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Learning from her ancestors

Tasha Faye Evans shares a work in progress at Dance in Vancouver. (photo courtesy Scotiabank Dance Centre)

“With everything I do, I always ask myself, what is the medicine of this work? How is this dance, this play, this project, contributing to the greater health and well-being of my community? Who is this character speaking for? Who am I dedicating this work to? Then, when it comes time to perform,” said Tasha Faye Evans, “I am rarely nervous, because it’s not about me and my skills, its more about the work I am doing and who I am doing it for.”

Evans was speaking to the Independent in advance of Dance in Vancouver, which runs Nov. 20-24 at the Scotiabank Dance Centre. The dance and theatre artist, who has Coast Salish, Welsh and European-Jewish grandparents, is presenting t’emək’ʷqən-seed, a work in progress, in a free-to-attend double bill with Starr Muranko/Raven Spirit Dance on Nov. 22, 2 p.m. A moderated conversation with the artists will follow the performances.

“There is not a word in Coast Salish culture for art,” writes Evans on her website. “Our art is functional. Our dances, prayers. Our songs, blessings. I am an artist because I love fiercely and creating work is my way of having hope, preserving the sacred and imagining a better future for all our relations.”

“My own body of work has always been because I am not a blockader, I don’t write the letters to the people in charge, I am weary of shaking my fist in the air,” she told the Independent. “My dance, theatre and community work are my way of addressing a helplessness I feel in the face of the misused powers in the world. My community work is mostly about redress and recalibrating values to align with the original caregivers of these Coast Salish lands and waters. We all share in a sacred responsibility to ensure a future of health and well-being for all our relations, and my work is in service of this sacred responsibility.”

Evans’s choreography has been presented by various companies and she has participated in performances and festivals around the world. She has many projects on the go, in dance and more broadly. One initiative is In the Presence of Ancestors, an exhibition of five Coast Salish House posts being carved and raised in Port Moody along its Shoreline Trail. She was recognized for the 

exhibit with a 2023 Edge Prize, which is given to leaders, or “Edgewalkers,” in the Salmon Nation, described on the prize’s website as “a bioregion defined by the historic range of wild Pacific salmon, from the Salinas River in California, north to the Yukon River in Alaska.”

seed was inspired by a sculpture created by Coast Salish artist James Harry.

“The sculpture was part of KWÍKWI – The Seventh, an exhibit James Harry and his partner Lauren Brevner dedicated to their daughter, the seventh generation born in James’s family since colonization,” said Evans. “seed draws upon what master carver Xwalacktun [James Harry] refers to as the Ancestor’s Eye or the Salish Eye, and the fundamental shapes and teachings of Coast Salish art and design, the sphere, crescent and trigon. The Salish Eye can be found carved into the oldest Coast Salish tools and, for that matter, I refer to these shapes as sxwōxwiyám, part of our original stories, written into the land and shared generation to generation, teaching us how to be human.”

Having collaborated with master carvers for more than a decade now, Evans said her “choreography experiments with how Coast Salish art and design can be expressed in movement, gesture and architecture of the space. I am developing a methodology that is based in the shapes and cultural teachings of the Ancestor’s Eye, the sphere, trigon, crescents, and the space in between. I am passionate about showcasing Coast Salish art form and culture and I am driven to share sxwōxwiyám and invoke a sacred responsibility in my audiences for all our relations.”

photo - Tasha Faye Evans
Tasha Faye Evans (photo by Yasuhiro Okada)

What people will see at Dance in Vancouver is “the tap root of t’emək’ʷqən-seed,” said Evans, “the first part of the work to grow, unfolding itself first towards the earth. I’ll be sharing that vulnerable moment of the creative process where the story is newly manifesting, taking root in the body and just beginning to grow.”

seed was commissioned by Odd Meridian Arts, whose artistic director is Ziyian Kwan. While in residence there, Evans created another work, Song.

“My connection with Odd Meridian Arts began decades ago when I was a shaved-head theatre kid and Ziyian was one of those dancers I’d see on posters and just stare at in awe,” shared Evans. “She’s always represented ambition for me and what a successful career as an artist looks like. (I don’t think I’ve told her this.) Ziyian has always been one of those artists whom I could only aspire to be.”

It was during COVID that Evans said she “got over” herself and responded to a message Kwan had posted on Facebook.

“Song was also a seed,” said Evans. “It was a section of a larger piece I am still creating called Cedar Woman. It was a landing piece in my creative process, when I was exploring how to re-member myself to a legacy of Coast Salish women. I follow the song I hear calling me in my heart. The dance is a journey through the song, all the way back in time to my first grandmother, singing the song as prayer for her grandchildren during the great flood. I don’t dance Song the same in Cedar Woman any longer, but the core of Song, is finding itself in seed.”

For Evans, being part of such diverse ancestry, holding space for her Coast Salish, Welsh and Jewish heritage, is challenging. 

“For much of my adult life, it has been learning how to sit in the circle within my Indigenous community,” she said.

“I didn’t grow up in Jewish culture more than our comfort foods like chicken soup, matzah, and lox and cream cheese. We did not practise being Jewish and I learned very little about this part of me other than the trauma we all carry. For years, I wore a Star of David, mostly because it was a gift from my Nana. Sometimes, I feel my Jewish great-grandmother Faye nudging me disgruntledly until I mention her name, too, when I introduce myself. I’m not sure how to hold being Jewish in this body while living here in these Coast Salish lands and waters.

“There is a piece I’d like to create for my GG Faye, actually. I have a long mink coat that reminds me of one of the photos I have of her, taken just before World War II. I know she’d really appreciate that and I welcome the parts of me I would discover dancing for her.”

Her Welsh heritage has also been less explored, but, said Evans, “I have always longed to go to Wales. To dance on those lands and waters and listen to the language calls me for sure.

