Image – Page 150

Memoir, tribute, history

Actor Tovah Feldshuh talks about her new book, Lilyville, on April 15, in an event held in partnership with the JCC Jewish Book Festival. (PR photo)

The long-awaited Cherie Smith JCC Jewish Book Festival closing night event – Tovah Feldshuh talking about her new book, Lilyville: Mother, Daughter, and Other Roles I’ve Played – finally takes place on April 15.

The event was postponed to piggyback on the Book Festival of the Marcus JCC of Atlanta and JCC National Literary Consortium In Your Living Room Live series. It will feature Feldshuh in conversation with CNN correspondent Holly Firfer, and promises to be an entertaining evening with many laughs and lots of good advice, if Lilyville is any indication.

Feldshuh’s first book is a unique memoir in that it is framed in terms of her relationship with her mother – the longest and most important of Feldshuh’s roles having been the one she didn’t audition for, being the daughter of Lillian (Lily) Kaplan Feldshuh. The memoir is structured as a theatre piece, starting with the Program Note and ending with Exit Music, with three acts, many scenes and more in between.

Strong women characters, from the fictional Yentl (from the mind of Sholem Aleichem) to the very real U.S. Supreme Court Justice Ruth Bader Ginsburg, dominate Feldshuh’s career. She has performed in theatre, film and television, winning numerous awards and nominations for the excellence of her work. She also has been recognized for her charity work. And, it seems, through it all, family has been a priority.

In Lilyville, Feldshuh writes about her upbringing, how and why she became an actor, some of the people and incidents that have influenced her, her marriage (to a lawyer, like her beloved father was, and which she considered becoming at one point) and being a mother herself. Given her successes, readers may be surprised at the professional challenges she has overcome along the way, including being told outright by a director that she’d never make a good actress, she should become an accountant. But the biggest obstacle for her was coming to understand that her mother, who seemed cold and shy throughout Feldshuh’s (and her older brother’s) upbringing, loved them. While hypercritical and emotionally closed throughout their growing-up years, their mother was always there for them. It was only after their father died that their mother – who had been raised to be what was considered a good woman back then, ie. a woman who dedicated herself to her husband and kids, her own aspirations be damned – blossomed.

In an interview with the Detroit Jewish Book Fair, Feldshuh said about writing Lilyville that she “felt compelled to tell her [mother’s] story and mine and how the two of us had a lifelong journey toward each other. In essence, I dig down into the primal relationship between parent and child, with the specifics between mother and daughter.”

Luckily for the women, they had the time to repair and build their relationship, as Feldshuh’s mother lived to 103. Through that century-plus, Lily Kaplan Feldshuh, who was born before women were given the vote in the United States, witnessed countless social, cultural and technological changes, and Lilyville is partly a history of women’s rights in that country.

General admission to Feldshuh’s book talk is free. Admittance to the pre-event meet-and-greet portion of the event comes when, in addition to registering, you purchase the book; the $36US includes shipping and you will receive a copy with a signed bookplate. Visit jccgv.com/jewish-book-festival.

Dance-opera closer to final

Ted Littlemore is one of seven dancers in the latest iteration of Idan Cohen’s Orfeo ed Euridice, which will be available online April 6-13. (photo by Flick Harrison)

The first article the Jewish Independent published about choreographer and opera director Idan Cohen was about his reimagining of Christoph Willibald Gluck’s opera Orfeo ed Euridice. Much progress has been made in the few years since, and excerpts from the contemporary dance work will be streaming on demand April 6-13.

Cohen was a relatively recent arrival from Israel back in 2018. As artistic director of Ne. Sans Opera and Dance, which he established here in 2017, he has become a prominent part of the Vancouver arts scene. He is currently artist-in-residence at the Dance Centre, which describes Cohen’s approach to this 18th-century opera as one that interprets

“Orpheus not as a god, but as an artist – a human who looks at the complex and sometimes violent history of Western, classical opera and dance with eyes wide open, the dancing body serving as a living example of human strength and fragility.”

In the myth, poet and musician Orfeo mourns the death of his wife, Euridice, and tries to get her back from the Underworld. It is an effort fraught with challenges, not unlike creating a new artistic work.

“Staging an opera is a monumental task, and it is really exciting to have an audience who has been following this production from its inception,” Cohen told the Independent. “Alongside the Dance Centre’s residency, we were given a grant from the Canada Council for the Arts, through the Piercey family – the Sheila Kathleen Piercey Fund – which enabled us to continue and present this final phase of the research, leading to the full production in 2022.

“For the past few months,” he said, “I have been rehearsing with Leslie Dala as the music director and with seven incredible dancers and five opera singers. We are presenting almost 40 minutes of a piano reduction of the score, played live by Leslie, and the singers, as a dance-opera. So you’ll get to see and listen to a live opera that is also a dance performance.”

In 2019, Ne. Sans presented Trionfi Amore, as a part of the research for Orfeo ed Euridice. That production featured Ted Littlemore, Kate Franklin and Jeremy O’Neill. For this April’s production, they are joined by dancers Hana Rutka, Rachel Meyer, Aiden Cass and Stephanie Cyr.

