico in the aftermath of a breakup. It premiered in 2023.

Currently, Salant is putting together a piece titled Catatonic, which his friends have called “Zionist Angels in America.” It’s a two-part play about the post-Oct. 7 world and Salant’s experience covering it as a journalist.

Salant is a member of the Dramatists Guild and the Alliance of Jewish Theatre. He is a graduate of the Kennedy Centre Playwriting Intensive and an Abby Freeman Artist in Residence at the Braid, a nonprofit Jewish literary organization in Santa Monica, Calif.

“I consider myself a Jewish artist through and through. Judaism is a core of my identity and I never want to shy away from expressing it,” Salant said.

Tickets for Rite of Passage can be purchased through the Bema Productions website at bemaproductions.com.

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

A love affair that lasts

Sarah Heyman and Jerry Callaghan co-star in Bema Productions’ Same Time, Another Year, which opens July 17 at Congregation Emanu-El’s Black Box Theatre. (photo from Bema Productions)

From July 17 to 28, Bema Productions will be staging Same Time, Another Year, the sequel to Bernard Slade’s Broadway hit Same Time, Next Year, at Congregation Emanu-El’s Black Box Theatre.

The sequel catches up with Doris and George, who, in the first instalment, have carried on a long-standing love affair – meeting each other for a weekend once a year despite being married to others. Same Time, Another Year starts on their 25th anniversary, in 1976, and continues through their subsequent February rendezvous over the next 17 years.

The pair are now in their late sixties, faced with the responsibilities and consequences of life, all the while reexamining love beyond their annual assignation and the romance contained within it. Told in six scenes, and against the backdrop of the late 20th century, their affair and their perspectives on their relationship evolve and change. Along the way, there are illnesses, career successes and setbacks, second marriages, second families, and grandchildren.

“I knew that many of our patrons would remember Same Time, Next Year and, like me, wonder what happened to George and Doris 25 years later. I have had quite a few [people] tell me this since the advertising went out,” said Zelda Dean, founder and managing artistic director of Bema. “Maybe because I am ‘that age,’ the play spoke to me, as it addresses what we all have to face as we age – the fears that everyone has about their health and about losing the ones we love.”

Doris and George form a special bond beyond the bedroom, one with its own sincerity. Further, they provide a kind of gauge for what happens in the other’s life.

Dean told the Independent that what she likes most about the play is the unique relationship that develops over the many years, although the characters only meet once a year. She feels that audiences will enjoy the continuation of their journey.

Dean added that it has been a delight to work with the two leads, Sarah Heyman and Jerry Callaghan, whom she described as two very gifted actors. Both have been in the business for several years and are also close friends, which, Dean explained, made it easier for them to portray the relationship between the couple.

“A ‘two-hander’ is always a challenge for the actors. Of course, many lines have to be learned and there is never time for a break on stage,” Dean said. “This particular play has six scenes, mostly four years apart. This means the actors have to change their costumes in two minutes or less. Much harder than one would think, especially standing in the wings.”

A Canadian playwright and actor, Slade created two popular television series in the late 1960s and early 1970s, The Flying Nun and The Partridge Family. He also wrote for Bewitched and The Courtship of Eddie’s Father, among others. He began his career as an actor, performing in more than 200 plays on stage, radio and television, in regional theatres around Toronto and on camera for the CBC. By the mid-1970s, Slade turned his comedic focus to the stage and wrote more than a dozen plays.

One of the most produced and successful two-person plays, Same Time, Next Year opened on Broadway in March 1975, originally starring Ellen Burstyn and Charles Grodin, and ran for more than 1,400 shows during the course of nearly four years. It toured across the United States, played in London and was translated into several languages. It was adapted into a film in 1978 that featured Burstyn and Alan Alda.

It has been said that Slade’s strength as a writer derives from his ability to fill the characters’ lives with events of great richness and depth, and still maintain the easy lightness so important to a romantic comedy – with strong dialogue and a consistent, realistic and emotional tone. The theme of Same Time, Another Year, as well as the original, is that few (if any) relationships fit into neat boxes, and each has its own rhythm and place in people’s lives.

For more information, showtimes and tickets, visit Bema’s website, bemaproductions.com.

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

Survivors play brings tears

On Oct. 29, six young actors offered a powerful rendering of Survivors, a play by Wendy Kout, at the University of Victoria’s Phoenix Theatre. The production will tour BC and other Western provinces. (photo by Peter Nadler)

On Oct. 29, six young actors offered a powerful rendering of Survivors, a play by Wendy Kout about 10 Holocaust survivors. The performance at the University of Victoria’s Phoenix Theatre had the audience, many of whom were decades older than the actors, reaching for handkerchiefs as the last words of the play, “never again,” were spoken in unison on stage.

The Victoria organizers, who have been given the rights to perform Survivors across the Western provinces, are hoping the play and its message will eventually reach, inform and educate students about the Holocaust and the dangers of hate.

Suitable for audience members from Grade 6 and up, Survivors is intended to provide students the ability to recognize the short- and long-term effects of prejudice, discrimination and, ultimately, genocide. Other objectives are to foster critical thinking in young (and older) people and impress upon them the importance of human rights and social justice advocacy.