“While it’s these Coast Salish lands and stories that dance in me the loudest, I do honour that I am the dream of all my ancestors.”

Dance in Vancouver also features a work by Action at a Distance/Vanessa Goodman on Nov. 23 and DIV Unstructured on Nov. 24 includes Idan Cohen/Ne.Sans Opera & Dance. For more information and tickets, visit thedancecentre.ca.

Go on offensive: Levy

Pro-Israel activist Eylon Levy speaks with an audience member before his Oct. 30 talk at Schara Tzedeck, which was presented by StandWithUs Canada. (photo by Pat Johnson)

The terrorists who perpetrated the Oct. 7 attacks were products of schools paid for in part by the Canadian government, according to Eylon Levy, a former Israeli government spokesperson who addressed an audience at Schara Tzedeck Synagogue last week.

“The Oct. 7 terrorists all went to Canadian-funded schools,” he said. “That is outrageous. It’s disgusting. You need to hold [the Canadian government] accountable and say there are consequences.” 

Most schools in Gaza are run by the United Nations Relief and Works Agency (UNRWA), which is funded by UN member-states, including Canada.

Levy spoke here Oct. 30 as part of a cross-Canada tour sponsored by StandWithUs Canada, a pro-Israel educational organization focused on campuses.

Levy said Israel’s recent announcement that it was banning UNRWA from operating in Israel was the right move because the agency exists to perpetuate the Palestinian refugee problem, not resolve it, to keep the Israeli-Arab conflict alive, to indoctrinate Palestinian children and to provide the financial safety net terrorists need to engage in violent attacks like Oct. 7.

Israel has been widely condemned for the imminent ban, which came after Israel repeatedly informed the UN that UNRWA’s staff includes known terrorists, some of whose names were provided to the UN by Israel.

“They just don’t care,” Levy said of the UN’s response that terrorists are on their payroll. “Now they claim UNRWA is irreplaceable. Well, you should have thought about that when Israel gave you the evidence that it is riddled with terrorism and you chose to deny that it was a problem.”

According to Israeli authorities, 12 UNRWA staff members actively participated in the Oct. 7 attacks, with allegations that more than 30 additional UNRWA workers were involved in activities such as facilitating hostage-taking and looting. Israel’s Defence Minister Yoav Gallant has alleged that, of the 13,000 UNRWA employees in Gaza, at least 12% are affiliated with Hamas and Palestinian Islamic Jihad terror groups.

In conversation with Michael Sachs, Western regional director for Friends of the Simon Wiesenthal Centre, Levy said many people are inverting right and wrong when it comes to the Israel-Hamas war and they are trying to sway young people especially. 

“The world is trying to tell them that the cause of their generation, the great cause of this century, is the fight for Palestine, which means the destruction of the state of Israel,” Levy said.

Contesting these messages is tough, he said, especially when the agencies that represent the moral high-ground are on the wrong side.

Levy recalled a debate he had against broadcaster Mehdi Hasan.

“I knew he was going to come on the stage and say, ‘Well, the UN agrees with me, Oxfam agrees with me, Save the Children agrees with me, Red Cross agrees with me. How is it possible the whole world is wrong and you are right?’” Levy said. “That’s Jewish history: the courage to look around and say, ‘You’re all crazy. This isn’t right.’”

Levy noted that UN Secretary-General Antonio Guterres issued a statement on social media mourning the death of Muhammad Abu Atawi, who was killed by the Israel Defence Forces.

Atawi was an employee of UNRWA but, according to Israel, he was also a Hamas terrorist who led the attack on the bomb shelter near the Nova music festival, in which Hersh Goldberg-Polin and others were sheltering. 

“This is a leader I’m supposed to take seriously?” Levy asked. “The Red Cross that hasn’t lifted a finger to try to save the hostages is an organization that I am meant to take seriously? The NGOs that wouldn’t even shed crocodile tears on Oct. 7, that never tried to do any sort of campaign for the hostages, they are the ones I am meant to take seriously?”

Young people and other activists in the West who insist they are anti-Zionist and not antisemitic are deluding themselves, Levy suggested.

“You are expressing a hatred and a prejudice against the same people,” he said. “The fact that they believe that they hate the same people that their grandparents hated but it’s a complete coincidence shows a tragic lack of self-awareness.”

Getting the pro-Israel message out is especially challenging on social media, said Levy, but Jews and their allies can’t give up the battle.

Social media is problematic at the best of times – even when it is not a platform controlled by the Chinese regime, as TikTok is – because it maximizes engagement by provoking outrage and amplifies the most extreme viewpoints.

“We’re not going to win the social media battle,” he said. “But we can’t afford not to fight it.”

If the only thing that people see on social media are anti-Israel messages, what conclusion will people come to? he asked.

“But what if their friend, the person they know is a good, decent person, stands up and presents a contrary view?” said Levy. “Then at least you’ve made that person think this is complicated and there’s a case to be made on the other side. So, it requires all of us to be there, to fight the fight, to be as loud and vocal and produce as much stuff as possible.”

That battle of ideas also needs to be taken offline, he said.

It is further complicated, he added, because the Israeli government has effectively given up communicating to the world.

Levy, who was born in England to Israeli parents and made aliyah as a lone soldier, was effectively conscripted to serve as an English-language spokesperson at the beginning of the war. He was fired after a social media spat with Britain’s then-foreign secretary David Cameron. Levy cofounded the Israeli Citizen Spokespersons’ Office, which tries to fill the information gap he said the Israeli government has left.

Pro-Israel voices in the West need to change tack, according to Levy. Rather than being on the defensive and explaining Israel’s actions, Canadians and others should be calling out governments and NGOs.

“Other people owe us answers,” he said. “UNRWA owes us answers. The Red Cross owes us answers. The UN owes us answers. I think we have to go on the offensive and demand those answers from other people instead of constantly trying to defend ourselves and say, ‘I can explain.’”

