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Byline: Cynthia Ramsay

Take a comedy break

Take a comedy break

Left to right, Ori Laizerouvich, Israel Atias, Daniel Gad and Omer Perelman Striks co-star in The New Black. (photo from ChaiFlicks)

I have to improve either my Hebrew comprehension or my English speedreading skills before April 12. The second season of The New Black premières that day on ChaiFlicks and it’d be great if I could understand more of what was going on – even with my limited capacity, the first season was an absolute blast.

Also recently premièring on the streaming service ChaiFlicks, which carries all sorts of Israeli films and TV shows, was the second season of Checkout, an Israeli comedy in the tradition of American sitcoms Superstore, The Office and Parks and Recreation. It has some seriously funny moments, though a couple of the characters may grate on folks, as some of the characters on the aforementioned American shows did.

Superstore takes viewers into an Israel that most Jews will recognize, but that will be less familiar to those whose only experience of Israel is via the news. The show is set in a small supermarket, Issachar’s Bounty, in a small town, Yavne. The store’s patrons are regulars, and one in particular, fanny-packed customer Amnon, who has a complaint or gets into a confrontation every time he comes in to shop, is particularly annoying, as often is his main sparring partner, the brash cashier Kochava. But the other characters – notably Shira, the store manager who idolizes and sees herself as an up-and-coming Steve Jobs – offer enough less-in-your-face humour that the show is well worth watching if you like reality-show-type comedies. As in the other shows of this genre, there is a camera crew making a documentary about the store, so the characters not only interact with one another, but express their views in interview snippets with the film crew.

photo - The cast of Checkout, left to right: Amir Shurush, Noa Koler, Keren Mor, Yaniv Swissa, Dov Navon, Daniel Styupin and Aviva Nagosa
The cast of Checkout, left to right: Amir Shurush, Noa Koler, Keren Mor, Yaniv Swissa, Dov Navon, Daniel Styupin and Aviva Nagosa. (photo from ChaiFlicks)

In the guise of humour, many a true observation is made in Superstore, which touches upon social inequality, terrorism, racism, homophobia and many other issues. Viewers can choose to just laugh at the goings-on depicted or they can take more away from the show. The same can be said of The New Black, which has some uncomfortable moments – for example, are we supposed to laugh when one of the yeshivah students is appalled when his matchmaker sets him up with a woman who uses a wheelchair? I don’t think so. I think we’re supposed to be appalled at his behaviour, behaviour that one can easily imagine of many self-absorbed 20-something guys who fancy themselves a prize despite all evidence to the contrary.

That the four yeshivah boys at the centre of The New Black seem like regular college-age men is why the show has broad appeal. That is does, while also being packed with somewhat-high-level (to non-Orthodox Jews) talmudic discussions, is a notable achievement. It is easy to see why the show was nominated for eight Israeli Television Academy Awards. It is smart, engaging, fast-paced and has a fantastic soundtrack. While non-Jews will have to watch it with a semi-knowledgeable Jewish friend and non-Hebrew-speaking Jews will occasionally have to press pause to take in the subtitles fully, The New Black has legs … and Borsalinos aplenty.

For access to these two comedies, and many other programs, visit chaiflicks.com.

Format ImagePosted on April 8, 2022April 7, 2022Author Cynthia RamsayCategories TV & FilmTags ChaiFlicks, Checkout, comedy, Israel, sitcoms, television, The New Black
Snapshot of Jewish life

Snapshot of Jewish life

Looking Back, Moving Forward is available for purchase from the Jewish Museum and Archives of British Columbia. (photo from JMABC)

The first thing many readers will do upon opening the Jewish Museum and Archives of British Columbia’s Looking Back, Moving Forward: 160 Years of Jewish Life in BC is try and find their friends’ writeups and those of the organizations with which they volunteer or work. That is, if they didn’t submit their own writeup for the publication. If they did send in their bio or one for their family, then that’s the first page to find.

Even people who grew up in the province and have a multigenerational presence here will find novel tidbits in this 284-page hardcover (or soft) coffee table book. Published to celebrate the museum’s 50th anniversary last year, it is appropriately dedicated to Irene Dodek (1930-2019) and Cyril E. Leonoff (1925-2016). Leonoff was founding president of the Jewish Historical Society of British Columbia, which was established in January 1971. Dodek, also a founder of the museum and archives, “helped define its direction early on and conducted more than a hundred oral history interviews with members of our community.” More about Dodek and Leonoff can be found in the first pages of the book, before the greetings from Prime Minister Justin Trudeau and Premier John Horgan.

In her president’s message, Carol Herbert writes, “Our stories are fascinating, and demonstrate the evolution over time of our communities, from a few small clusters of Ashkenazi Jews from Eastern Europe in late 19th century to present-day diverse Jewish communities, comprised of individuals who originated from across the world; Sephardic, Mizrahi and Ashkenazi; secular and religious; leaders, activists and advocates for Jewish and general community causes.”

Both Herbert and the book’s editor, Michael Schwartz, director of community engagement for the JMABC, acknowledge that this publication is a partial snapshot of the community. They both encourage readers who haven’t done so yet “to share your memories of where we’ve been, celebrate with us where we are, and join us in envisioning where we might be headed,” writes Schwartz.

A chapter on the history of the JMABC begins the book proper. It is followed by brief regional histories – Victoria, Vancouver, Kootenay/Boundary, Okanagan, Prince George, Sunshine Coast, Central Vancouver Island and Whistler. The chapter on organizations is divided into those that work in advocacy and activism; religious observance; education; youth groups and camps; seniors; arts, culture and leisure; Zionism; Holocaust education; and anchor organizations. That last one, by the way, is where you’ll find the Jewish Independent (pages 126 and 127).

The Notables chapter is sorted chronologically: pioneers (1886-1945), postwar (1945-1970), modern (1970-2000), contemporary (2000-2010) and emerging (2010-present). Within each section, people are listed alphabetically by surname, as are the entries in the Family Album chapter. Rounding out the publication is a list of donors and an index.

Looking Back, Moving Forward offers a broad overview of many of the major players in the B.C. Jewish community over the 160 years since Jews first arrived here. It focuses on accomplishments and takes readers right up to 2021. It is easy reading, and no one need worry that any dirty laundry is aired. Given the celebratory nature of the book, none of the submitters (including the JI) talk about the challenges they’ve faced or controversies, and neither do any of the introductions to the various sections.

Some history is given only passing mention, such as what community fundraising structures were in place prior to the Jewish Federation of Greater Vancouver’s emergence in 1987, for example, but the book isn’t meant to be a comprehensive historical tome. Rather, it’s a fun, page-flipping community yearbook of sorts, which will hopefully motivate people to both learn more about the community and contribute their stories to its archival record.