“The wonderful counter-tenor Shane Hanson is singing Orfeo and the chorus singers are Heather Pawsey, Tyler Simpson, Heather Molloy and William Grossman,” said Cohen. Costume designer and stylist is Evan Clayton, while Littlemore pulls double duty – not only performing, but in charge of the makeup and masks.

The number of people involved now brings its own challenges, given the continuing pandemic.

“The Dance Centre’s residency enabled us to rehearse in large spaces that allowed for our relatively big group to remain socially distanced at all times,” said Cohen. “Following COVID-19 protocols meant that we needed to be wearing masks and that the performers could not touch. I tried to look at these not as obstacles but as creative opportunities and I am very proud of what we’ve managed to achieve.”

Ever the one to look on the bright side of things, Cohen added, “It was wonderful to gather musicians and dancers and create. There’s nothing quite like it, and I hope that the result will be as pleasurable to our audience as it was to us.”

The April streaming, which will have been pre-recorded, includes a discussion with Cohen. Tickets are on a sliding scale, and can be purchased from thedancecentre.ca/event/idan-cohen.

R2R fest teaches, entertains

Seu Jorge, left, and Noah Schnapp in a still from Abe. (image from Reel 2 Real)

The upcoming Reel 2 Real International Film Festival for Youth is not just for youth, though younger viewers are its target audience. There are entertaining and engaging films for all ages among the 18 features and 45 shorts that will be available for streaming online April 14-23.

The focus of this year’s festival is “films that explore the impact of social media, racism and discrimination, with a focus on Germany.” While many of the offerings will interest Jewish community members, at least four cover topics of specific relevance.

The American feature Abe was part of the recent Vancouver Jewish Film Festival. It is carried by the impressive acting of Noah Schnapp as 12-year-old Abe and that of Seu Jorge as Chico, the Brazilian-American chef that Abe idolizes. The food, glorious food, is an added bonus.

While the writing of Abe’s family dynamics is clunky and without nuance – his father’s side is Muslim, his mother’s Jewish, and never the twain shall meet on religion or the Palestinian-Israeli conflict – Abe himself is charming. He puts his heart into trying to bring everyone together, in part, by creating a fancy dinner that comprises several of his grandmothers’ traditional recipes. The grumpy but caring Chico helps, having reluctantly taken Abe in, first as a dishwasher then as one of his prep cooks.

Food doesn’t turn out to be the way to his family members’ hearts but the disastrous fusion meal, which ends in a big fight and Abe running away, does push his family to at least reconsider their priorities.

***

still - Mouize and Ranin become friends over popcorn and a shared love of cinema in Cinema Rex — Mouize and Ranin become friends over popcorn and a shared love of cinema in *Cinema Rex. (image from Reel 2 Real)*

In another charming film, the young also show the adults the possible way to some form of peace. In the Israeli animated short Cinema Rex, the Jewish boy Mouize and the Arab girl Ranin become friends over popcorn and a shared love of cinema.

Set in Jerusalem in 1938, a new movie theatre opens, “In the heart of the city, on the seam line between the Jewish side and the Arab side, and adjacent to the British police.” It is “co-owned by partners from both sides of [the] divided city” and Mouize’s dad is the projectionist. When Mouize catches a glimpse of someone peeking into the projection room, he follows the trail of popcorn to Ranin, who shares it with him in exchange for a seat beside him in the best seats in the house. The two imagine themselves as the heroes in Robin Hood, as actors in a Laurel and Hardy film, dancers in a Fred Astaire and Ginger Rogers movie, and more.

Ranin’s mother is non-plused to find her daughter hanging out with Mouize, and Mouize’s dad tries to tell him, “Someday, you’ll understand why you and she can’t be friends.” But the kids have none of it.

Beautifully drawn and a story simply told – in Arabic, English and Hebrew with English subtitles – this short is highly recommended viewing.

***

still - Alina is a tension-filled short film — *Alina* is a tension-filled short film. *(image from Reel 2 Real)*

A more serious and nerve-wracking short is the tension-filled American film Alina. For 25 minutes, breathing will be more difficult, as the fate of a three-month-old baby lies in the hands of Alina (played by Alia Shawkat). The non-Jewish woman is part of a group of women (and men, as her brother helps) who are smuggling Jewish children out of the Warsaw Ghetto during the Holocaust.

Inspired by factual events, but fictional, the film opens as Nazi soldiers kick their way into a building and make their way up each floor, searching every room for children, with orders to seize them. Alina must escape from an upper-level apartment with the baby through the bathroom window, using a makeshift rope of tied sheets. She must then meet her brother, make it through a checkpoint and even face Nazi soldiers in her own home, as a Nazi captain accompanies her there from the checkpoint, so convinced is he that she is hiding something from him.