Levy dismisses calls for a ceasefire. The war needs to end in the defeat of Hamas – and it’s all over but the surrender, he argued.

“Hamas has lost,” he said. “It’s game over.”

But Hamas needs the world to help it understand that fact. 

“The problem is, when international actors step in to demand a ceasefire, as opposed to Hamas’s surrender, they tell Hamas to keep fighting,” he said. With Hamas on its knees, “It’s outrageous that some countries are trying to get it back up on its feet.”

Hezbollah has also been largely eliminated, according to Levy. 

“All of its top leadership are dead,” he said. “The infrastructure along the border has been destroyed.”

Iran, of course, remains unbowed, even in the face of the damage Israel has inflicted on its proxies.

Levy said one outcome from the current crisis is that Jewish communities have come together. In Israel, individuals instantly mobilized on Oct. 7 to do whatever they could and, in the diaspora, Jews have united as they rarely have before.

“That sense of responsibility, that sense of solidarity, being there for each other and having each other’s backs, I find incredibly inspiring,” he said. “That awakening of responsibility and self-reliance and leadership in Jewish communities around the world has been an inspiration to people in Israel.”

Jesse Primerano, executive director of StandWithUs Canada, which brought Levy to Vancouver, said his group has 106 interns and fellows on campuses across Canada this year – an increase over past years and a happy surprise for Primerano. He was afraid for the organization’s programs this year, he said, concerned that they wouldn’t be able to recruit students to stand for Israel on campuses. The opposite happened.

“Numbers skyrocketed,” he said. “The truth is that they are not scared. They are empowered. They are emboldened … and they are so brave and ready to stand up.” 

SWU has also hired more staff across Canada, including a full-time position in Vancouver funded by the Diamond Foundation.

Three students from Vancouver-area campuses who are part of the SWU Emerson Fellowship program spoke to the audience, drawing ovations. 

A Shylock written for Rubinek 

Saul Rubinek in Mark Leiren-Young’s Playing Shylock, which is playing in Toronto. Leiren-Young wrote the work with Rubinek in mind. (photo by Dahlia Katz)

Victoria playwright Mark Leiren-Young spent October in Toronto, where his Playing Shylock is appearing at Berkeley Street Theatre through Nov. 24. The one-man show, which stars Saul Rubinek, is based on the Jewish character in Shakespeare’s The Merchant of Venice.

“I’ve been attending rehearsals, run-throughs and previews as a playwright,” Leiren-Young told the Independent from Toronto before the play’s world premiere. “That means I’m around to work on the script with the actor and director. Since it’s a new script, that means I’m adjusting it to reflect ideas that come up in rehearsals, working with the costumes, the designs and the space. Really, anything that needs doing to get the script as tight and right for the actor and the production as it can be – making sure ideas are clear, jokes land and that Saul is having as much fun as possible.”

photo - Mark Leiren-Young
Mark Leiren-Young (photo by Jeffrey Bosdet)

Leiren-Young’s play Shylock first appeared on stage at Bard on the Beach in 1996. Playing Shylock, he said, is an all-new play with the same core premise: a production of The Merchant of Venice has been canceled in mid-run due to a controversy over the production.

“This is a bespoke piece that started during the COVID lockdown and I built it around Saul’s life experiences after studying his voice, his personal history, his greatest roles, his mannerisms,” Leiren-Young said. “This was written to sound like Saul and feel like Saul and not like a character or story created by me.”

In fact, when actor John Huston, who starred in multiple productions of Shylock, touring five provinces, asked Leiren-Young what was recognizable from that first play, the playwright responded, “The lines that Shakespeare wrote.”

“Beyond keeping some of Shylock’s best lines from Merchant of Venice, this is an all-new play because we’re in an all-new world,” said Leiren-Young. “And it’s a new world in so many ways. Think about how controversies played out before social media. Think about how the issues in theatre and society have changed, and the issues the Jewish community is facing.”

According to Leiren-Young, the original draft of Playing Shylock was completed a couple of years ago. Yet, he tries to update his plays to reflect current circumstances.

“This script always included a cancelation letter inspired by an actual cancelation announcement,” said Leiren-Young. “The original draft for Playing Shylock was inspired by a letter announcing the cancelation of a screening of the controversial opera The Death of Klinghoffer about a decade ago.”

The letter now, he said, is largely inspired by the decision of the Belfry Theatre in Victoria to cancel its January production of The Runner after protesters demonstrated and vandalized its property because they objected to a play about an Israeli volunteer with the Orthodox group ZAKA.

“Not just because it’s more current, it’s Canadian and more relevant to the times,” he said, “but because that letter appeared to be used as the template for canceling another play at a theatre across the street from the Belfry.”

Rubinek, a distinguished stage veteran, is widely known to film and television audiences. To name but a few of his credits: Wall Street, Barney’s Version, Frasier. This past June, the Globe and Mail placed Rubinek in the 25th spot on its list of the greatest Canadian actors of all time.

“I believe that if the people who made that list see this show, they’ll want to bump up his ranking by a fair bit. Watching Saul deliver Shakespeare’s lines is amazing. Watching Saul deliver my lines is a dream,” Leiren-Young said. “He’s 76 and he’s better on lines than any other actor I have ever worked with.”

Of the play, Rubinek said Leiren-Young “leaps into the historic controversy about the character of Shylock with gleeful relish and biting humour and then has the chutzpah to create a poignant study of why theatre should matter.”

The actor added, “To collaborate with on a new play – and I’ve done a lot of them – Mark is an actor’s dream: tirelessly inventive, generous, creatively stubborn in all the right places and, best of all, funny.”

This weekend, on Nov. 10, 2 p.m., at Victoria’s Congregation Emanu-El, Leiren-Young will give a talk about Playing Shylock, his original play Shylock, the character of Shylock, the impact and history of The Merchant of Venice and “anything else the audience that day wants to talk about.”