Looking Back, Moving Forward is available in hardcover ($100) and softcover ($50). To place an order, contact the museum offices at 604-257-5199 or info@jewishmuseum.ca. Shipping is available across Canada for a fee of $20 per book.

Format ImagePosted on March 25, 2022March 24, 2022Author Cynthia RamsayCategories BooksTags British Columbia, Carol Herbert, history, Jewish museum, Michael Schwartz
The excitement of holidays

The excitement of holidays

As meaningful and fun as most of the Jewish holidays are, there’s a lot of running around, cleaning, cooking and other preparation that generally goes into them. Three recently published children’s books – two about Passover and one on Shabbat – capture the joys of the holidays, and the craziness that can sometimes precede them.

Passover, Here I Come!, written by D.J. Steinberg and illustrated by Emanuel Wiemans was put out this year by Grosset & Dunlap. It’s a compilation of short poems, all related to Passover, from “Scrub-A-Dub-Dub!” preparations to “Bye-bye, Bread!” and “Hello, Matzoh!” it goes through pretty much every aspect, including the Passover story, what’s for dinner and the search for the afikomen.

“Made by Me!” is about making up the seder plate, and all the plate’s items and their symbols are noted alongside the illustration. For the poem “Our Magic Table,” the drawings and words again combine to wonderful effect. We see the tables from set-up to guest-filled, and the typesetting, leaving gaps between the letters forming the words “g r o w s   a n d    g  r  o  w  s,” communicate the truly magic nature of a Pesach table that does seem to fit an enormous number of people, when we’re lucky to have many friends and family join in our celebrations.

Steinberg’s verse and Wiemans’ drawings work well together, simultaneously entertaining and teaching. The basics of Passover are all covered in Passover, Here I Come! which even includes a recipe for Mom’s Matzoh Brei after the four-line poem “World’s Best Breakfast.”

A Persian Passover (Kalaniot Books) by Etan Basseri with illustrations by Rashin Kheiriyeh, also contains a recipe – for hallaq, which is Persian-style charoset. In addition, the end of the book features a brief description of Passover and what goes on the seder plate, a glossary of Persian and Hebrew words used in the story, and a couple of paragraphs on Jews in Persia, known today as Iran, though, notes Basseri, “the culture and main language of this region is still called ‘Persian.’”

image - A Persian Passover book cover

Set in Iran in the 1950s, A Persian Passover follows siblings Ezra and Roza, who are helping their family get ready for the holiday. Everyone is put to work and Roza is finally old to enough to accompany older brother Ezra to the synagogue, where families bring their own flour “to be mixed, rolled and baked into soft, delicious matzah.” Though older, Ezra is not necessarily wiser and he’s still a kid, with energy to burn. Not having learned from an earlier collision with a neighbour – as he ran a lap around the house, being timed by Roza – Ezra once again asks Roza to measure how fast he can run to the next street corner, freshly baked matzah in hand.

“But he didn’t see the rut in the road up ahead. ‘Oof!’ yelped Ezra as he tripped and fell. Splat! went the bag of matzah as it dropped into a puddle.

“‘The matzah!’ they exclaimed together.

“‘That was all the matzah we had for the week. Now it’s gone. What will we tell Mama and Baba?’ asked Roza.” (The glossary notes that baba means dad in Persian.)

Ezra and Roza set out to find replacement matzah before the seder starts, and we meet more of the neighbourhood folk. Hopefully, it won’t be too much of a spoiler to know that the kids succeed – not only receiving kindness, but also showing kindness to others along the way.

The last book that recently came out has to do with matzah, but not with Passover, which is why it’s included in this brief roundup even though it’s about Shabbat. Good for year-round reading, Bubbe and Bart’s Matzoh Ball Mayhem, written by Bonnie Grubman and illustrated by Deborah Melmon, was published by Seattle’s Intergalactic Afikoman last November. Created by two dog lovers, it begins, “This is Bubbe’s story. Believe me that it’s true. Her puppy loved each Friday night like Jewish puppies do.

image - Bubbe and Bart’s Matzoh Ball Mayhem book cover

“When Bubbe made her matzoh balls, Bart was at her feet, waiting for a ball to fall, and not some doggie treat.”

While Bart’s begging doesn’t achieve the desired result, he does get to eat all the matzah balls he’s able to catch. Bubbling away in the pot on the stove, the matzah balls grow so large that they blow off the lid and zoom all over the room. Not to be held back by “a better lid, and some very sticky tape,” the balls continue to fly. And we get to count them as they do. (Another spoiler alert: Bart gets to eat an awful lot of matzah.)

Eventually, with a little magic, calmness is restored and dog and house are cleaned up in time for Shabbat dinner with the family.

Bubbe and Bart’s Matzoh Ball Mayhem ends with a couple of paragraphs about Shabbat, “a very special day of the week,” and a short glossary.

Format ImagePosted on March 25, 2022March 24, 2022Author Cynthia RamsayCategories Books, Celebrating the HolidaysTags Bonnie Grubman, children's books, D.J. Steinberg, Deborah Melmon, education, Emanuel Wiemans, Etan Basseri, Iran, Judaism, matzah, Passover, Persia, Rashin Kheiriyeh, Shabbat
A roadmap to remembering

A roadmap to remembering

Alan Twigg, author of Out of Hiding: Holocaust Literature of British Columbia, at the gravesite of Rudolf “Rudi” Vrba, who died in 2006. (photo from JCC Jewish Book Festival)

Fittingly for a man who has dedicated his life’s work to the written word, Alan Twigg has compiled a fascinating bibliography. Out of Hiding: Holocaust Literature of British Columbia is one of two books to be launched in a JCC Jewish Book Festival epilogue event on April 5. The other is Sounds from Silence: Reflections of a Child Holocaust Survivor, Psychiatrist and Teacher by Dr. Robert Krell, to whom Twigg’s book is dedicated.

image - Sounds from Silence book cover“More than anyone in Canada, Robert Krell has continuously carried the torches of healing, investigation and discourse about the Shoah since the 1970s to counteract ever-encroaching racism, denial and wilful ignorance,” writes Twigg, whose book is also dedicated to the late publisher and editor Ronald Hatch, who died last November. Hatch and his wife Veronica co-managed Ronsdale Press, which published Out of Hiding.

Among other things, Twigg is the founder of the BC BookWorld newspaper, The Ormsby Review (now called The British Columbia Review), the ABCBookWorld reference site, the Literary Map of BC and the Indigenous Literary Map of BC, as well as many of the province’s literary prizes. He has published 20 books and made seven literary documentaries.