Alina is a multiple-award-winning film for many reasons. And it precedes the fascinating feature-length documentary The Lesson, which sees its Canadian première at Reel 2 Real.

photo - The Lesson director Elena Horn — *The Lesson* director Elena Horn. *(image from Reel 2 Real)*

Through the lens of German filmmaker Elena Horn, who herself grew up in Fröndenberg and went to Fröndenberg Comprehensive School, The Lesson is a personal look at how students in Germany are taught about the Holocaust. Over a five-year period, Horn followed a handful of students through their classes on the topic, their projects and field trips. She juxtaposes this perspective with archival footage from the 1930s, showing children doing paramilitary exercises, learning about what makes a good German and other propaganda. She also includes current-day nationalism and how some of the students deal with the differences between what they’re being taught in school about the Holocaust and what their families have told them about that period in time.

Horn frames the content in the context of overarching questions such as, could the Holocaust have been initiated by other countries just as easily as in Germany, or is there something inherent about Germany that allowed it to start there? She wonders if history is repeating itself, and she continues to struggle with the question, “What would I have done?” She highlights some of the efforts of those who refused to be bystanders to genocide, and she hopes to inspire some viewers to be courageous if, God forbid, they ever face such a choice.

***

For the full festival schedule and tickets, as well as information on Reel 2 Real’s several youth programs and workshops, visit r2rfestival.org.

A great-grandmother’s song

Jesse Waldman was inspired by his great-grandmother Adele Waldman to reimagine the Yiddish song “Papirosen.” (photo from Jesse Waldman)

Several weeks ago, I was offered a commission by the Shadbolt Centre for the Arts to do a musical piece for their Covid Chronicles series. A Jewish musician living in Vancouver, I made a video of the classic Yiddish tune “Papirosen.” It has special significance, and it’s something I want to share with others.

As far back as I can remember, my family has been into taking photos, videos and recordings – I have at least three huge albums and a bunch of VHS tapes from birthdays, bar mitzvahs, etc. As well, there was a piano in my grandparents’ living room and music was always part of our lives. Before my grandmother passed away, she gave me a cassette that had been made on a reel-to-reel tape machine in Toronto in 1958. It included my mom at 2-and-a-half-years-old singing nursery rhymes, interviews with other family members, and my great-grandmother, Adele Waldman, singing traditional Yiddish folk songs.

Adele was my grandfather’s mother and she died before I was born. The quality and soul of her voice is absolutely stunning – some of the most moving singing I’ve ever heard, both haunting and soothing at the same time. I could listen to the recordings a million times and still be amazed by the off-the-cuff performances she did in the kitchen of my grandparents’ house.

photo - Jesse Waldman — Jesse Waldman *(photo from Jesse Waldman)*

I recently went through my storage closet and found a binder of sheet music that used to live in my grandparents’ piano bench. It was mostly big band and jazz tunes, but also a handful of Yiddish songs, including “Papirosen,” which was one the songs Adele sang on those tapes. As I put the sheet music on my music stand and began to study it, I was transported back to Eastern Europe in the 1920s.

Written by Herman Yablokoff in that decade, this song has the most dark yet beautiful melody, and I absolutely adore it. I looked up the lyrics (translated into English) and was struck again by the powerful storytelling about a young boy selling cigarettes, or papirosen, on the streets, offering an introspective look at his inner world.

For the Shadbolt-commissioned piece, I combined Adele’s recorded performance of “Papirosen” and a reimagined rendition of the song that I performed on guitar. After trying a few different things, I landed on the idea of sharing the first segment of her performance (her rendition is five minutes long) followed by a one-take performance by myself. The video can be found at youtube.com/watch?v=RWAVr2W0vvo.

JNF Pacific’s fresh face

Michael Sachs, the new executive director of Jewish National Fund of Canada, Pacific region, with his wife Shira, a Hebrew and Judaics teacher at Vancouver Talmud Torah, and their children Izzy, 8, and Desi, 5-and-a-half. (photo by Michael Sachs)

The Jewish National Fund, founded by Theodor Herzl in 1901, is inextricably tied up in the history of the land and the state of Israel. Associated in the minds of generations of Diaspora Jews with planting trees in Israel, the agency – and its Canadian arm – have expanded into almost every area of civil infrastructure in that country.

The Jewish National Fund of Canada raises awareness and funds for projects that still include planting trees, but many years ago expanded into constructing water reservoirs, preserving natural habitats and building parks and bicycle trails. More recently, the focus has included social service infrastructures for vulnerable populations, such as at-risk youth, victims of domestic abuse, children with special needs, veterans and those with economic disadvantages.

For many years, JNF was represented in British Columbia by a shaliach, an emissary, sent here to advocate and raise funds for projects in Israel. Ilan Pilo was the last shaliach appointed and, when the Israeli office of JNF decided to stop funding the position, Jewish National Fund of Canada hired him and he continued in the role as executive director. Pilo and his family returned to Israel permanently this year after eight years in the community here.

Immediately after Passover, on April 5, Michael Sachs becomes the first non-Israeli to helm the Pacific region office. “I’m making history without doing anything,” he joked.