The author of numerous books, Leiren-Young is the only writer to win the Leacock Medal for Humour (Never Shoot a Stampede Queen) and the Science Writers and Communicators Award for Canada’s best science book (The Killer Whale Who Changed the World).

Leiren-Young’s Sharks Forever is a non-fiction book for middle-school readers and features an introduction by environmental activist Paul Watson. His next book, Octopus Oceans, is being released in early 2025. He is currently working on a new book for young readers focusing on how to protect the oceans and the animals who live there.

To follow Leiren-Young online, visit his website, leiren-young.com, and his Substack page, substack.com/@skaanapod?. 

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

Comedy can unite and heal

Comedian Erik Angel performs his one-man standup show, Speaking Falafel, at the Jewish Community Centre of Greater Vancouver on Nov. 14. (photo from Erik Angel)

“This year, I discovered even more how comedy is an important tool to bring people together, for release and relief, and I won’t be exaggerating if I say that comedy saved me this year,” Erik Angel told the Independent in an interview in advance of his solo performance Nov. 14, 8 p.m., at the Jewish Community Centre of Greater Vancouver. He’ll also be taking part in a show for students at the University of British Columbia while he’s here.

“This is perhaps the saddest time in my life, with a lot of pain, sorrow and worry, and going on stage night after night and making people laugh, helps me clear my mind and move on,” said Angel of the year since Oct. 7, 2023. “On stage, I deal with my reality today, with antisemitism, but I do it in an entertaining way. They say that comedy is tragedy plus time and I call my performance a humanitarian respite for the soul.”

Angel, who lives in New York, has opened for headliners like Maz Jobrani and Zarna Garg. He’s been part of several comedy festivals and has performed in more than a dozen countries to date. This will be his first time in Vancouver.

Born and raised in Israel, Angel moved to the United States for love, he said, after meeting his bashert at, of all places, the Jewish community centre in Krakow, Poland, in 2015. 

“I went to Krakow for a long weekend and all my life changed completely,” he said. 

Angel has worked in several creative fields. As a singer-songwriter, he released three albums in Israel. He studied drama and worked as an actor for five years. He did some standup comedy in Hebrew at open mics in Israel almost a decade ago, but said he quickly switched to doing routines in English, even while still in Israel.

“Since summer 2016,” he said, “I’ve been doing comedy in English, almost on a daily basis.”

The show that Angel is bringing to the Vancouver JCC next week is the product of a lot of work. 

“Speaking Falafel is an hour of comedy that I worked on for seven long years of comedy spots, day after day, and I am very proud of it. It’s a very funny show about my journey since I went on this long weekend in Krakow and met the love of my life. I share the difficulties of becoming a new immigrant, newly married in my 40s, the differences between Israeli culture and other cultures in the world, how to be now ‘the Jew’ everywhere, to live 24/7 with a second language. I tell stories, I speak with the audience, and I even sing a little bit.”

The Nov. 14 show is a bonus for Vancouverites, as Angel’s main purpose for coming to the city is the UBC show, which is the start of a winter tour for Comedy for Peace. 

Angel established Comedy for Peace five years ago.

“I grew up in Israel with two million Muslims. I never met one – not in school, not in my basketball team,” he said. “I started to meet Muslims when I started to travel the world. The meetings were always friendly, and I wanted to do something artistic together. When I moved to New York, I became part of the New York comedy scene. I produced the first show, that was a huge success, and since then we have had shows in more than 50 cities in the US and Canada.

“Comedy for Peace is not a political event,” he stressed. “It’s about different communities who sit together under one roof and have fun. Simple as it sounds, we want to show people how easy it is to collaborate, laugh, learn about each other and discover how much we are more alike than different. Today, we also have a version with Christian comedians that will travel with the West Coast tour. Nov. 9, Comedy for Peace will be part of the New York Comedy Festival for the second time.

“After Oct. 7, a few shows were canceled (and a few not) and very fast we decided that, for us now, it’s more important than ever and this is why we keep going,” added Angel. “There are comedians, mostly Muslim or Christian Arabs, that cut me off and don’t want to be a part of it – it’s painful because I didn’t change – but most of the comedians are still on board. And our goal now is to bring our message everywhere possible, and [I] will never give up and will always believe most of us, the people, just want to live together peacefully.”

Performing alongside Angel at UBC will be Liz Glazer, Gibran Saleem and Paul Schissler.

“From my experience, people that come to support the show support the idea and are not coming to protest or say something against it and I hope it will be the same this time,” said Angel when asked if he was concerned about the protests and vandalism that have taken place at UBC and other universities. “We are a non-political peace show, so it’s crazy for me to think that things will go differently. Until today, the only problem we have had to deal with was people calling/writing or trying to shame online our Muslim/Christian Arab comedians or asking them not to do it anymore. Most of them just want to do it more since then. But still, we have the reality, there are many haters out there and everything can happen. We have a Q&A session at the end and we are open to speaking with reasonable people that will come with an open heart and ask questions they want to speak about or to understand more. This is part of our mission, to be there together on stage.”

To watch some clips of Angel’s performances from around the world, visit his YouTube channel, youtube.com/@erikangelcomedy9702, or his Instagram page, instagram.com/erikangelcomedy/?hl=en. For tickets to Speaking Falafel, go to eventbrite.com. 

Eastside artists open studios

A stained-glass panel in a wood frame by Hope Forstenzer. (photo by Hope Forstenzer)

More than 500 artists are opening their studios, galleries or workshops to the public Nov. 14-17 for the 28th annual Eastside Culture Crawl Visual Arts, Design & Craft Festival. Among the artists are many Jewish community members, including Suzy Birstein, Olga Campbell, Ana Clara Feldman, Hope Forstenzer, penny eisenberg, Lori Goldberg, Lynna Goldhar Smith, Ideet Sharon, Stacy Lederman, Shevy Levy, Lauren Morris and Esther Rausenberg. 