Twigg wrote Out of Hiding with the help of many, including, notably, Yosef Wosk, who wrote the book’s afterword, in which Wosk discusses various kinds of hiding – from one’s mission, from persecution, in dreams, in silence, from truth. Wosk notes that the perpetrators of the Holocaust also tried to hide: “The Nazis engaged in fraud, deception and secrecy on a massive scale,” he writes.

“The secrecy was complete and, to a large extent, effective,” he adds. “The very monstrosity of the crime made it unbelieveable. In fact, the Nazis speculated that the unimaginability of their Aktionen would work in their favour.” But this expectation “was frustrated by the Allied victory. [What remained of] Nazi archives were opened, contemporary Jewish documents were discovered, and facts were ferreted out by courts and scholars. Moreover, by 1942, the Free World had gradually learned the truth, albeit not always complete and precise.”

Wosk concludes, “There is much to remember and even more to know as the Holocaust comes out of hiding.”

And this is one of the reasons Twigg compiled this collection.

“I am not a Jew. I am not a German. I simply believe it is the responsibility of everyone on the planet to know more than just a little about the Holocaust,” begins Twigg in the foreword. “It is our collective responsibility to teach our children – with details – about why the Shoah is unique among the many genocides.”

He points out: “No other political regime has ever systematically murdered at least 1.5 million babies and children.”

As well: “Never before or after has a modern, industrial state mobilized all of its resources to systematically commit murder at least six million times in about eight years (from Kristallnacht in 1938 to 1945) and no other government has established a separate killing ground to murder approximately 50,000 women (at Ravensbruck, north of Berlin).

“No other regime has so thoroughly and consistently degraded its victims,” writes Twigg. “Estimates vary but the United States Holocaust Memorial Museum claims Germans created 980 concentration camps, 30,000 slave labour camps, 1,150 Jewish ghettos, 1,000 prisoner-of-war camps and 500 brothels where women were sex slaves.” And yet, Holocaust education surveys have shown that most people would struggle to name one or two camps, other than perhaps Auschwitz.

Twigg believes that, “if the most-heinous, most-planned and most extensive genocide can be deep-sixed by mankind, all genocides thereafter can be shrugged off as natural – as inevitable as forest fires, plagues, droughts, locusts or tidal waves.” If that happens, he argues, then genocide becomes “someone else’s problem.” As for something the magnitude of the Holocaust, he writes, “Most certainly it can happen again.”

image - Out of Hiding book coverOut of Hiding is an intensely personal project for Twigg. He describes the book as “a roadmap back to places and experiences that must never be forgotten, offering a wide range of perspectives from the Holocaust-related books of British Columbian authors.” In total, he covers some 160 books in four sections. Some authors have written, edited or otherwise helped bring into being more than one memoir, novel, report or study; some of the people discussed are the subjects of the publications, rather than the writer.

Part One features relatively long expositions on Rudolf Vrba, Robert (Robbie) Waisman and Krell.

Twigg considers Vrba – who lived in Vancouver for the last few decades of his life – the “most important author of British Columbia.”

Writes Twigg in Out of Hiding, “Historian Ruth Linn estimates there were about 500-700 attempts to escape from Auschwitz-Birkenau, and most failed. Some 75 of these attempts were made by Jews; only five Jews made it successfully to freedom. The most significant of these five was Rudolf ‘Rudi’ Vrba, the main author of the most authoritative report on the true nature of the concentration camps, co-authored with co-escapee Alfred Wetzler.”

The Vrba-Wetzler Report, dated April 25, 1944, “finally revealed to the Allies the true nature and extent of the Holocaust.”

Twigg provides a biography of Vrba and some of what he learned from him as a friend. He also shares that Vrba, who died in 2006, was buried in a “seldom-visited cemetery, known to few people, where there is only a simple headstone.”

The April 5 event will include a video of Wosk chanting a Jewish blessing for Vrba at the graveside – something that apparently has not been done before.

Both Waisman and Krell are discussed in as much depth as Vrba, from their brief childhoods before the Holocaust through to recent history, sharing some of their writings and accomplishments, giving readers a sense of who they are and why their contributions are so vital.

Part Two offers shorter personal summaries on dozens of authors and publications. This section includes Lillian Boraks-Nemetz, Claudia Cornwall, Peter Hay, David Lester, Robert Mermelstein, Heather Pringle, Peter Suedfeld, Mark Zuehlke and many others. It features survivors of the Holocaust, as well as researchers, educators, journalists, graphic artists and editors who have studied the Holocaust, members of the Second or Third Generation, and a few non-Jews.

Part Three features an eclectic mix of 26 writers/artists, including Olga Campbell, Esi Edugyan, Jean Gerber, Rabbi Marvin Hier, Nikolaus Martin, Isa Milman, Norman Ravvin, Colin Upton and others.

Part Four:  One Doctor, Two Rabbis comprises three essays. The first is on Dr. Tom Perry, who served with the U.S. Army Medical Corps in the Second World War, and “took a series of rarely seen photos that his widow Claire Perry donated to the Vancouver Holocaust Education Centre in 1994 along with a five-page letter he wrote to her from ‘somewhere in Germany,’ describing his feelings and impressions of Buchenwald.” The letter is included in this section – and it is a powerful testament, though words don’t capture the horror as much as do his photographs.

The second essay, “Lulek’s Story,” flows from a well-known photo taken by Tim Gidal on July 17, 1945, in a refugee compound near Haifa – front and centre is Israel Meir “Lulek” Lau, holding a Buchenwald banner. Rabbi Meir Lau, who became Ashkenazi chief rabbi of Israel, was the youngest survivor of Buchenwald and his story is moving and inspirational.

Wosk’s afterword rounds out the collection with his thought-provoking reflections on hiding.

“Soon all witnesses will be gone,” concludes Twigg in his author’s statement. “The Holocaust must not be relegated to being merely the psychic preserve of Jews and Germans.”

The double-book launch event is presented with the Vancouver Holocaust Education Centre and takes place at the Rothstein Theatre. Admission is free but registration via jccgv.com/jewish-book-festival/events or at eventbrite.ca is required. To read a discussion of Krell’s Sounds from Silence, visit jewishindependent.ca/a-child-survivor-reflects.

Format ImagePosted on March 11, 2022March 10, 2022Author Cynthia RamsayCategories BooksTags Alan Twigg, Holocaust, JCC, JCC Jewish Book Festival, literature, Robert Krell, Vancouver Holocaust Education Centre, VHEC, Yosef Wosk

A best home for Jews?

Despite its flaws, most Canadians are proud to call this country home. And most of us would leave it at that, and not delve too much into why we feel that way. But a recently published book asks 20 scholars to consider the question, “Has there ever been a better home for the Jews than Canada?” The result is a compelling read that raises many more questions than answers.