Sachs has spent the past decade working in the wholesale diamond sector as vice-president of sales at ERL Diamonds. In his off hours, he has been involved in an array of community organizations, including serving as president of the Bayit, a Richmond synagogue, during a time of exponential growth in membership. He has also served on the boards of the Kehila Society of Richmond, Vancouver Hebrew Academy, Tikva Housing, and on the development committee of Jewish Family Services. His efforts have been recognized both with a Jewish Independent 18 Under 36 Award, as well as a Jewish Federation of Greater Vancouver Young Leadership Award.

Although his community work has been extensive, Sachs may be familiar to most as a member of the family that ran Kaplan’s Deli for years. His mother and stepfather, Sally and Marshall Cramer, owned the restaurant and young Mike worked the counter.

“I always joked that one of the best sitcoms ever written would be something about being behind the counter of a Jewish deli because you hear everything that’s going on in the community, you meet everybody and it’s like watching a show,” he said.

In his early 20s, Sachs traveled to Israel on Birthright and he was transformed. “I came back and I longed for that connection,” he said, “because, when you’re there, it is electrifying through the soles of your feet; the energy, the buzz.”

Taking a leadership role in JNF may be a direct legacy of the impact of that visit.

Sachs refers to his new position as “an absolute dream.” He said, “Something like this is a once-in-a-lifetime opportunity.” And added, “JNF is, in my eyes, the global Jewish community’s hand in building Israel.”

Sachs and Pilo have been in contact and the former executive director will be on hand from his new home in Israel to assist virtually in the transition. Meanwhile, Sachs has set his sights on expanding the geographic reach of the Pacific region office. He aims to increase the agency’s presence in the Okanagan, on Vancouver Island and in the outlying Metro Vancouver communities.

Speaking before he formally takes on the role, Sachs said he doesn’t want to prejudge what changes might come, but he guarantees two things: “Excitement and energy.”

The staff of two in the regional office – Liisa King and Moran Nir – “do the work of five people,” he said.

“I don’t think I’ve ever seen such a group of dedicated community members as I have on the board of JNF,” he added, specifically citing Pacific region president Bernice Carmeli and vice-president Shannon Gorski.

Carmeli and Sachs would like to not only reach a broader geographic area, but a larger demographic. Just before the pandemic hit, Carmeli told the Independent, they were about to launch in earnest a new young adult division called JNF Future. As the reopening continues, both she and Sachs hope to develop that cohort and build a strong base of support among the next generation.

Carmeli sees Sachs, who turned 40 on March 27, as the ideal fit for expanding JNF’s message to wider audiences. She shares Sachs’ overt enthusiasm for the future.

“Onward and upward,” she said. “We have a new ED, a lot of exciting things are going to happen.”

Navigating gender, sexuality

Marion Rom, who works with gender-diverse youth, spoke as part of a Beth Tikvah-hosted panel on the topic Navigating Gender and Sexuality in the 21st Century. (screenshot)

“Almost one-third of people who have gender dysphoria will attempt suicide and have mental health issues, and that’s why we often have such a high rate of kids with eating disorders who are transgender,” said Marion Rom, a counselor who works with gender-diverse youth in the Lower Mainland.

Rom was speaking as part of a March 11 panel on the topic Navigating Gender and Sexuality in the 21st Century. She defined gender dysphoria as when “your body doesn’t match the sense of who you are.” She also explained to the 65-plus attendees of the discussion the difference between sex and gender, some of the terminology around gender, and a few resources for those who want to learn more.

The panel, which was hosted by Beth Tikvah Congregation, also included Dean Kaplan, who joined the conversation from Washington, D.C., and the Abelson family – Kay, Bernard and their son Jason – who live here. The discussion was started by the congregation’s spiritual leader, Rabbi Susie Tendler.

“I think that we have a special mission, as the Jewish people, of finding people who have a potential to be marginalized and always elevating them, along with elevating everyone, to ensure that we are all in a sacred space,” said Tendler. She described her rabbinate as being “about opening doors” and a kehila kedosha, holy community, as one that creates pathways for everyone to be welcome in sacred spaces. She thanked the Zoom participants for their efforts in opening the door of community wider to “welcome everyone as their authentic selves because that’s the only way that, I believe, we really approach God.”

Rom was asked to speak by BT congregant Linda Steiner, who had heard Rom’s talk at a Habonim alumni meeting last year. The presentation was geared to older people, like Rom herself, who is 63.

She defined sexuality, and explained several terms, including lesbian (a female attracted to another female), heterosexual (females attracted to males and vice versa), bisexual (someone attracted to both males and females) and pansexual (someone attracted simply to the person, irrespective of gender). She broke down the acronym LGBTQ+ (lesbian, gay, bisexual, transgender, queer; with the plus including but not limited to asexual, two spirit, and allies). She also went through some of the gender terminology, such as cisgender (“either male or female”) and transgender (someone whose sense of self doesn’t match their birth gender). She spoke briefly about hormone therapy and gender reassignment surgery.

For people wanting to start learning more about gender and sexuality, Rom suggested the books Love Lives Here by Amanda Jette Knox and Transgender Children and Youth: Cultivating Pride and Joy with Families in Transition by Elijah Nealy, the Israeli documentary Family in Transition and the narrative film The Danish Girl (or the book from which it was adapted, written by David Ebershoff).