“The Culture Crawl offers a unique opportunity to connect with our communities, to support artists in their livelihoods, and to come away inspired and reinvigorated by the countless ways in which artists explore and share their creativity with the world,” said Rausenberg, who is also the artistic and executive director of the Eastside Arts Society, which puts on the event.

Birstein, who creates and showcases her work from her 1000 Parker Street studio, is a figurative artist whose ceramic sculptures and paintings are self-portraits connecting her to women of history and mythology. 

“I am merging my own personal narratives with the narratives of inspiring women artists whose lives and art ‘embrace enchanting intrigues’ to transcend life’s challenges,” she explained. “This includes Frida Kahlo, Leonora Carrington, Leonor Fini, Vali Myers, Artemesia Gentileschi and Niki de Saint Phalle,” as well as figures like Athena and Alice in Wonderland.

photo - “I’m Going With Myself” by Suzy Birstein
“I’m Going With Myself” by Suzy Birstein. (photo by Byron Dauncey)

Her upcoming solo retrospective, curated by Dr. Angela Clarke at Il Museo, is now scheduled for 2026, rather than next year, which is what was originally planned. The retrospective will combine her Tsipora and Ladies-Not-Waiting series.

“This past year has brought me two profound highlights that resonate deeply in my artwork,” said Birstein. “First, I’ve embraced the idea that the Tsiporas – my Hebrew name, meaning ‘Bird’ – have always been part of the Ladies-Not-Waiting.

“On the personal side, my husband courageously and successfully underwent two major surgeries in 2024, which deepened my appreciation for life and the importance of love and compassion. Additionally, our daughter-in-law became a permanent resident of Canada, allowing our family to thrive together.

“These experiences have infused my art with newfound freedom, imagination, and a willingness to experiment with construction, colour and concept. Each piece I create reflects this journey and the richness of these connections, as with my Ladies-Not-Waiting.”

Birstein and fellow Crawl artist Lori Goldberg spent October in Italy on a self-directed residency, which comprised four segments, each with its own and overlapping purposes, said Birstein.

They explored art at Venice Biennale and other exhibits in Venice. They went to Amalfi, where, Birstein said, “I created a most special and memorable experience – to visit Gianni Menichetti, who was the partner of Vali Myers (one of my artists). In a valley above Positano, Gianni lives off the grid with his family of animals – 10 dogs, ancient doves, chickens, fish, a rooster and others. Gianni himself is a well-known poet, artist, writer, as well as protector and preserver of the land and its natural inhabitants. He’s a most unique human being. Although we were only together for 24 hours, it is as though we have always known each other and always will.”

In Napoli, said Birstein, “within the ancient graffiti-covered walls of this chaotic, lively city, we [were] exploring, experimenting and expressing evolving directions for our art practice.”

Lastly, they went to the island of Ischia for a family celebration, visiting thermal springs, gardens and the sea.

photo - "You sing my songs" by Suzy Birstein
“You sing my songs” by Suzy Birstein. (photo by Alan @ Fidelis Art Prints)

“There are moments in my life when personal and global experiences intertwine – what I like to call destiny with focus,” said Birstein. “My Italian adventure, from connecting with Gianni in Positano, family in Ischia and gallerists in Naples, to engaging with art at the Venice Biennale, inspires every aspect of my life. I sense that I’m in the midst of crafting my next ‘big story,’ which will undoubtedly reflect in my evolving art practice. These experiences shape not just who I am, but also how I create.”

Ceramics and glass artist Hope Forstenzer is also expanding the way she creates. 

“I got a grant to learn woodworking throughout 2024, and that’s been a big highlight,” she told the Independent. “I’ve been working to make pieces that use both glass and wood, and it’s been exciting and challenging to learn a whole new medium. My progress has been slow and steady, and some of the work I made will be in the Crawl this year.”

This is Forstenzer’s third year of making clocks for the Crawl, and she said she’s really been enjoying the process. 

“This year, I’m experimenting with different colours and patterns, and I’ve also got one that’s in a stained-glass panel in a wood frame I made. I’ve spent more time with clockworks and hand design, as well, and am experimenting with different materials for those aspects of the clocks.”

photo - A seder plate by Hope Forstenzer
A seder plate by Hope Forstenzer. (photo by Hope Forstenzer)

In addition to the clocks, visitors to Forstenzer’s studio in the Mergatroid Building, 975 Vernon Dr., will see her stained-glass panels in wood frames, blown seder plates, dreidel blown ornaments, small blown lamps with battery-powered LEDs inside, and some vessels and bowls.

“One of my roles at Terminal City Glass Co-op is the coordinator of the Learning Fire Program, and I’ll be doing a glassblowing demonstration with some of our students on Saturday the 16th from 1:15-3:15,” said Forstenzer.

For more about Learning Fire, visit terminalcityglass.com/pages/learning-fire.

Both Birstein and Forstenzer have works in the Culture Crawl’s preview exhibition, which runs to Nov. 29 at Pendulum Gallery, Alternative Creations Gallery, the Cultch and Charles Clark Gallery, with display dates depending on the venue.

For the full list of events and participating artists, go to culturecrawl.ca. 

Feel-good comedy at Metro

The cast of Bound! The Musical (In Concert), a quirky, character-based show, the story of which is a vehicle for the characters’ journeys and personal growth. (photo by Joelle Wyminga)

For two nights only, Nov. 19-20, Metro Theatre and Bound Musical Theatre Society are presenting the world première of the feel-good comedy Bound! The Musical (In Concert). 

Written by longtime friends Wayne Morris and Glen Freedman, their collaboration on Bound! – music and lyrics by Morris, book by Freedman and Morris – began in 2015. Morris had been working on the concept for several months.

