This year, Isaac Waldman Jewish Public Library’s annual used book sale takes place Nov. 23-27 at the Jewish Community Centre of Greater Vancouver. (photo from IWJPL)
For many of us, the Isaac Waldman Jewish Public Library is the go-to place when looking for that irresistible book to read. It’s also where we search for that compelling DVD on Jewish culture that other libraries are unlikely to carry. It’s the place where unique book launches are held, where we might send our kids (or ourselves) for Hebrew lessons and where there are discussions on Israeli politics, Jewish culture or Yiddish literature just about any day.
This month, the library revisits another tradition, with its annual book sale Nov. 23-27, 10 a.m. to 9 p.m., at the Jewish Community Centre of Greater Vancouver (concurrently with the Cherie Smith JCCGV Jewish Book Festival). The five-day event has been going on for almost 20 years and has become iconic for the library and its many patrons, said Waldman librarian Helen Pinsky.
“We sell literally thousands of books during that time,” she said. This year’s event will be no different. The library, with the help of volunteers, has been busily unpacking and cataloguing books that have been donated to them by patrons around the city.
“Some books come from the library because we have to keep everything circulating,” Pinsky explained. Older books that may no longer be read as frequently become great candidates for the sale, along with those that are donated by families and organizations. “We have assisted many, many people in downsizing.”
She added, “People wait for this event from year to year and tell us that this is one of the highlights of their book-buying.” Customers include not just members of the Jewish community, but many people from other Lower Mainland communities who rely on the sale for Judaic literature. “We also have a very huge following among the Christian community – people who know about it, and come in … to collect books that are valuable to them.”
And the money that’s raised is important, said Pinsky, who explained that many of the library’s financial engines are run on what is gained from the sale. Book purchases, operational costs and special presentations at the library all succeed, in part, because of the generosity of donors and the support of volunteers. “We have always relied on it as a very stable source of raising funds,” she said.
One of the benefactors of the sale is the library’s speakers series, which routinely hosts presenters from a wide variety of backgrounds. Pinsky said the library considers hosting presentations on the Holocaust and the experiences of concentration camp survivors to be one of its more important missions.
“We have been very conscious of [the need] lately, because the last of the survivors are coming to the ends of their lives,” she said. The library has previously featured presentations by local survivors and others who have wanted to share their stories. The book launches have often featured stories of individuals who have dedicated their lives to teaching younger generations. She said the library strives to offer “the kind of information that will help the community to constantly remember” the effects that the Shoah left in its wake.
Most of the library staff is volunteers. Pinsky said their service is essential not only to a smooth-running facility, but to the success of the book sale. Hannah Frankel, who unpacks and catalogues the donations, has been volunteering her time for four or five years. She said the popularity of the sale can be seen in the volume and quality of the donations. Just weeks before the event, donations were still arriving “in the hundreds.”
Frankel speculated that most of the donations are the result of “word of mouth” advertising. “People seem to know we exist,” she said simply.
For Frankel, ensuring that Vancouver has a strong and vibrant library is a large part of why she volunteers her time for the sale. “I just think it is important for the Jewish community to have a Jewish library,” she said.
Jan Lee’s articles have been published in B’nai B’rith Magazine, thedailyrabbi.com and Voices of Conservative and Masorti Judaism. She also writes on sustainable business practices for TriplePundit.com. Her blog can be found at multiculturaljew.polestarpassages.com.
Left to right, Boni Putera, Titi Juwariyah and Bambang “Ho” Mulyono are the charismatic musicians at the heart of Daniel Ziv’s (inset) documentary Jalanan. (photo from jalananmovie.com)
Daniel Ziv’s first feature-length documentary, the multiple-award-winning Jalanan (Streetside), tells the uplifting, engaging story of three musicians who are part of a bustling street scene in Jakarta: Boni Putera, Bambang “Ho” Mulyono and Titi Juwariyah. Instead of playing on street corners, these captivating and charismatic buskers board city buses, transforming ordinary commutes into musical, spiritual and political journeys through Indonesia’s capital, a mega city of 10 million.
Ziv, who was raised in Vancouver, spoke with the Independent by email after the Vancouver International Film Festival, where Jalanan had its North American première. An author and political commentator, Ziv has lived in Indonesia since 1999.
JI: How did you get started with filmmaking and how did you come to this project in particular?