Dean Kaplan, 28, who goes by the pronouns they, them and their, came out as non-binary a couple of years ago. They spoke about how they see themselves and their relationship to how the world sees people like them. Describing themselves as Jewish, white and having grown up upper-middle-class and with privilege, Kaplan acknowledged that these factors have “contributed to me being able to live as myself comfortably.”

Despite that comfort, Kaplan first came out as queer in terms of their sexuality, at the age of 17 or 18, before identifying as gender-nonconforming.

“An important part of identifying as queer in almost any part of the world,” said Kaplan, “is not only understanding who you are, but also, in some ways, accepting this label as ‘deviant’ by society.”

In their early 20s, Kaplan began to realize “I very much enjoy connecting with parts of myself that would be considered feminine,” such as having longer hair and wearing tights.

From a young age, they said, “I’ve had this latent sense of difference in how I want to emotionally connect with people and that played a lot into my sense that I was gender-nonconforming. I think also a little bit of it is this sense that I want to live in a world and exist in space without a lot the negative aspects of masculinity that I was raised to cherish in a lot of ways. I’m still aware of the fact that almost all of my male friends are embarrassed to cry, even alone; it’s a sign of anti-masculinity. And so, being non-binary for me is very freeing in a lot of ways. I can be who I want to be and who I feel I am without the kind of embarrassment or labels that go with certain actions for certain genders.”

That said, the reactions to their coming out were mixed and some were hurtful. They get misgendered every day – “sometimes I correct, sometimes I don’t,” said Kaplan. That will depend, for example, on whether the person making the mistake is a superior at work or a peer. “Power and economics play into my ability to be myself in the spaces I happen to be in,” they said.

Jason Abelson, 24, started his transition in 2012, but his first memory of wanting to be a boy goes back to a gymnastics class when he was in preschool, so 4 or 5 years old. Initially, he attended an Orthodox elementary school in South Africa, where he was born, but his parents switched him to a public school. He used the fact that he was a swimmer to cut his hair short in Grade 4. He hated it when his parents would correct people who would mistake him for being a boy. “I just wanted to go and hide somewhere,” he said.

When his chest began to develop in puberty, he would try and hide it, but, eventually, he quit swimming. He has since picked the sport up again, and has joined an LGBTQ+ team.

When he was younger, he said, “I didn’t know what transgender was. I didn’t know that you could transition, that the feelings I had for wanting to be a boy were experienced by anyone else until an Oprah show that my mom was watching one summer’s afternoon. In that Oprah show, they had a transgender guy and his family, and shared his story.”

Seeing the possibilities for himself, Abelson thought about next steps and started the process of transitioning, one part of which is convincing a psychologist “that you are transgender.” He then saw an endocrinologist. In Grade 10 at the time, he stayed at the same school throughout. “I finished the first semester as a girl; came back five days later as a boy,” he said. “All we did was we changed the name on the class list.”

While he was given a key to the teacher’s washroom, he didn’t want to call attention to himself, so he avoided using the facilities. “Bathrooms still do give me a little bit of anxiety,” he said.

He started hormones nine years ago, at age 15. About a year after that, he had top surgery – prior to that he had used binders to keep his chest down.

With respect to going to an Orthodox shul after he started his transition, Abelson was told that he could come to services but would have to sit in the women’s section. Even now, attending a new synagogue and sitting on the men’s side, he said, “I don’t feel like I have a place in the shul. Being gay as well, I can’t get married in that shul, so that’s still a world that is being navigated.”

Kay Abelson spoke about both the emotional journey and the “very practical life journey.” She said she struggled with those early years when her son was asserting his identity – in his clothing choices and in his desire to cut his hair short, for example.

“I found it really hard, as a mother,” she acknowledged. “And it did cause some conflict in our family.” However, she noted, “For me, the time before Jason’s transition was more of a struggle than once he transitioned…. I found the earlier time hard, before we knew what we were dealing with. Bernard and I both always had a sense that there was something with Jason when he was growing up, but we just could not put our finger on it. And so, that moment of him watching the Oprah show and having that ah-ha moment was a huge turning point for all of us.”

It took time for her and her husband to understand and digest what was happening. She had fears about what people would think and say, but people were supportive and accepting, she said.

“When you start thinking about the history and the background about all those situations that Jason mentioned,” said Bernard Abelson, such as the first time he cut his hair short. “All I wanted to do was get him earrings so that he could look more feminine.” When people would refer to his son, “I was immediately defending, ‘This is my daughter.’… I thought I was

defending him. That’s the irony of all that, is that, as a parent, you think you’re doing the right thing by

defending them … but, at the end of the day, for him, as you’ve heard, it wasn’t working for him at all.”

One thing that helped the family was watching the documentary Becoming Chaz, about Chaz Bono’s transition. Watching it helped Bernard Abelson to accept, “This is real.”

“It’s been an incredible, incredible journey for all of us,” said Kate Abelson.