No Better Home? Jews, Canada and the Sense of Belonging, edited by David S. Koffman of York University, was published by University of Toronto Press last year. While many of us may not rush to pick up an academic publication, for fear of its denseness and potential incomprehensibility for laypeople, this one is surprisingly readable. Not every essay will be of as much interest, as the book is Eastern Canada-centric, but many of its ideas will help us in determining for ourselves what we mean when we say Canada is one of the best places in the world to live. And some of its discussion will prod humility – for example, the reality that many immigrants to Canada would rather have been able to stay where they were, but had to flee persecution, war or other circumstances, is a sobering reminder. As is the fact that the situation in Canada has not always been good for Jews or other minorities.

An exact measurement of “best” is elusive and subjective, of course. As editor Koffman notes in his introduction, “Canada may now very well be the safest, most socially welcoming, economically secure, and possibly most religiously tolerant home for the Jews than any other diaspora country, past or present. Jews in Canada today enjoy (1) high rates of voluntary religious participation at all denominational in-points; (2) relatively low rates of nonviolent forms of antisemitism; (3) high degrees of Jewish literacy; (4) the capacity to exercise political power unfettered by antisemitism; (5) institutional completeness for Jewish communal needs; (6) thoroughgoing social acceptance; (7) significant cultural production; (8) public recognition; (9) comparatively low intermarriage rates; and (10) economic opportunities unrestricted by their Jewishness.”

image - No Better Home? book coverThat said, the matter is not so easily determined, as the other contributors to the volume delve into Canada’s past, into other countries that offer good homes for Jews, into the accessibility and affordability of Jewish education, into Canada as a point of arrival for Holocaust survivors, into Yiddish not only as a language but as a link to family, heritage or tradition, and into many other topics.

The situation in Ukraine makes Jeffrey Veidlinger’s essay particularly interesting for anyone wanting to know more about that country and the influence of its history and its emigrants on Canada. For instance, Canada’s multiculturalism policy was a concept introduced in the 1960s by Ukrainian Canadians, “who, in turn, adapted it from the notion of ‘national autonomy’ that Jews had introduced to early 20th-century Ukraine, where Jews were conscious of securing rights as a minority group within a largely binational (Russian and Ukrainian) state,” writes Veidlinger, who is at the University of Michigan. “Ironically, when multiculturalism made it to Canada in its new form, it was met with skepticism and even outright rejection by the organized Canadian Jewish community.” Some of that rejection had to do with this vision of multiculturalism being “premised on a common Christianity,” he says. As well, the Jewish community had learned to navigate between the so-called “two founding races” (French and English powers) and there was concern that diffusion of power would make it harder to do so.

More than one writer touches on the French-English dichotomy, as well as where Indigenous peoples fit in those narratives. In his essay, Koffman considers the question, “What have Jewish-Indigenous peoples’ interactions looked like? How might we think about Jews’ home in Canada refracted through the prism of the interactions between the placed and the displaced?”

The only local contributor to No Better Home is Richard Menkis, a professor at the University of British Columbia. The way in which his essay on museums fits into the collection is encapsulated in the two questions he poses: “What kind of home would it be if the narrative of the Jewish community were not considered ‘Canadian’ and included in the national experiences depicted in state-sponsored exhibitions? And the corollary question is: How comfortable are Jews, in this home, telling their stories, including the stories of the marginalized (the poor) and the ostracized (the criminals)?”

Menkis looks at three exhibits on Canadian Jewry – Journey Into Our Heritage (1970s), A Coat of Many Colours (late 1980s) and narratives at the Canadian Museum of Immigration at Pier 21 in Halifax since it opened in 1999. He concludes that, in the two exhibits, as groundbreaking as they were, Canadian Jews were comfortable only in sharing their achievements and contributions (ie. worth) to Canadian society at large. These exhibits omitted people and activities that could be more controversial, such as Jews involved in the union movement or in radical politics.

At the Canadian Museum of Immigration, the historical summations eventually became more nuanced about Canada’s immigrant communities, and recognized them as having “enriched the cultural mosaic.” This is a grand improvement from the attitude in 1945 of the Historic Sites and Monuments Board of Canada when it was asked to recognize the country’s first synagogue. Menkis begins his essay with this point, citing a member of the board, who said “he was not particularly interested in the commemoration of Jewish activities.” The board member had a similarly dismissive response to the suggestion “that there be a commemorative marker for 400 African Canadians who lived on Vancouver Island before 1858,” notes Menkis.

Every contributor to No Better Home? offers a different perspective. One that seems sadly true is that of Jack Kugelmass of the University of Florida. “My point,” he writes, “is that good places for Jews have a lot to do with robust economies, with stable governments and a consensus in which difference is at least tolerated and immigrants welcomed because they’re good for business.” He recommends: “Enjoy the good times while they last. Nothing is forever. Right now is certainly Canada’s time, as it is for Canada’s Jews.”

Posted on March 11, 2022March 10, 2022Author Cynthia RamsayCategories BooksTags academia, David S. Koffman, No Better Home?, Richard Menkis
Ominous Sounds premières

Ominous Sounds premières

Kerry Sandomirsky co-stars in Ominous Sounds at the River Crossing by Jason Sherman, which has its world première at Performance Works March 6-13. (photo by David Cooper)

Who is permitted to tell stories? This is the main theme of Ominous Sounds at the River Crossing; or, Another F–king Dinner Party Play, playwright Jason Sherman told the Independent.

The world première of Ominous Sounds takes place March 6-13 at Performance Works on Granville Island. Not only is Sherman a member of the Jewish community, but so are cast members Alex Poch-Goldin and Kerry Sandomirsky and lighting designer Itai Erdal. The production is being staged by Touchstone Theatre, whose artistic director is Roy Surette.

Ominous Sounds is described as “a provocative and darkly comedic piece of metatheatre that dives into hot-button issues including the ethics of representation, climate responsibility, and social power in a reality marked by colossal cultural shifts and blurring meanings.”

“In exploring the central theme,” said Sherman, “characters in the play reject a number of storytelling approaches, old and new, notably the dinner party play, of which there are many fine examples, to be sure, but which one of our characters is desperate to escape from. The play keeps returning to various versions of a dinner party play, interspersing it with attempts at other forms of storytelling, before finding a synthesis in a new story.”

photo - Playwright Jason Sherman
Playwright Jason Sherman (PR photo)

The launching point of Ominous Sounds was a planned follow-up to Sherman’s play Patience, which Surette directed some 20 years ago. Patience is “a contemporary retelling of the story of Job; the new play was to pick up with news of the death of the earlier piece’s main character,” said Sherman. “But I found myself balking at returning to the earlier story – for reasons of both form and content – and instead incorporated some of its elements into what would become Ominous Sounds.”