DZ:Jalanan is my first film, and I never intended to be a filmmaker. Rather, the amazing story of these Jakarta street buskers, and how I felt that story, could illuminate so much about Indonesia as a society, and even globalization, sort of appeared in front of me and kept lingering there until I felt it needed to be told. Since the tale naturally contained so much music and energy and movement across this gritty urban space, I felt that film would be the right medium. So, I spent awhile getting to know the tools, and then learned through trial and error. Although filmmaking skills would have come in handy, I still believe that having a good story and good access are what really make a strong documentary. No degree of technical wizardry can replace those things.
JI: How were Boni, Ho and Titi chosen as the protagonists? Were there security concerns?
DZ: I knew that for the film to work, to really grab the attention and win the hearts of viewers, I needed strong lead characters – people with charm and charisma and agency, people with something to say about life. When I met Boni, Ho and Titi, I knew in each case that they would stand out as colorful individuals that viewers would be happy to spend two hours with in a theatre, or a few days with on the street, or even five years, as I did. They weren’t the archetypical victims that poor people are so often made out to be in social documentaries. They took control of their own fate, and they were fun to be with. And, of course, I looked for buskers with some musical talent and, more importantly, who composed their own songs and lyrics, which in turn reflected their condition. This added a whole other narrative device to the film that wouldn’t be there if it was just people talking into a camera.
In terms of safety, there actually weren’t really any issues. People assume since Jakarta is an enormous, chaotic, unruly, corrupt city, that it’s also somehow dangerous, but it’s not…. I spent five years shooting the film, totally exposed in some of the poorest parts of the city, carrying perhaps $10,000 worth of camera and sound equipment on me, yet I was never once harassed or mugged or even pickpocketed. I think if you’re at ease with your environment, the environment accepts you, but, of course, it helped that I’m fluent in Indonesian and that people knew I was with Boni, Ho and Titi. It provided me with a kind of street cred and belonging. I wasn’t some tourist leering in.
JI: What attracted you to Indonesia?
DZ: I didn’t plan any of this. I discovered Indonesia as a young backpacker in the early ’90s and was captivated by the country and its people, and then just kept going back. I did an MA in Southeast Asian studies and began a PhD in Indonesian politics, which is what moved me to Jakarta in 1999 for a year of field research. Then, I just got drawn into the dynamic changes that were happening to Indonesia at that time and into some irresistible job opportunities ranging from journalism and humanitarian aid work to book writing and filmmaking. And I got to work with the most amazing people, many of whom were the next generation of Indonesian artists and politicians and media personalities and social entrepreneurs. All of this has added up to a pretty fascinating career and life, but I also feel it’s been the result of deliberate choices: I didn’t opt for a safe, conventional path; I didn’t care about pedigree or official titles or big salaries. I only chose jobs that were truly meaningful.
JI: What were the challenges (rewards) of working on this project?
DZ: I guess the thing that is both the most challenging and rewarding is the intense experience of dreaming something up out of nothing, having the chutzpah and persistence to think you can create something that comes from inside you that wasn’t there before, and that it can actually find an audience and resonate with others…. [W]hen you make a film like this, that contains so much of your own experience and sensibility and sweat and tears, it’s really scary to wrap it up and then just watch the lights dim in a packed theatre and wonder if it will even work, if your vision and story will connect with people from a totally different culture and experience. And, when it does, it’s truly exhilarating.
JI: The response to the film has been positive. What’s that been like?
Jalanan is Daniel Ziv’s first film. (photo from jalananmovie.com)
DZ: Of course, it’s immensely gratifying. My greatest fear after all the hard years of work was that it would just go nowhere … but the opposite has happened, and the film’s political and social impact in Indonesia in particular has been incredible. Jalanan captured the imagination of the public and the media, and contributed to concrete policy changes at the highest level of government, which is something none of us dreamed of.
Boni, Ho and Titi are now mini-celebrities in Indonesia, so, of course, it’s been amazing for three marginalized individuals to be publicly acknowledged in that way and to become role models within their community.
JI: Boni, Titi and Ho have multiple challenges, but they seem to be living satisfying lives. Are there lessons for those of us who, by many accounts, have more privilege or opportunity?