While some parents go through a mourning period for the son or daughter they once had, Kay Abelson said, “I never felt like I lost anything. In fact, I actually gained something through the process because, before Jason’s transition, as you heard in his story, he never felt comfortable with who he was. He was always yearning to be someone different, so he was never really happy within himself…. When he transitioned and he could actually stand loud and proud and be who he was … it was just so exciting.”

Rom reentered the conversation by stressing that the level of grieving varies among families. She then opened the question-and-answer session that included Dean Kaplan’s dad, Des Kaplan, talking about some of his challenges in understanding his child’s gender and sexuality. There was also discussion about Jewish tradition, which identifies at least six genders, and that some Jewish communities have changed the b’nai mitzvah rituals to be more gender-inclusive.

To watch the panel discussion, without the Q&A, visit btikvah.ca/inclusion-and-diversity.

Penn & Teller stumped

Illusionist Vitaly Beckman in the midst of fooling Penn & Teller on the March 19 broadcast of Penn & Teller: Fool Us. (screenshot)

Illusionist Vitaly Beckman has done it again – he stumped Penn & Teller a second time. The co-hosts of CW television network’s Penn & Teller: Fool Us could not figure out how Vitaly made a cup of coffee and a muffin appear from seemingly nowhere, brought into existence by his mere drawing of the items. They also could not figure out how he made the breakfast disappear, by simply tearing the illustration out of his sketchbook.

Vitaly’s winning performance, which aired March 19, can be seen via his Facebook page, facebook.com/beckman.vitaly, YouTube, or jewishindependent.ca. He first stumped the famous magicians in 2016 and his return to the reality show brought some tough (joking) remarks from Penn, who said he thought Vitaly was a nice guy the first time they met. Noting that he and Teller don’t like to be fooled once, let alone twice, Penn said, “You’re not a nice guy. You’re someone we have to take down!”

Despite the jovial animosity, Vitaly, who admitted to having been nervous in his first appearance on the show, told the Independent, “I was much more comfortable this time. However, the illusion I prepared, even though it looked simple in its execution, it was quite difficult to perform, requiring a lot of concentration, precision and coordination. I was rehearsing it for a few months before the show. So, when I was performing, I focused all of the nervous energy to work for me and help me execute well.”

Penn & Teller’s guesses at Vitaly’s secret – the use of mirrors and/or hidden assistants off-stage – proved incorrect, garnering Vitaly another Fool Us trophy.

Vitaly performed his act from his home in Metro Vancouver, while Penn & Teller were in Las Vegas, and a virtual audience appeared behind them.

“I’m used to feeding off a live audience’s energy and reactions, so not having any definitely makes it more challenging,” said Vitaly. “When I perform live, I like to interact with the audience, hear them laugh and be amazed; sometimes I bring a volunteer on stage. I purposely designed an act that wouldn’t rely on any of that, yet still translated through the TV screen. I think we all can connect to the idea of making a cup of coffee and a muffin or another favourite dish appear whenever we want one, and it’s certainly nice to have that ability during a pandemic!”

Vitaly is currently working on some TV projects and planning live tours. “I’m also working on brand new illusions, and can’t wait for you to see some of the new things,” he said.

Vitaly added, “I love to stay in touch with my fans, and hear their feedback about their favourite acts and what are they up to, so feel free to send me messages through my Facebook page.”

Mandylicious babka baking

Mandy Silverman (photo from mandyliciouschallah.com)

Dozens of eager bakers joined Mandy Silverman, aka Mandylicious, for an evening of “thinking inside the braid,” as she shared various ways of making babkas – as well as her enthusiasm towards them – during a Zoom class hosted by Congregation Schara Tzedeck before Passover.

Silverman, a self-described “carbololgist,” is founder of Mandylicous Challah in Sharon, Mass. She was accompanied in this pre-Pesach virtual baking binge – titled Babkalicious with Mandylicious – by her husband and assistant, Dannylicious. The setting was their East Coast kitchen, where, by the time the first ingredients hit the mixing bowl, it was past 10 p.m., for them.

She demonstrated both traditional and new-wave babkas: the first, a standard babka twist filled with chocolate and, the second, shaped like a flower and filled with cookie dough. The secret for the latter’s filling is brown sugar, Silverman confided.

Throughout the presentation, she provided the audience with numerous pointers regarding the dough. Her recipes called for a more glutenous flour, one that is called bread flour – as opposed to all-purpose flour – which “helps the dough ball up easier.” Early on, she emphasized the importance of using instant yeast, which “means that it can just be added in with the rest of the ingredients in no particular order.” She suggested one should avoid quick-rise or rapid-rise yeasts, except when there is no alternative available.

“You can use it – you just have to proof it first. To proof active dry yeast, use the same amount (one tablespoon) but add it to one-third cup [of] 40ºC water and a pinch of sugar, and mix. When it bubbles, the yeast has been activated and can be added to the rest of the ingredients. Use one-third cup less water in the rest of the recipe,” she said.

photo - A heart-shaped chocolate babka made by Mandy Silverman, aka Mandylicious — A heart-shaped chocolate babka made by Mandy Silverman, aka Mandylicious. *(photo from facebook.com/mandyliciouschallah)*

“Dough consistency is crucial,” she stressed. “Dough that is too wet will be hard to shape and won’t bake properly. Dough that is too dry will not rise well and [will] taste dense and floury. The goal is to create a cohesive ball of dough that is not floury to the touch. Dough consistency can vary from kitchen to kitchen based on weather, humidity levels and type of flour used. You can get your dough to the proper consistency simply by adding flour or water, one or two tablespoons at a time, as the dough comes together, before the first rise – dough consistency will not improve as the dough rises.