Erdal described some of the considerations in lighting a play like Ominous Sounds. “In a naturalistic play,” he said, “the lighting usually wants to be invisible; it should move the story forward and set the mood and the tone for the scene but it should do all that without pulling any attention to itself…. In an abstract play, the lighting doesn’t have to be justified – it can be part of the architecture and the dramaturgy of the piece. This play is about making theatre, so it moves between the two approaches – sometimes the lighting is invisible and sometimes it can be very dramatic and noticeable.

“We have a brilliant projection designer,” he added, “and many of the locations will be done with video projection, so I will have to … work closely with the projection designer to determine which scenes will be done with lighting only and which scenes with lighting and projections. We are still very early in the process so a lot of those decisions are still being made.”

When Poch-Goldin spoke with the Independent, there had been only three days of Zoom rehearsals.

“It was a bit exhausting using that format, but very enlightening,” he said. “The writer, Jason, was part of our rehearsals and he was able to clarify things for us, which was very helpful.

“I hope people will come see the show now that things are opening up. While COVID is hovering in the background, I have to be optimistic. I want to share this play with people. I want to work with other actors without masks on and I want a sense of normalcy to prevail. I’m not nervous about having restrictions loosen and a full theatre appreciate the work.”

Sandomirsky echoed this last sentiment. “We have all been inside now for two years, many of us living on a diet of Netflix and Skip the Dishes,” she said. “This play does what theatre does best – engages in the cultural conversation of the moment in a provocative, entertaining way. It’s an opportunity to see theatre that you will keep discussing post-show. It’s an opportunity to leave your bubble and safely let a group of experienced actors delight and enrage you. You don’t need to go to New York. You can hear a script that has intelligence, humour and heart right here, on Granville Island.”

Both Poch-Goldin and Sandomirsky play more than one character.

Among Sandomirsky’s roles, she said, “is a 50-something actor trying to navigate the minefield of what stories she is and is not allowed to tell. Is her voice still relevant?”

“We start as numbered entities and then we start to play other characters in little plays along the way, but always return back to our numbered entity,” explained Poch-Goldin. “My character starts vulnerable and becomes quite strident and outspoken, longing for the good old days, when theatre was something he understood. As for the other characters I play, Peter is a bit of a wisecracking dad who is trying to be a better person and facing a lot of struggles. I also play the character of Ruben, who is someone who has passed away and comes back in a flashback to talk about his struggles, and to learn to accept himself and his failings. I love all the characters, they’re profound and reflect many things I feel about the changes in society.”

Poch-Goldin has been busy since the pandemic began. He moved to Winnipeg two years ago and has been doing a lot of TV and film, he said. For example, the première of the series The Porter started on CBC Feb. 21, and Poch-Goldin is in five of the eight episodes.

“I also just finished writing a new play called The Trial of William Shakespeare,” he said. “After three years of development, we’re finally starting to share the script after several workshops. I also have a play called The Great Shadow, about the first film studio in Canada in 1919. It’s going to première this summer at 4th Line Theatre, which is an outdoor theatre in Millbrook, Ont.”

For her part, Sandomirsky continued to teach acting for film and television at Langara’s Studio 58.

“I gathered a group of friends and directed A Midsummer Night’s Dream on Galiano Island in a field,” she said. “It was an opportunity to have experienced Bard on the Beach actors mix with local islanders and create a bit of magic on a few warm August nights.”

As well, she, her son Ben (who is in Los Angeles shooting The Mysterious Benedict Society) and her mom (who lives in Saskatchewan) “started doing nightly themed Zoom sessions to amuse ourselves and stay in contact. We’d choose a theme and then give ourselves half an hour to whump up costumes and props using only what we had at hand.” They shared photos with friends and “began to take thematic requests and covered everything from Bergman to Batman to Brueghel.”

Next for her is the play Courage Now at Firehall Theatre.  Written by Manami Hara, it’s a piece about Japanese consul Chiune Sugihara, who helped thousands of Lithuanian Jews flee Europe. “The director, Jane Heyman, is herself a descendant of a family saved by Sugihara’s actions,” said Sandomirsky.

For tickets to Ominous Sounds, visit ticketscene.ca/series/926.

Format ImagePosted on February 25, 2022February 23, 2022Author Cynthia RamsayCategories Performing ArtsTags Alex Poch-Goldin, Itai Erdal, Jason Sherman, Kerry Sandomirsky, Ominous Sounds, Performance Works, social issues, theatre, Touchstone Theatre
MONOVA’s new space

MONOVA’s new space

Housed in the lobby of the Museum of North Vancouver, visitors can once more hop on Streetcar #153, which carried passengers along the Lonsdale Line from 1912 to 1946. (photo by Cynthia Ramsay)

This story took me a long time to write. Everything I read about the Museum of North Vancouver (MONOVA) set me off on another path of exploration. I’ve watched (really) old home movies, looked at countless archival photos, perused online exhibits – all of this after I was treated in December to a tour of the museum’s beautiful new space at 115 West Esplanade. Such is the seemingly never-ending amount of wonder the museum offers.

Days after the official opening on Dec. 4, curator Barbara Hilden walked me through the exhibits. I arrived early and had time to buy a few things in the gift shop – there are some excellent books, clothing, toys and other merchandise for sale. I also walked through the restored electric Streetcar #153, which carried passengers up and down the Lonsdale Line from 1912 to 1946, and admired Squamish (Sḵwx̱wú7mesh) artist Wade Baker’s cedar carving of Sch’ich’iyuy (the Two Sisters).

“The red cedar Sch’ich’iyuy panel is based on the ancient Sḵwx̱wú7mesh Sister’s Mountain Transformer legend,” says Baker on MONOVA’s website. “The twins were raised from childhood to be leaders for their people. They asked their father, the siyam, the chief, to bring peace to the warring tribes along the coast. He could not refuse their request and fires were lit all along the coast to signal a great welcoming feast to bring peace. For their efforts, the twins were immortalized in the mountain peaks you see today that watch over us.”

photo - The museum’s lobby features a cedar carving of Sch’ich’iyuy (the Two Sisters) by Squamish carver Wade Baker
The museum’s lobby features a cedar carving of Sch’ich’iyuy (the Two Sisters) by Squamish carver Wade Baker. (photo by Alison Boulier)

Beyond the museum lobby is a sparse area and a space for activities, a moveable wall separating the two. Visitors then walk through a corridor with images of trees on the walls, their branches continuing onto the ceiling. The Indigenous Welcome Circle, which highlights Squamish and Tsleil-Waututh (Səl̓ílwətaɬ) stories and items, is the anchor of the room. There is the notable presence and prominence of Indigenous involvement in the displays and, the day before the new museum’s opening, there was a memorandum-of-understanding signing ceremony that included members of the Tsleil-Waututh and Squamish nations.