DZ: Certainly. But I’ve always been averse to simplistic, clichéd responses like “If poor people aren’t complaining, who are we to be discontent with our lives?” I mean, of course it’s important to recognize that we have privileged lives, but I think anyone’s pain or challenges are independently valid and very real. Having money and comfort doesn’t immunize us from pain, and being dirt poor doesn’t deny them immense joy. This is why it was so important for me to not let Jalanan become an exercise in finger waving or audience guilt. In fact, what I think many viewers respond to most is not how different they are than Boni, Ho and Titi, but how much of ourselves we see in them, and them in us. I think poverty needs to be de-fetishized and dealt with at face value, and poor people need to be seen as our friends and equals, rather than as objects to be analyzed or pitied. I know they prefer it that way.
JI: Are you still in touch with Boni, Ho and Titi?
DZ: We are close friends, and in almost daily contact. They are doing well, and enjoying a whole slew of new opportunities opening up to them as a result of the exposure from the film, but … they are still members of Jakarta’s marginalized poor, they are vulnerable and face multiple challenges. This is why I’ve started up a fundraising campaign that aims to buy each of them a small, humble house in a simple Jakarta neighborhood, something that will put a roof over their heads for life (details at jalananmovie.com/housingfund).
JI: I read an article in which you said that the buskers “were really just the lens through which we could manage a far bigger, more complex view of the country today.” Can you expand on that? Why do you think it took an expat to make an Indonesian film that had such global appeal?
DZ: That’s a great question. My interest from the start was in trying to understand, and hopefully shedding light on, Indonesia. I don’t think there’d have been anything inherently fascinating or important in a film that merely focuses on street busking, so my agenda was to probe deeper and treat my protagonists as a kind of microcosm for the country at this really fascinating juncture in time.
I’m not convinced an Indonesian couldn’t have made this film and, strangely, quite a few reviewers in Jakarta remarked that Jalanan feels “like a totally Indonesian film” rather than a documentary shot by a foreigner…. But this is probably because I created the space for Boni, Ho and Titi to tell their own very Indonesian story in their own voices and perspectives, and left space for my very talented Indonesian editor, Ernest Hariyanto, to lend his local sensibility to the cut. My goal was to open a window on to Indonesia, not to interpret it in my own image.
JI: Were you raised in a Jewish environment and, if yes, did it affect your choice of profession or other aspects of your life/filmmaking?
DZ: It’s probably fair to say my choice of profession was despite my Vancouver Jewish environment, not because of it. I grew up surrounded by a community of lawyers and doctors and academics and business folks, and most of my childhood friends didn’t stray far from that. I was lucky to have parents who secretly admired the creative and adventurous tendencies my sisters and I harbored.
One of my sisters became a ceramic artist and urban heritage expert; my other sister is a professional chef and musician. Our parents never pushed us toward establishment careers. They taught us a love for travel and culture, and that it was more important to lead an interesting life than a safe one. They probably got more than they bargained for in my case, and lament the fact that I live halfway across the world, but I doubt they’d be any happier if I were a senior partner at a downtown law firm. And, I dare say, they seemed pretty proud when the lights came on at the end of our screening … at VIFF.
Basya Layeis a Vancouver freelance writer and former editor of the Jewish Independent.
Bron Studios has won multiple awards for its work. (bronstudios.com screenshot)
Aaron L. Gilbert had every reason to be smiling broadly at the Toronto International Film Festival in September. The Burnaby-based producer had three film screenings: Welcome to Me (starring Kristen Wiig and Tim Robbins); Kill Me Three Times (starring Simon Pegg) and Miss Julie (starring Jessica Chastain and Colin Farrell).
“This is one of the top three most prestigious film festivals in the world, rivaling Cannes in terms of its importance to our industry,” Gilbert said. “Having three there was pretty exciting. It’s tough to get in, it’s an honor to be there and it’s a wonderful launching ground to create awareness of your film.”
As a result of the TIFF screenings, all three of Gilbert’s films are closing deals with American distributors. Welcome to Me (which also screened at the Vancouver International Film Festival to rave reviews) will be released in March, and the other two are also likely to be on the big screen in the United States and Canada over the next year, he said.
Aaron L. Gilbert (photo from bronstudios.com)
The 42-year-old from London, Ont., was studying at McMaster University when he had an opportunity to work in the music industry in 1993. That changed his life track, and Gilbert found himself moving between Vancouver and Los Angeles doing music management, managing artists and handling the international licensing of music. He credits his passion for the arts to his parents, Gloria and Joseph Gilbert.