The show is a reimagining of Shakespeare’s Love’s Labour’s Lost. Four Olympic-bound male athletes “are tricked into abstaining from vices and ‘romance’ during their high-intensive training, only to find themselves suddenly at the centre of a research study run by a group of attractive, brilliant and highly driven women,” reads the synopsis. “What follows is a hilarious battle of wills as their desires and the binds of their stringent guidelines battle for the win.”

“Glen and I were hanging out at Kits Beach, and I started telling him about the show,” Morris recalled. “Glen peppered me with all kinds of questions about the characters and the story. It turned into a two-hour conversation, after which I said, ‘Glen, you have to write this with me.’”

“To which, without any hesitation, I said, ‘yes,’” Freedman told the Independent. “The idea of working with Wayne on a creative project again (yes, we’ve been down this road before, though many years ago) carried a sentimental nostalgia for me.”

“When we first met, we started writing and performing songs together,” said Morris. “Together, we joined an ’80s band led by one of Glen’s friends. It was the ’80s after all!”

“It was a blast, even though they wouldn’t let me sing,” quipped Freedman.

The pair has lived in Metro Vancouver for more than 25 years, Morris in Maple Ridge, Freedman in Yaletown.

“We met at Marianopolis College in Montreal in our late teens, and became great friends. After university, we backpacked through Europe together,” said Morris.

Morris was an actor before becoming a singer-songwriter and then music producer as well. Freedman, while a keyboardist, took a less musical route and became a psychiatrist. Along the way, he also completed a creative writing program at Simon Fraser University and attended Bishop’s University in Quebec, where he performed in Chekhov’s The Cherry Orchard.

Morris and Freedman formed the Bound Musical Theatre Society earlier this year “as the vehicle for this and future productions,” said Morris. “Our lawyer recommended a not-for-profit society as the type of entity the local theatre industry is used to working with.”

The Metro Theatre production of Bound! is directed by Hailey Fowler, with musical direction by Kylie Fonacier. It features a diverse ensemble cast in what Morris describes as “a character-based show, and the story is a vehicle for the characters’ journeys and personal growth.

“For me,” he said, “this focus on character was challenging at first as a lyricist, in that the lyrics needed to reflect 10 distinct voices. As the show and characters continued to develop, and the songs were continually rewritten and refined, this process became easier, as both the characters and the lyric-writing process became more familiar.”

“As our show is about resilience and the possibility of change at times of challenge,” said Freedman, “it was my view that we had to create characters, each with their own unique personality quirk that was getting in their way – ‘bounding’ them up, you might say. Each character would then get their own story arc, in which they would overcome these constraints, to a realistic degree. The goal was to induce the audience to see themselves in these characters, such that they would walk away from the show with a feeling of hope and a bounce in their step.”

No doubt the musical’s 16 original songs will contribute to that bounce. Morris said his biggest musical influence is the Beatles, “and so that is a big musical influence for the show, including having a wide variety of musical styles across the show, in the same way the Beatles do.”

In a similar vein, Morris based the story on Shakespeare’s Love’s Labour’s Lost because, he said, “I wanted to have the best possible source material, and what better source than Shakespeare? Using Shakespeare ensured a solid story structure. Love’s Labour’s Lost is a very fun story, with silliness and great wordplay. That’s the type of show I wanted to write. Also, in Love’s Labour’s Lost, I loved the fact that the women in the story consistently have the upper hand over the men; very progressive then, and seems to fit our world today!”

“I couldn’t agree more,” said Freedman, whose day job has helped him in the creation process.

“Due to the nature of my work as a psychiatrist, I have, over time, developed an understanding of the nature of suffering – a human experience that ties us all together – and how personality informs how we suffer,” he said. “I have also had the privilege of having seen firsthand how change in how we think can manifest. This, I feel, has helped in our creating characters that are true to life, and who undergo change for the better, in a manner that we hope will be experienced by the audience as believable and relatable.”

And which will leave audiences feeling positive, though Morris and Freedman differ slightly in their outlook.

The press material describes Morris as a “glass half-full person.”

“It’s part of my nature to look for the good in everyone, and I’ve discovered that almost everyone means well deep down,” he said, acknowledging, “I’ve also been very fortunate that hard work and some good life decisions have led to things working out for the most part in my life.”

As for Freedman, optimism comes a little harder.

“Through my adult life (and with lots of therapy), I’ve gradually moved to a place of being able to recognize what’s in and out of my control, of what I have agency over and what I have to accept, of understanding that, just because I accept something does not mean I have to like it, and of letting go of expectations of how I wish things should go,” he said. “This mindset has fostered within me a capacity to face the events of life, sometimes tumultuous, with curiosity, a sense of humour and presence.”

While neither Morris nor Freedman are religious, Judaism does impact their lives.

“Judaism has shown me the value of a strong sense of community and connection,” said Morris. “The importance of these is a huge theme of the show.”

“I would add,” said Freedman, “that feeling oneself to be part of a community helps to add meaning to our lives.”

For more information and tickets to Bound!, go to boundthemusical.com/in-concert. 

The ethics of triage in war

Dr. Salman Zarka (photo from Ziv Medical Centre)

Dr. Salman Zarka is general director of Ziv Medical Centre, in Safed, Israel, which is about 11 kilometres from the border with Lebanon. He visits Vancouver this month, speaking at Congregation Beth Israel on Nov. 21, 7:30 p.m., on the topic of Medicine Under Fire: The Ethics of Triage in War. He also speaks during Shabbat morning services on Nov. 23 about Who are the Druze? And How Does Diversity Help Medical Outcomes in Ziv Hospital?

Zarka is a member of the Druze community. He served in the Israel Defence Forces for 25 years, and is a colonel brigadier in the reserve force. An epidemiologist, he is an expert in public health and public health administration. He is also a practising physician, and lectures at University of Haifa’s School of Public Health. He was chief COVID-19 officer in Israel’s Ministry of Health from 2021 to 2023 and, prior to that, the medical assistant of the ministry’s general director.