“If you are finding that you are having to add a lot of flour, try using one-third cup less water at first and adding more as necessary,” she added. “After the first rise, dough can be refrigerated for up to five days or frozen for up to a month.”

Completely self-taught, Silverman became curious about baking after a family friend in her hometown of St. Louis would not divulge the recipe of a challah filled with honey. Before then, she confessed, she had never made anything with yeast, but decided to face the challenge.

Silverman started Mandylicious in 2013. During American Thanksgiving that November, which coincided with Chanukah, she posted an image of a turkey-shaped challah with a pumpkin-flavoured stuffing on Facebook. The image was so widely shared that people drove from as far away as New Hampshire and Maryland to purchase her challah. Since then, she has created more than 300 challah and babka recipes and has developed a worldwide following, including more than 33,000 Instagram followers.

Her fearlessness with challah and babka indicates that nearly all things can go well with the right dough. Among her culinary inventions, which she has described as “a diving board into carbs,” are Buffalo chicken challah, salami challah, pistachio pesto-stuffed challah and a red-velvet Christmas challah. Recent variations posted on her Instagram page have included challah French toast with a caramel core, rainbow-coloured challah (with rainbow sprinkles) and a strawberry and vanilla babka with a Fruity Pebbles crust.

Besides selling challah and babka and teaching classes, Silverman loves sharing recipes and tips, and supporting others who want to make their own challah. In the Boston area, Mandylicious offers a rotating assortment of gourmet challot. She uses 100% kosher and dairy-free ingredients and keeps a kosher kitchen.

For the recipes covered during the March 18 lesson, go to images.shulcloud.com/197/uploads/MandyliciousBabkaClass-Vancouver.pdf. Silverman is open to questions and can be direct messaged @mandyliciouschallah on Instagram.

Silverman’s class was part of the eight-part Schara Tzedeck Speaker Series. Two speakers remain: Rabbi Dr. Edward Reichman, a professor at Montefiore Medical Centre and the Albert Einstein College of Medicine, on April 11; and Judaics educator Michal Horowitz, from Five Towns, N.Y., on April 25. The Zooms start at 7 p.m. Register via scharatzedeck.com.

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

Israel’s wildflowers of spring

A collage of Israeli wildflowers. (MathKnight/Wikimedia Commons)

Every year, spring returns like a miracle and Israel is carpeted with wildflowers. There are nearly 3,000 types of wild plants in this tiny land, a wonderful profusion – among the most abundant on earth, growing in deserts and marshes, mountains and forests, and open fields.

We protect the wildflowers in Israel. Nature reserves prohibit picking any flowers, even the most common, which helps them propagate over wider areas. In turn, this brings the sunbirds, who feast on their nectar.

The Song of Songs, which we read every Passover, is the most beautiful love poem in the world. King Solomon wrote it as a dialogue between a young shepherd and his beloved: “Rise up, my love, my fair one and come away / For lo, the winter is past / The rain is over and gone / The flowers appear on the earth / The time of singing is come / And the voice of the turtle is heard in the land.”

The flowers he refers to, nitzanim, still carpet the fields – red poppies flaunting scarlet beauty in the grass.

In the Jerusalem Forest, cyclamens bloom in the crevices between the rocks. Called “Solomon’s Crown” in Hebrew, they lift their pink, cream or lilac heads on slender stalks. Clumps of wild violets, the dew shimmering, add their touch of magic.

We had good rains this winter and they have left a bequest of green. The Sharon Valley is dotted with tulips and narcissus – “I am the Rose of Sharon, a lily of the valleys.”

It is believed that King Solomon was referring to the black tulips of the Galilee. In spring, even the weeds are beautiful – the milk vetch (gadilan), which is just a common thistle, adds purple blooms to the roadside. The rock rose (labdanum) flowers abundantly in forest glades, and the orange ranunculus bursts forth. Like its velvety cousin, the anemone, it is a protected wild flower in Israel.

The perfume of daffodils, which delighted our winter, still wafts on the breeze, and the white, cream, yellow and blue noses of lupins are pushing through the soil. Oleanders are in bud, growing wild by the banks of the River Jordan and near streams in Galilee, promising summer. And the blue statice reminds us that we, too, have a Mediterranean coast like the famed Riviera – this sea plant flowers from spring until mid-summer, when its corolla drops off and only the sepal remains.

When you see the splendour of the land’s spring glory, the wildflowers glowing, you’ll echo the poet’s words: “Had I but two loaves of bread, I would sell one of them and buy white hyacinths to feed my soul.”

Dvora Waysman is a Jerusalem-based author. She has written 14 books, including The Pomegranate Pendant, which was made into a movie, and her latest novella, Searching for Sarah. She can be contacted at [email protected] or through her blog dvorawaysman.com.