“We’ve always been a family where the arts was important,” he reflected. “My parents introduced me and my siblings to theatre and music and gave us an opportunity to see and do a lot of things. Today, my brother and sister are also active in theatre and arts, and our love for it comes from the introduction our parents gave us as kids.”
Today, Gilbert is managing director of Bron Studios in Burnaby, which he co-founded with his wife Brenda in 2010, and where he wears many different hats. “Financially, I’m involved in putting the different pieces together for our films and with production partners, but I’m also very involved in all creative elements, such as finding a script, working on it and developing it, and selecting editors, directors of photography, talent agents, managers, casting directors and marketing people,” he explained.
Bron Studios specializes in live action and animation, and the tremendous talent pool in Vancouver’s animation industry makes this an excellent place to be, he said. “There’s a very mature film and TV industry here, and tremendous incentives for tax and government support for the animation industry in Vancouver, but it’s also about quality of life. I love the proximity to L.A. that Vancouver gives me and I often fly into L.A. for the day. This is as close to L.A. as I want to be!”
In the last few years, Gilbert has worked with Olivia Wilde, Will Ferrell, Helen Hunt, Jennifer Hudson and Julianne Moore, among many other Hollywood actors. “I’ve met such incredible, talented people, and to watch them perform just blows my mind,” he admitted. “I’m often astonished by how down-to-earth the actors are and, in many cases, we become friends. Will Ferrell, for example, is an incredible guy in addition to being crazy talented.”
Gilbert is actively working on several projects, one of them based on an original play about the inner workings of a Jewish family. Being Jewish certainly influences his decisions and the kinds of material he’s attracted to, he said. “My parents have always been so active in the Jewish community and that’s part of who I am and how I live my life, overall. I’m not in synagogue every Saturday, but I’m Jewish and culturally aware, and I know my roots. I’m definitely attracted to real-life stories about how Jews live in our existing world.”
Gilbert is also particularly attracted to films containing serious thematic material. “A lot of films I’ve done cover difficult subject matters in ways that can be accepted by wider audiences,” he explained. Welcome to Me, for example, is about a woman who is bipolar, while Decoding Annie Parker (2013) deals with breast cancer and heredity. “We want to approach difficult subject matters in a way that can be entertaining, but never preachy, to our audiences.”
Recently, he partnered with Niv Fichman of Rhombus Media on the psychological drama Into the Forest, from Canadian writer/director Patricia Rozema. And, in October, he was in Shreveport, La., working on I Saw the Light, a Hank Williams biopic, in partnership with Brett Ratner.
Lauren Kramer, an award-winning writer and editor, lives in Richmond, B.C. To read her work online, visit laurenkramer.net. This article was originally published on cjnews.com.
The Conference on Jewish Material Claims Against Germany (Claims Conference) has launched Short Film, Large Subject: The Holocaust Film Competition. This is the organization’s first film contest, and it is open to entrants from around the world.
Recognizing the potential of movies to reach large numbers of people and to spark powerful discussions among audiences, the Claims Conference is putting out a call for talented, rising filmmakers to submit screenplays or treatments for short films about the Holocaust.
Short Film, Large Subject: The Holocaust Film Competition invites directors either currently enrolled in a graduate film program at an accredited university or who have successfully completed such a program no earlier than Jan. 1, 2012, to submit a screenplay or documentary treatment for a short film about the Holocaust (the systematic persecution and murder of Jews by the Nazis and their collaborators between 1933 and 1945) and/or the experiences of Jewish Holocaust victims. While the film can tell a fictional story, information relating to the Holocaust must be historically accurate.
The entry deadline is March 15, 2015. After being judged by a panel of Holocaust scholars and film industry professionals, selected entrants will proceed to the finalist round. The winner will receive a prize of $40,000 toward the production of a 20-minute short film about the Holocaust and/or survivors.
In the tradition of films such as Sophie’s Choice, Shoah, Schindler’s List and The Pianist, the Claims Conference, by launching this competition, aims to encourage a new generation of directors to tackle the Holocaust as a subject matter in their work and to use their creativity and skills to portray new perspectives and observations about a dark era in human history.