To hear Zarka speak, register at bethisrael.ca.

 

NCJW marks 100

On the afternoon of Nov. 24, NCJW Vancouver celebrates its 100th anniversary at Aberthau Mansion, which is evocative of the era in which the organization planted its roots in Vancouver. (photo by Chris10Chan / wikipedia)

A century is a long time for any organization. For a Jewish women’s organization on the West Coast of North America, that is an especially major milestone. National Council of Jewish Women Canada, Vancouver section, is marking 100 years since its founding with a Roaring ’20s party this month.

Jordana Corenblum, president of the chapter, said the celebration location – Aberthau Mansion in West Point Grey – is evocative of the era the organization planted its roots in Vancouver. Era-appropriate dress is encouraged at the afternoon event, but not mandatory. The fact that Corenblum has a collection of flapper-era dresses is coincidental to the party’s theme, she said.

The organization itself was founded in Chicago in 1893 to engage Jewish women in social justice work, especially around issues of poverty affecting women and children. The first Canadian chapter started in Toronto in 1897 and the Vancouver branch began 27 years later.

photo - Jordana Corenblum, president of National Council of Jewish Women Canada, Vancouver section
Jordana Corenblum, president of National Council of Jewish Women Canada, Vancouver section. (photo from Jordana Corenblum)

Corenblum emphasized that she is a relative latecomer to the group. Her ascendancy to the presidency represents a generational shift, she said, but she sees herself and others of her age as carrying on the traditions of their mothers and grandmothers while adapting NCJW’s work to women who are deeply involved in careers.

For earlier generations of women who may not have worked outside the home, Corenblum said, groups like National Council, Hadassah and others allowed women – even in the era when they could not vote – to contribute to the larger society. 

Corenblum’s profession is youth work and so she is bridging generations.

“I have a lot of exposure to what young people are doing,” she said, “so I am in the space of honouring all of the beautiful feminist work that has been done, all of the things that I’ve seen that the generations ahead of me have done. I’m really trying to bridge what the younger generations are coming up with. They are very socially justice-minded. They have all different ideas of gender and religion and culture and what all of that looks like, so I’m trying very hard to be this person that can bridge both and honour both, honour the past and move forward into the future.”

The 100th birthday party is a welcoming way to bring light into the figurative and literal darkness, she said. It takes place on a Sunday afternoon – Nov. 24, from 2:30 to 5 p.m. – so people who don’t want to drive in the dark can comfortably attend.

“Especially after the year that we’ve had, we need a feel-good event,” she said. “There is no agenda to this other than ‘Come celebrate.’”

There will be mocktails and a grazing table, as well as professional childminding, live music and swing dance lessons.

Tickets are available at give-can.keela.co/100th.

Judaism’s funny sides

Los Angeles-based comedian and podcaster Antonia Lassar brings The Best Jew to Vancouver Performing Stars’ theatre on Nov. 30. (photo by Xander DePascale)

Ever wonder how Sarah might have welcomed back Abraham and Isaac from their “camping trip”? Who’s the biggest diva in the Hebrew Bible? What elements an interior designer for synagogues considers? These are just a few of the questions comedian Antonia Lassar answers in recent social media posts.

On Nov. 30, Vancouverites can see the Canadian debut of Lassar’s The Best Jew, in which she shares anecdotes about her Reform Judaism upbringing, contemplates questions like whether the late Debbie Friedman is the Messiah, and much more. Music and singing play a big part in the show, which will be opened by the Klezbians, a band from Victoria.

Lassar draws her inspiration from the Jewish communities she’s lived in, in Boston, New York and Los Angeles. “It’s sometimes brutal to be sitting in shul and not be able to pull out my phone to take notes, because I just noticed something hilarious that I need to write about,” she said. “I’m constantly having great ideas in places where I’m not allowed to write anything down!”

Lassar grew up in Newton, Mass., and attended theatre school before moving to New York City. Two years ago, she relocated to Los Angeles to focus on film and television. “I’ve known since I was a kid that I wanted to perform, but I didn’t pinpoint comedy as my strong suit until I got out of college,” she said. 

Today, she describes herself as being deeply immersed in the Jewish community, but, for many years, Lassar found her Jewish life uninspiring. “I didn’t like Judaism growing up,” she admitted. “It felt like an afterschool activity I was forced to do, in the same way I was forced to take piano lessons. I thought both were useless and probably just child abuse.”

It took a foray into other religions before Lassar returned to Judaism with genuine interest and curiosity. For that, she thanks Chabad in Brooklyn. “They sucked me in and gave me a great love for Judaism,” she said. “But I wouldn’t call myself Reform or Chabad. Like many Jews of my generation, I feel like I’m between denominations.”

When it came to writing comedy, Lassar turned to what she knew best, and that was Judaism. “Most Jewish comedy stays at the level of cultural Ashkenazi stereotypes of bagels and overbearing mothers,” she said. “This never felt representative of my experience. I wanted to write comedy for Jews that went beyond stereotypes and that shows a different side to Judaism, one that’s not commonly portrayed in comedy.”

She wrote The Best Jew for a pluralistic Jewish audience and has performed it for a wide range of Jews, from Reform to Hassidic. “My material is very clean, and any passing reference to controversial subjects like the Holocaust is extremely respectful,” she said. “This is an 18+ show, but it won’t offend anyone.”

In the show, Lassar jokes about the Reform movement’s obsession with the word “meaningful,” and Chabad’s distribution of menorahs, among many other subjects. “It’s so much more fun performing for Jewish communities than at comedy clubs, where you’re just another comedian,” she reflected. “When I perform at a synagogue, they treat you like you’re Moshiach! It’s a dream job to travel around the country and meet amazing Jewish communities who are so diverse and so welcoming.”