The six actors – Julie McGuire, Ryan Kniel, Sarah-Michelle Lang, Nolan McConnell-Fidyk, Sophie Radford and Brandon Sugden – took on the roles of the 10 Holocaust survivors and dozens of other characters pertaining to their respective stories during the 65-minute performance.

Survivors progresses chronologically, portraying events leading up to, during and after the Holocaust, bringing to the stage the experiences of Jewish children and teenagers from Europe. The professional cast portrays the survivors, starting at innocence and continuing through the terrifying rise and rule of bigotry, xenophobia and violence, before they immigrate to America.

Among others, the play includes the stories of a teen who watched her boyfriend being taken away to a concentration camp, a girl who was separated from her parents and relocated to England through the Kindertransport, and a boy whose family struggled to escape to China.

Four of the 10 survivors on whom the play is based were still alive when the play premièred in New York in 2018. Though each story is unique, all the survivors “went through this horror and came through the other side to build meaningful, contributing, beautiful lives,” notes Kout. “We’re not just telling history. We’re telling history as a cautionary tale for the present and the future.”

Several prominent members of the public, such as MLAs Murray Rankin and Rob Fleming, were in attendance at the UVic performance. In remarks made after the show, Rankin suggested he would press the Ministry of Education and Child Care to bring Survivors to schools in the province.

Rankin’s comments preceded the announcement by Premier David Eby the following day, Oct. 30, that Holocaust education would become mandatory in high schools throughout British Columbia beginning in the 2025-26 academic year. The move made British Columbia the second province, after Ontario, to mandate study of the Shoah.

There is a tangible sense of urgency by the organizers of Survivors to have the play viewed as widely as possible.

“We need to capture young minds of young people at an early stage before hate and racism becomes normalized,” their literature states. “We need to do this in the schools, because that is where most young people can be reached and it’s an opportunity to educate children and engage teachers.”

Survivors, with its aim to educate young people about hate, comes at a time when clear evidence of the ignorance of history has been in the news. In September, Anthony Rota, the speaker of the House of Commons, stepped down after honouring a Ukrainian veteran who fought with a Nazi unit during the Second World War.

More broadly, the organizers of Survivors cite a report by the Azrieli Foundation, Yad Vashem and others, which found that 62% of millennials did not know that six million Jews were killed in the Holocaust, 22% of millennials had not heard or were not sure if they had heard of the Holocaust, and 23% of all Canadians believe that two million or fewer Jews were killed during the Holocaust.

The Victoria production of Survivors that played last fall in school auditoriums, theatres and libraries, and had four public performances was the first international tour of the play. (See jewishindependent.ca/survivors-a-cautionary-tale and jewishindependent.ca/theatre-that-educates.) There are other tours currently on both coasts of the United States, and Kout, along with the New York company that developed Survivors, is creating a documentary on how the play came to be.

Survivors was originally commissioned and developed by CenterStage Theatre in Rochester, NY, in 2017, when Kout was asked to write a Holocaust play about survivors who had immigrated to the city. Shortly thereafter, while watching neo-Nazis march in Charlottesville, Va., Kout expressed the feeling that she was not simply writing an historical play but also a “warning play.”

For the Victoria troupe, Zelda Dean, the director, said, “Our goal is to expand the tour to more of Vancouver Island, to Vancouver on the mainland, and to select schools in the interior. The following year we will expand to include more schools throughout BC and other Western Canadian provinces.”

To learn more about Survivors and to donate, visit holocausttheatre.com.

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

Theatre that educates

Wendy Kout’s play Survivors is based on 10 real-life stories of young people’s Holocaust experiences. (photo by Peter Nadler)

Last year, Victoria-based Bema Productions and the Victoria Shoah Project collaborated on a pilot project: a nine-performance tour to middle and secondary schools of Survivors, a Holocaust-themed play by Wendy Kout. The success of the tour, which reached more than 1,100 students and 500 adults in the Victoria area, has led the organizations to broaden their reach throughout Vancouver Island, Metro Vancouver and other Western provinces beginning this autumn.

“Following our pilot tour in Victoria, we were asked to cover the Western provinces, and I happily accepted the challenge,” said Zelda Dean, the director of the play. “We will be touring to 30 schools on Vancouver Island in October 2023. In the fall of 2024, we will tour on the Mainland and in Alberta. Saskatchewan and Manitoba will be toured in 2025 – 150 performances in total will be presented.”

Citing a 2018 Canadian survey produced by the Azrieli Foundation, Yad Vashem, the United States Holocaust Memorial Museum and the Claims Conference, the Victoria organizers offer compelling reasons why Holocaust education is necessary today, particularly (but not only) for youth. According to the survey, 52% of millennials cannot name a concentration camp or ghetto; 62% of millennials did not know that six million Jews were killed in the Holocaust; 22% of millennials haven’t heard or are not sure if they have heard of the Holocaust; and 23% of all Canadians believe that substantially fewer than six million Jews were killed (two million or fewer) during the Holocaust, while another 24% were unsure of how many were killed.