Mourning, then celebration

Pam Wolfman is chair of the Yom Ha’atzmaut committee and Geoffrey Druker leads the Yom Hazikaron committee. (photos from Jewish Federation)

For many years, Vancouver has been home to North America’s largest celebration on erev Yom Ha’atzmaut. While Israel’s Independence Day is marked in many cities around the world, Vancouver is unusual in that it marks the occasion on the day it occurs – many bigger communities celebrate on an adjacent weekend or later in the spring. The event is usually the largest Jewish community gathering of the year in British Columbia, which is a statement about the connection between Vancouver’s Jewish community and the state of Israel, say organizers.

Last year, with the pandemic declared mere weeks before Israel’s anniversary, the tough decision was made to cancel the local event and join an international celebration convened virtually by Jewish Federations of North America.

While Pamela Wolfman, chair of the Yom Ha’atzmaut committee of the Jewish Federation of Greater Vancouver, wishes the community could come together in person, being online does have a silver lining – it allows the program to be more expansive. Every Yom Ha’atzmaut features an Israeli musical performer or group. This year, the committee has arranged for five performers who have joined the Vancouver celebrations in years past to return in a virtual “best of” concert.

“We decided to bring back five of the favourite artists from recent years who performed here already, so they already had a connection with Vancouver, they’d already visited us and gotten to know us and vice versa,” said Wolfman, who has chaired the event since 2014.

She credits Stephen Gaerber, who preceded her as event chair, and his brothers and father, as the impetus for the focus on Israeli talent at the annual get-together.

“Our community really responds to that,” said Wolfman. “A majority of our community really does feel connected to Israel, wants to celebrate all the positive things about Israel. We want to take a break from the news and we want to celebrate Israel, the miracle of Israel – Israeli art, Israeli culture, Israeli music – and to do that together is just really fun for everybody, really positive.”

Wolfman herself became involved via an earlier involvement with Festival Ha’Rikud, the Jewish Community Centre of Greater Vancouver’s festival of Israeli dance for young people. Since the festival began 18 years ago, the kids have participated in Yom Ha’atzmaut celebrations every year.

“This year, especially, there’s a lot to celebrate, with everything positive that’s going on with Israel … with the Abraham Accords, with the vaccine rollout, it’s a really good year to get together and celebrate – and lots and lots of great music has come out of Israel this year, too.”

In addition to the “five favourites,” Wolfman promises “cute kids and a few surprises.” Lu Winters and Kyle Berger will emcee, and keep an eye out, as well, for many other familiar faces, as scores of community members have come together virtually for a community song – the iconic 1970 Israeli ballad “Bashana Haba’ah” (“Next Year”).

Since the community event always sells out, this year’s virtual version will turn no one away – plus, it’s free. (Donations are welcome during registration at jewishvancouver.com. Food can also be ordered online via links at the same time.)

There can be no Yom Ha’atzmaut without Yom Hazikaron. Israel’s Independence Day is celebrated the day after Israel’s national day of remembrance for those lost defending the country or killed in terror attacks. This year’s commemoration of Yom Hazikaron will also be online, but the committee, led by Geoffrey Druker, has experience at a virtual version of the solemn commemoration – they delivered a virtual commemoration last year.

Like Yom Ha’atzmaut, Yom Hazikaron holds a special place in Vancouver’s Jewish community. Many other cities in North America mark the occasion, but ours is somewhat unusual, said Druker. Gaby Peled, an Israeli-Canadian who passed away in 2019, was pivotal in structuring our commemoration along the lines of the Yom Hazikaron he knew on his kibbutz, Givat Haim.

When Druker, also from Israel, arrived here in 1988, he was surprised to discover how many members of the Vancouver Jewish community had lost loved ones – family and friends – in Israel’s various conflagrations. A slide show every year remembers the individuals who are connected to British Columbians – and, every year, more faces are added. Often, local people have not shared their stories of loss, and so, as they come forward with their experiences with bereavement, their people are added to the ceremony. Druker invites anyone to contact Federation to add a loved one to be acknowledged and mourned communally.

This year’s gathering will share the story of, among others, Shaul Gilboa, a pilot shot down in 1969 and a cousin of Vancouverite Dvori Balshine. Shimi Cohen will remember his brother, Shlomo Cohen, by reciting Yizkor.

“The ceremony itself is for the bereaved families,” Druker said. “That’s how I see it. We want to remember their loved ones and we want to give them a community hug to recognize their loss and their pain. Everything is geared toward that.”

The event has grown significantly over the years, partly because the Israeli population in Metro Vancouver has grown significantly. Many or most of the participants in the annual Yom Hazikaron commemoration have Israeli ties and it is a hugely significant day in Israel.

The virtual format does not allow the person-to-person interaction that a regular gathering does, where people can share condolences and commiserate, said Druker. But virtual is absolutely preferable to no commemoration at all.

“It’s a significant date for many,” he said, “so that’s why we have to keep going.”

To join the ceremonies, visit jewishvancouver.com.