Lassar comes to Vancouver as a guest of JQT Vancouver, a volunteer-run Jewish, queer and trans nonprofit, and Jewish Family Services Vancouver, as part of the organizations’ Mental Health Support Series. While Lassar’s queer identity does come up, “it’s not a huge part of the show,” she said. “I’ve spent a lot of time in very Orthodox spaces, where the question of queerness is unavoidable. And I’m proud to be a queer Jew who is deeply engaged in Judaism.”

To get an idea of Lassar’s comedy, check out her sketches on Instagram and TikTok. She also co-hosts, with comedian Raye Schiller, Yenta Pod, a weekly podcast with the tagline “Sometimes funny, sometimes Jewish, always gossip.”

For tickets ($18) to The Best Jew on Nov. 30, 7 p.m., at Vancouver Performing Stars’ theatre, visit comedynightwithantonia.eventbrite.ca. 

Lauren Kramer, an award-winning writer and editor, lives in Richmond.

The search for a new home

A crane lifts a tunnel boring machine part out of the excavated Arbutus Station. With all the changes the Broadway Subway Project is bringing, the Accidental Balabusta and her husband are looking for a new condo – going from renters to owners. (photo from broadwaysubway.ca)

Growing up in the 1960s and ’70s in the then-Jewish neighbourhood of Oakridge, I was certain my future would include a beautiful house and a large yard. And, of course, a husband. Only part of that dream came to fruition, in 2009, when I got married at age 53. Before Harvey came along, I was a single woman making a decent but not extravagant living, and a house was way out of reach for me. So, I rented apartments. For decades. Welcome to my bad-news, good-news story. 

As I got older, the importance of attaching myself to the Jewish community became stronger and, as luck would have it, I ended up renting a place a mere seven-minute walk from a shul. And I stayed put for 37 years. Now, faced with expulsion from our apartment because of the Broadway Subway Project, I am struck not by anger or nostalgia, but by gratitude. And maybe a touch of anxiety about having to move at this stage of my life. At 68 years old, I have never owned anything in my life, except a car.

Having a deep-seated faith, I try, I really try to remember that everything that comes from G-d is good. I try, also, to take the mindset of “I don’t understand why this is happening to me, but I know in my bones that it’s good for me in some way.” This imposes a much-needed positive outlook. One that will propel me forward, rather than keep me stuck in a negative “Why me?” loop.

As renters in this situation, we are entitled to compensation by law. However, it’s cold comfort when confronted with the stark reality of having to find a new home. Politicians talk blithely about “affordable, below-market rental housing,” but, in reality, no such thing exists for those who are retired and on a fixed income. In short, living in Vancouver has become an absurd luxury.

As luck would have it, I am a thrifty kind of gal and, over the decades, I have saved a respectable amount of money. So, along with my husband, we have finally decided to buy a condo – in Vancouver. One of the most expensive cities to live in. 

Having spent the past while looking for a condo to purchase, I am bombarded by conflicting emotions: 

excitement, fear and trepidation. But mostly gratitude. Waking up at 3 a.m. for a full week while battling insomnia, I got to the point where, instead of trying to think of five foods starting with each letter of the alphabet (a trick to induce boredom and sleep), I started to think of everything I am thankful for. I’m happy to report that the list is very long. This is just a sampling.

I am grateful that I can choose between carpeting and hardwood.

I am grateful that I will finally have in-suite laundry.

I am grateful that I will have a bigger kitchen, where I can bake challah regularly and cook luscious Shabbat meals in a space that is larger than a Smart Car.

I am grateful that I can, within reason, afford a condo in Vancouver.

I am grateful that I have friends who are guiding me through this process.

I am grateful that I have the energy to run around looking at prospective homes.

In short, I am grateful that I have choices. Plenty of choices. 

It’s common knowledge that Jewish family values begin at home, and that’s what I’d like to continue nourishing and cultivating. From a real home. My home. For now, I am focusing on having faith and trust that Harvey and I will find a comfortable forever home. I have accepted that we may or may not still be a seven-minute walk from a shul. Thankfully, faith isn’t tied to geography. We can practise our Judaism anywhere.

As for the nuts and bolts, the experience of condo-hunting is an eye-opener for me. Little by little, condo by condo, I’m readjusting my priorities, figuring out what I can and can’t live without. Our realtor, thank goodness, has the patience of a saint and the temperament of a golden retriever.

Pragmatists that we are, we’ve started the search for a new home early, long before we are forced to move out of our rental apartment. But, as I’m learning, our property owner seems loathe to put money into a building that will be torn down within two years. So, we are living with stained hallway carpets, communal washers and dryers that rarely work, and balconies that haven’t been power-washed since before COVID. Am I enjoying this? Not even a scintilla. But still, I practise gratitude.

My constant refrain these days is: “It’s not the Vancouver I grew up in!” There are cranes everywhere on the horizon and there’s no telling what will be torn down next. It’s very unsettling. But at least we are fortunate enough to have options.

My periodic anger (which I am trying valiantly to contain) stems from the fact that I’ve lived and worked in Vancouver nearly my entire life and, while I was single until 15 years ago, I could never afford to buy a home. Thank G-d, my situation has changed, circumstances have opened up choices that never existed before, and the planets have aligned, allowing us to finally buy a home. 

Now, we just have to find one that meets my simple needs: in-suite laundry, hardwood floors, a good-sized kitchen and not south-facing. I say “my needs” because we can all agree on the universal truth: “happy wife, happy life.” It’s a buyer’s market at the moment, so yippee for us. This whole roller-coaster journey offers a new chapter in our lives; one filled with hopefulness, possibilities and joy. I look forward with gratitude to a beautiful mezuzah on a new door to bless our new home. All I can say is l’chaim! 

Shelley Civkin, aka the Accidental Balabusta, is a happily retired librarian and communications officer. For 17 years, she wrote a weekly book review column for the Richmond Review. She’s currently a freelance writer and volunteer.