“I have been alarmed at the ongoing rise in antisemitism for some years and have been looking for a suitable educational play. I had previously produced a play by Wendy and loved her work,” said Dean, regarding the selection of Survivors.

The intention of the one-hour play, suitable for those from Grade 6 to adulthood, is to provide a vehicle to teach lessons from the Shoah to younger audiences. Based on 10 real-life stories of young people’s Holocaust experiences, the play hopes to enable students to recognize the short- and long-term causes and effects of prejudice, discrimination and, ultimately, genocide. It also aims to foster critical thinking and bring the importance of human rights and social justice advocacy to the forefront.

Survivors goes through the chronological history of the Holocaust by enacting the experiences of Jewish children and teenagers from Europe. The young cast of six professional actors portrays the survivors, starting at innocence and continuing through the terrifying rise and rule of bigotry, xenophobia and violence, before they immigrate to America.

The play includes the true stories of a teen who watched her boyfriend being taken away to a concentration camp, a girl who was separated from her parents and relocated to England through the Kindertransport and a boy whose family struggled to escape to China.

Dean credited the young actors in the production for their diligence and dedication to their parts. “I put a casting call out and was delighted that a large number of very skilled young actors tried out for the roles. Those who were cast were tasked with doing considerable research into the Holocaust prior to rehearsals starting,” she said.

Survivors was originally commissioned and developed by CenterStage Theatre in Rochester, N.Y., in 2017, when Kout was asked to write a Holocaust play about survivors who had immigrated to the city. Shortly thereafter, while watching neo-Nazis march in Charlottesville, Va., Kout expressed the feeling that she was not simply writing an historical play but also a “warning play.”

The Victoria production in November and December 2022 – which played in school auditoriums, theatres and libraries, and had four public performances – was the first international tour of the play. There are other tours currently on both coasts of the United States, with Kout, along with the New York company that developed Survivors, creating a documentary on how the play came to be.

“Sharing the history of the Holocaust with students provides an important historical example of the dangers of allowing hatred and intolerance to take hold within a society,” said former B.C. minister of education Rob Fleming about the Victoria tour.

Additionally, several students who saw the play offered their input concerning how the performance affected them.

“I want to continue to learn more about the Holocaust and people’s stories. I’ve read [Elie Wiesel’s] Night and seen this play but other than that I haven’t heard many personal stories, so I’d like to learn more,” said one.

“I learned once again that I should not judge others selfishly based on race, religion, appearance or prejudice, and I will try to [remember that] whenever I meet new people from now on,” contributed another.

The organizers are looking for financial support to fund the upcoming Western Canadian tours.

“Over $450,000 is required to offer this powerful educational play to so many students, and we are actively fundraising to individuals, corporations, foundations, etc. We are running a campaign inviting folks to sponsor a school in their area for only $500,” Dean explained.

For more information about the play and to contribute, visit holocausttheatre.com or email [email protected].

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

Bema mounts Wells’ Mazel Tov, John Lennon

Nicholas Guerriero as John Lennon, left, and Perry Burton as his Jewish lawyer, Leon Wildes, in Bema Productions’ rendition of Mazel Tov, John Lennon by David Wells, which had a virtual run at the Victoria Fringe Festival this year (photo from Bema Productions). Based on the true story of the Nixon administration’s attempt to deport John Lennon because of his political activism against the war in Vietnam, it is a fascinating play about a lesser-known aspect of American history. The years-long case ultimately led to various changes in the country’s immigration laws.

“I was so happy to be back in live rehearsal after a year-and-a-half, and had tears in my eyes at the first rehearsal,” director Zelda Dean told the Independent. “Of course, we all wore masks until near the end. This is the 142nd show I have directed in my long career and the first time that I couldn’t see the expression on the actors’ faces while we were working together. Of course, their masks came off at the last few rehearsals and at the filming of the show [by Jason King] and, by then, everyone was fully vaccinated. A new experience and I was delighted to learn much and develop new techniques. I am always grateful to learn from the many skilled artists I am privileged to work with.”

Three-generation comedy

David Biltek and Susan Wilkes are part of the cast of Bema Productions’ presentation of We Are the Levinsons, by Wendy Kout. (photo from Bema Productions)

Bema Productions’ 2019 Mainstage presentation is the Canadian première of We Are the Levinsons, by Wendy Kout, an award-winning writer/producer of theatre, film, television and prose. Zelda Dean directs the Victoria production, which opened May 9 at Congregation Emanu-El’s Black Box Theatre.

The story details the phenomenon of the “sandwich generation” – adults caring for both children and aging parents – through the lens of one family’s momentous year. Rosie, a daughter with mother issues, surprises her parents with a trip home. And life surprises Rosie. Sanity, survival and humour are tested and love is deepened in this three-generation family, and chosen family, comedy.

We Are the Levinsons will be performed May 12, 3 p.m.; May 14-16, 7:30 p.m.; May 19, 3 p.m.; and May 23, 7:30 p.m., at Congregation Emanu-El, in Victoria. Tickets are $23 from Ticket Rocket, ticketrocket.co or 1050 Meares St.