“The MOUs affirm our commitment to working with Tsleil-Waututh and Squamish nations as equal partners,” Hilden told the Independent in an email interview after the tour. “MONOVA formed the Indigenous Advisory Committee several years ago to inform our programming, collecting, curatorial and operational activities. We rely on IVAC members to direct our strategic priorities in these areas and others, and to liaise with the nations. These needs do not diminish with opening our new location; on the contrary, their importance only increases. IVAC will continue to exist and we anticipate it growing larger and more robust as we look to incorporate Indigenous ways of knowing throughout the institution.”

Exhibits in the new permanent gallery include the Indigenous Welcome Circle, as well as themed displays – on sports, women in wartime, shipbuilding on the North Shore, and more. Interactive children’s displays help young visitors understand, for example, how to load a cargo ship and what various animals eat and what their poop looks like (this was a particularly fun exhibit, I must admit). An interactive map takes people through the history of the North Shore by water, trail, rail and road. Panels on one of the walls take us from the late 1700s to the present day with several photos and brief descriptions of notable events, good and bad, listed chronologically. There is a section – Truth and Reconciliation – dedicated to residential school survivors.

The museum’s first feature exhibition is called You Are Here @ The Shipyards. “It discusses the changing nature of North Vancouver’s lower Lonsdale area, from Indigenous settlement to working shipyards to contemporary tourist destination,” explained Hilden. “The exhibition features historic objects, archival photos and film … [and] will open in the spring of 2022 and run for one year. In the future, it’s anticipated that our calendar will be a mix of internally curated and traveling exhibitions.”

The North Vancouver Museum opened in 1972 in the old Pacific Great Eastern Historic Railway Station and moved to Presentation House in 1976, where it remained until last year. With the new location, came the new name, MONOVA.

“It’s taken more than 50 years, a multitude of meaningful discussions with community members and Indigenous leaders, countless volunteer hours, and painstaking research to amass a collection of more than 9,000 artifacts, but, after 20 years of planning, finally, the Museum of North Vancouver is ready to welcome the public,” reads the press release announcing the December opening.

photo - Squamish Nation partnered with architect Moshe Safdie in the 1990s and proposed building a twin span next to the original, congested Lion’s Gate Bridge, but rehabilitation work of the existing bridge was undertaken instead. This model is currently on display at MONOVA
Squamish Nation partnered with architect Moshe Safdie in the 1990s and proposed building a twin span next to the original, congested Lion’s Gate Bridge, but rehabilitation work of the existing bridge was undertaken instead. This model is currently on display at MONOVA. (photo by Cynthia Ramsay)

In addition to the exhibits and activities that take place at 115 West Esplanade, there are many online exhibits. Archivist Dr. Jessica Bushey noted that two – Walter Draycott’s Great War Chronicle, and Climbing to the Clouds: A People’s History of B.C. Mountaineering – were created by the North Vancouver Museum and Archives, all departments working together.

“These were very large endeavours, taking nearly a year to create and involving consultants and partners,” said Bushey. “More recently, the archives team has focused on creating online exhibitions drawing upon archival materials that provide virtual access to the collections and offer a companion to on-site exhibitions at the archives building in Lynn Valley. These are smaller in scale, but strong in their interactivity and showcasing of archival photographs, moving images and oral histories.”

Currently, there is no specific Jewish connection in any of the material on display, but the museum is actively seeking additions to its collection.

“At the moment,” said Hilden, “we have materials exhibited from North Vancouver’s Ismaili, Iranian and Japanese communities. All the exhibits in our long-term gallery are designed to be flexible and changed out regularly, so we do anticipate updating and rotating these stories as more communities become aware of MONOVA and our desire to represent all North Shore stories.”

She said, “We would be thrilled to hear of more Jewish connections. We currently have very few tangible objects in our collection that would help us tell these stories, and I’d love to hear from members of North Van’s Jewish community.”

“The archives of North Vancouver is very interested in acquiring donations of archival materials from the Jewish community working, residing and thriving in the city and district of North Vancouver,” agreed Bushey, also noting the archives’ current lack of these materials.

“We have one file on Samuel Davis Schultz, who was a judge and alderman in North Vancouver and founded the honour roll of North Vancouver High School in 1912, a photograph of S. Schultz and a 2014 copy of the special issue of the Western States Jewish History quarterly journal, which focuses on the Davies and Schultz families. Lastly, we have the photographs from a City of North Vancouver 2000 millennium project on Diversity on the North Shore, which included the Jewish community and led to the publication From Far and Wide: Cultural Diversity in North Vancouver,” said Bushey.

“If anyone has archival records (e.g., correspondence, photographs, albums, diaries, home movies, business records etc.) they would like to donate,” she added, “they can email the archives with the particulars and we will get in touch.”

“MONOVA considers donations that have a close connection to the community of North Vancouver,” said Hilden. “The artifacts don’t need to be extremely old or extremely valuable to be considered. Sometimes, the most thought-provoking pieces are those that tell quotidian stories of everyday life. (Of course, the old and valuable belongings are welcome also!) We care for everything in our collection and, when we make the decision to acquire a piece, we commit to preserving, conserving and making it available for generations to come.”

To connect with the museum or archives, visit monova.ca.

Format ImagePosted on February 25, 2022February 23, 2022Author Cynthia RamsayCategories Arts & CultureTags archives, history, MONOVA, museums, North Vancouver, Squamish Nation, Tsleil-Waututh
Festival opener wows

Festival opener wows

A still of one of the humorous (and relatable) moments in Image of Victory, which is part of this year’s Vancouver Jewish Film Festival.

The Vancouver Jewish Film Festival opening night film is the epic Image of Victory, directed by Avi Nesher. It’s not with grandiosity that the movie leaves its mark, though there is some of that, but rather with the quiet moments of humanity it so movingly depicts.

Sombre piano music over which one can hear missiles flying, bombs exploding, wind blowing are heard as the initial credits are shown, modest white lettering on a black background, nothing showy. “There are moments when you try to make sense of your life,” begins the narrator, as black-and-white footage of a shot-out building appears, then a jeep, soldiers with rifles pointed, tanks. “You wonder if you made good use of the time God gave you on this earth. You seek someone to compare yourself to. Someone you think truly lived.”

For Egyptian journalist and filmmaker Mohamed Hassanein Heikal, that person is Mira Ben-Ari, though he doesn’t know her name or anything about her at the time. It is the image of her from decades ago that he cannot forget – battle-worn, staring down the Egyptian forces, she smiles, she takes out a gun and shoots. Cut to an older Hassanein, in his study, depressed and angry, watching the TV news about Israel and Egypt’s peace agreement, after decades of war. Was all the fighting and all the death it caused in vain? He blames himself for not having the courage to expose Egypt’s president as a traitor for making the peace deal. He idealizes Mira’s bravery and purpose, thinks back to when he was 24, and fearless – when he was assigned to document Egypt’s military operations against the soon-to-be-reestablished Jewish homeland.

Inspired by the Battle of Nitzanim in June 1948, in which the kibbutz was destroyed by Egypt, Image of Victory imagines what it might have been like on both sides of that conflict. Both Mira and Hassanein are based on real people, as are other characters in the film, and this movie is about a near-mythological event. The voiceover, the black-and-white footage, the fancy costumes of New Year’s Eve revellers in Cairo, idealistic kibbutzniks, zealous army commanders. Any one of these elements could have slipped into a larger-than-life portrayal, but director Avi Nesher shows restraint – and a valiant attempt at balance that has an air of realism, though the kibbutzniks are admittedly more developed entities.

The majority of the film takes place in chronological order, six months out from the battle. When we first see the kibbutzniks working the dusty land, they are doing so under occasional fire from the Egyptian farmers who were displaced after their landlord sold said land to the Jews. The rules of engagement are fascinating. After one altercation, the Egyptians yell to the kibbutzniks that they are all done on their side, and the Jews cease their fire so that both sides can safely collect their wounded and dead.

In the midst of the tension, life goes on in the kibbutz – there are broken hearts and newly starting relationships, there is joyous singing, dancing and piano playing, there is hard labour, there is frolicking on the beach. But underlying all the apparent normality is the hyper-reality of mortality, both because many of the residents and their recently arrived Haganah protectors are Holocaust survivors, as well as the threat of Egyptian attack. As one young soldier tells Mira, “You’d think it’s paradise if being here wasn’t risking death.”

After a brutal attack on a truck carrying supplies to the kibbutz, the Egyptian commander doesn’t want Hassanein to film the emptying of the truck of its supplies because it looks like they’re stealing. Perception is Hassanein’s constant battle – what he is being told to film and what he really wants to film. For example, during a lull in the fighting, he makes a film about two Arab villagers falling in love, which is trashed by the producer who hired him. People don’t want to watch that, yells the producer, they want war.

After the Egyptian forces are repelled by the newly declared state of Israel, Hassanein is ordered to film an Egyptian victory, so that King Farouk can save face. The enormity of the Egyptian army descends on Nitzanim, which Israel’s leaders – for ideological reasons encapsulated by the character of (real-life) commander Abba Kovner – have abandoned.

While the kibbutz’s children (including Mira’s young son) and some of the adults were evacuated or assigned to other defence tasks, the rest of the residents and soldiers were left to fend for themselves, vastly outnumbered. The real-life outcome is known: more than 30 kibbutz members and soldiers were killed, more than 100 taken prisoner. What Nesher’s film offers is an idea of the ambitions, the loves, the fears, and more, of some of those who were at the ground level, caught in a situation not entirely of their making.

The acting is phenomenal – adeptly showing the interplay of diverse characters, with their own senses of humour, their own past traumas, their own desires, their own measures of victory. The characters are more than stereotypes and the stories more nuanced than the ones we most often hear. Nesher wants us to be skeptical of national mythologies and of the media that help propel these misleading views, yet respectful of one another’s narratives, as complicated as they may be and no matter how divergent they may be from our own. It’s perhaps an impossible ask, but some ideals are worth dying for – or are they?

Image of Victory director Avi Nesher and producer Ehud Bleiberg participate in a live Q&A on March 6, 11 a.m. The Vancouver Jewish Film Festival runs March 3-13. For tickets: vjff.org.

Format ImagePosted on February 11, 2022February 10, 2022Author Cynthia RamsayCategories TV & FilmTags Avi Nesher, Egypt, film, history, Image of Victory, Israel, Mira Ben-Ari, Mohamed Hassanein Heikal, Nitzanim, politics, Vancouver Jewish Film Festival, VJFF
Leading amid change

Leading amid change

Michelle Ray’s latest book is Leading in Real Time: How to Drive Success in a Radically Changing World. (photo from espeakers.com)

Michelle Ray was recently inducted into the Canadian Speaking Hall of Fame, which is bestowed, in part, for excellence in “educating others to excel.” Of course, it is awarded to exemplary speakers, but Ray also educates using the written word. Her articles have appeared in various publications and she is now the author of two books: Lead Yourself First! Indispensable Lessons in Business and in Life, which was released in 2014, and Leading in Real Time: How to Drive Success in a Radically Changing World, which just came out in the fall of 2021.

Originally from Australia, Ray started her career in media and advertising while living there. She established her own business – as a professional speaker, leadership educator and consultant – in 1995, after she settled in Vancouver. In the conclusion of her new book, she shares what she learned from her parents, who were Holocaust survivors and faced several other challenges in their lives. Though they passed away many years ago, Ray writes, “the enormity of their respective losses is still with me…. They were truly my greatest mentors, and I believe there will never be another generation like theirs. As leaders, we have much to learn, appreciate and apply from their timeless legacy.”

The three lessons Ray highlights in this chapter are to be prepared for unanticipated events, to be optimistic and resilient in the face of difficulties, and to control what you can: “The now is all we know. It’s what we have. It’s the sum total of present moments and what we choose to do with them that prepares us for the unknown.”

image - Leading in Real Time book coverRay started writing Real Time in 2018, taking notes while traveling for speaking engagements and doing other work. Her schedule got so busy that the book project was set aside until January 2020. “Several months into the process,” she writes, as the pandemic hit, “it occurred to me that my teachings about leaders remaining relevant, flexible and open to new ideas applied to me. Realizing that the world had forever changed, I found myself questioning not only what lay ahead, but my own identity as a leadership expert and whether or not I had the energy to persevere in the face of so much uncertainty. I developed a deeper affinity with the challenges and struggles my clients faced, wanting to explore them further. I became more intrigued by their passion, ongoing success and commitment to the well-being of their workforce during a very difficult period.”

There are eight traits of a “real-time leader,” according to Ray. A real-time leader is transformative, emotionally intelligent, open-minded, humble, exceptional at listening, optimistic, consistent and trustworthy, and authentic. She explains each of these characteristics in more depth and examines the ways in which the workplace, workers and the economy have changed, and continue to change. She offers takeaways at the end of every chapter, as well as some homework, or what she calls real-time action steps. She suggests ways in which leaders having trouble with any aspect of leadership can improve, including hiring a coach or working with a mentor.

It’s not just a matter of personal growth. “There is a high cost to poor leadership choices,” she writes. “Especially when rolling the dice on leaders who are unprepared or who are incapable of immediately assessing real-time situations, including ongoing volatility, pressure from key stakeholders, and shifts in employee expectations.”

And yet, according to Gallup research cited by Ray, “companies in an array of industries put the wrong leaders into the wrong job over 80% of the time” and “65% of managers are not engaged or are actively disengaged. That’s not the workforce,” she writes. “That’s the leadership.”

It might sound obvious that disengagement compromises employee retention but Ray notes how often leaders do not move with the times, and hold on to outdated approaches. She recommends change management education so that leaders can model behaviour for their team regarding adapting to such things as technological innovation, as well as social advances, like women’s equality. Accountability is key and Ray offers readers of her book many ways “to recognize when they have a me problem rather than a we problem.” For example, do you step in to help when needed, are you respectful of others, do you keep your promises?

In the chapter on the human factors at play in running a business, Ray notes that “intelligence and self-awareness are traits that do not always come hand in hand.” But being self-aware and capable of learning – from experiences and from other people, including those working for you – is vital for someone wanting to be a capable leader.

For more on Ray, her books and learning programs, visit michelleray.com.

Format ImagePosted on February 11, 2022February 10, 2022Author Cynthia RamsayCategories BooksTags business, education, leadership, Michelle Ray
Iconic musical at Studio 58

Iconic musical at Studio 58

Left to right: Sofie Kane, Zachary Bellward and Angus Yam in Studio 58’s The Rocky Horror Show, with costume design by Donnie Tejani and makeup by Weebee Drippin. (photo by Emily Cooper)

“It’s the fun and freaky escape we’ve all been craving!” announces the press release for Studio 58 at Langara College’s The Rocky Horror Show. And it’s a statement that’s proven true, with an almost sold-out run as the JI went to press this week.

At least two Jewish community members are involved in the production, which takes place live in the theatre Feb. 3-20. Josh Epstein directs and Itai Erdal created the lighting design.

Amid the happy news regarding ticket sales, COVID continues to cause challenges. “We have multiple Plan Bs and we update them often,” Epstein told the Independent. “Enough of the show has been learned that I know, wherever we end up, this incredible group of performers can entertain.”

While Epstein has done other creative works over the past two years, and so has experience dealing with all the pandemic regulations, this show has been “way harder,” he said.

“I was involved in Craigslist Cantata, which was a filmed production; and a workshop of a new musical at Studio 58 I co-wrote, it was basically an outdoor concert. With Rocky Horror, the cast is large, the lighting, sets and costumes are all world-class. We are being extremely careful to follow all regulations, Studio 58 guidelines and avoid infection. We took a week on Zoom when needed and made other adjustments as needed. I also have two kids under 2 – that’s really the harder part!”

Erdal also has been busier than many in the performing arts sector, but he, too, is finding the situation difficult.

“I have been luckier than most designers I suppose, but still, the last couple of years have been a real struggle, both financially and mentally,” said Erdal. “Just last week, I had to postpone my one-man show How to Disappear Completely, which was scheduled to run at Presentation House in North Van – one of the toughest decisions I had to make.

“Making a living as a theatre artist is tough in the best of times,” he added. “Right now, it’s damn near impossible. It’s been tough mentally too – I basically sat at home for a year between November 2020 and 2021. Fortunately, I’ve been writing a play about my military service [in Israel], so that kept me busy and sane for that year.”

That Erdal is also a writer, producer, performer and artistic director (of the Elbow Theatre) must help in his design of lighting for a production, which begins with his reading of the play in question, “taking notes of things like locations, time of day, mood, atmosphere, effects (lighting, gun shots, smoke, haze, etc.).”

He then meets with the director to “hear their vision of the piece and if they have any specific ideas about lighting. Ideally, this is before the set is designed so I have some input into the set design – Is it an abstract set or a naturalistic one? If the set has walls on the sides, then I can’t use side lighting; if it’s staged in the round, it will obviously change my design.”

He takes more notes while watching rehearsals and, for a musical, like Rocky Horror, he needs to know exactly where the performers are for every song.

“Then I will go home and draw the lighting plot – this show has about 150 lights and the crew needs to know where every light is hung, which way it’s facing and what colour or pattern it takes. Then we hang all the lights, circuit them and patch them to the lighting board.

“After the hang is finished,” he said, “we focus all the lights and then we record the cues. A musical will typically have anywhere between 200 and 300 lighting cues, so that will take awhile to record, at least 12 hours. I use light walkers and ask them to stand where the performers will be standing and we record all the cues and put them all in the prompt script so the stage manager can call the show.”

The performers are then shown their every cue, being told “where to stand, making sure the director likes how it looks and the stage manager knows exactly when the cue is called. In a musical like Rocky Horror,” said Erdal, “the vast majority of the cues will be called with the music, so I would give the stage manager a detailed cue list that includes bar numbers so the show can be called musically. After practising all that for a few days, we add the costumes and all other design elements and do a tech dress and then a dress rehearsal. After that, the audience comes in for previews and we do a few last tweaks before we open the show.”

Collaboration is crucial and it’s one of Epstein’s favourite parts of directing this show – working with the students and the creative team. “After a few years away from this process,” he said, “there is nothing that gets me jazzed more than bouncing artistic ideas off each other and then guiding them to life.”

Given the popularity and longevity of The Rocky Horror Show – first staged in 1973 and then made iconic by the 1975 film adaptation – one might be intimidated when faced with staging it, but not Epstein.

“I love and trust my artistic team and give them a lot of ownership over where we’re headed. If we each dream big and make it happen, it will be unlike any other production – and I think we’ve done that,” said the director.

“Usually,” he added, “I avoid any other productions or history of a show but Rocky Horror has had such a unique life. I researched its beginnings, looked for lyric changes, did consultations with different communities, made conscious decisions about context and intention. I really took to heart ‘Don’t dream it, be it’ and have made that a touchstone of our show – that you can be whoever you want to be and, more importantly, be fabulous.

“One thing that’s going to happen,” Epstein concluded, “is we’re going to honour the audience that this show created, in a big way.”

For showtimes and tickets, visit studio58.ca.

Format ImagePosted on January 28, 2022January 27, 2022Author Cynthia RamsayCategories Performing ArtsTags COVID, Itai Erdal, Josh Epstein, Langara College, musical, Rocky Horror, Studio 58, theatre

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