”We believe that this competition will engage up-and-coming filmmakers in the difficult but important topic of the Holocaust. Films about the Holocaust have great potential to educate and raise awareness at a time when fewer and fewer eyewitnesses are with us. By taking on this subject, filmmakers will not only expand their own horizons, but help preserve a piece of history that must never be forgotten,” said Julius Berman, Claims Conference president.
Separate from the competition, the Claims Conference distributes grants for selected projects and programs of Holocaust education, documentation and research. Among recent grantee films is the theatrical release of No Place on Earth. This work raises public awareness about the Holocaust and preserves the evidence of it; the funding of these projects will be even more critical when the eyewitnesses are gone. For more information, see claimscon.org/red.
Information about the short film competition, its rules and entry form are at filmcontest.claimscon.org.
More than 30 authors are featured in this year’s Cherie Smith JCCGV Book Festival, from the time it opens on Saturday night, Nov. 22, with Israeli author Zeruya Shalev (The Remains of Love) till it closes on Thursday night, Nov. 27, with Toronto emergency physician and CBC Radio host Dr. Brian Goldman (The Secret Language of Doctors). Here’s a taste of what to expect each literary day.
Sunday: Fact Meets Fiction
Speaking twice on Sunday is writer, editor and activist Nora Gold. Her late-afternoon talk will be about jewishfiction.net, an online journal that she founded and edits. In the evening, her novel Fields of Exile will be the focus. In it, the main character, Judith, faces antisemitism in the guise of anti-Israelism on the fictional campus of Dunhill University, where she is taking a master’s in social work. Gold’s opinion on the subject comes out clearly and the novel will make many Jews who have had to endure Apartheid Weeks and anti-Israel propaganda on campus feel less alone; the frustration and fear that Judith experiences will be familiar.
Judith is a knowledgeable and critical supporter of Israel, she has lived in the country, worked for peace and on human rights projects there, and only returns to Canada because her father becomes ill. Nevertheless, with few exceptions, her opinions on Israel are discounted and dismissed by professors and students alike. Ultimately, the anti-Israel words and images turn into violence because they are never put in check by the university, each professor having their own reasons for ignoring, or not speaking out, against antisemitism.
Monday: Focus on Hungarian Jewry
Joseph Kertes shares his session with Ayelet Waldman (Love and Treasure), hosted by Janos Maté. Kertes’ The Afterlife of Stars follows the Beck family’s flight from Budapest to Paris as Russia invades Hungary in 1956. The terrifying reality of the period, the human and material losses, are tempered by the story being told by 9.8-year-old Robert Beck, whose class is in the process of reviewing decimal points when the book begins. Robert and his 13.7-year-old brother Atilla don’t necessarily understand what is happening, though Atilla is wise beyond his years, always asking questions, philosophizing, taking Robert on dangerous (though they don’t usually realize it) journeys, to see a movie, to see some statues, various adventures without their parents’ knowledge.
The wonder of the brothers and their relationship provides the energy of the story, which slows and becomes pedantic in places where historical or background information is explained, especially once the family reaches Paris. Overall, though, The Afterlife of Stars is mostly a charming tale with moments of sadness and beauty, written from a unique perspective.
Tuesday: For Book Clubs and Book Lovers
Steven Galloway’s most recent novel, The Confabulist, is, in a word: fun. This tale of Houdini, as told by Houdini and Martin Strauss, the man who killed him (twice), is perfect vacation/relaxation fare. Galloway explains some of Houdini’s greatest illusions, regales with tales of Houdini working with the secret service as a spy and captivates with Houdini’s efforts to expose spiritualists for the frauds they were perpetrating – on some very powerful and influential people. Out of all the threats facing Houdini, it was an unexpected punch in a bar that killed him … or was it?
The entertainment value of The Confabulist is enriched with ponderings on the role and purpose of magic in our lives; the fallibility and malleability of memory. Both Houdini and Strauss contemplate how they have lived and what they have accomplished, and perhaps their observations will prompt readers to think about their own pleasures and regrets. Or maybe they’ll just enjoy the show.
Wednesday: The Power to Triumph
Susan Wener has had several serious health issues in her life, including two bouts of cancer. In Resilience: A Story of Courage and Triumph in the Face of Recurrent Cancer, she matter-of-factly takes readers through her experiences and how she handled them. Already a health-care system veteran when she was first diagnosed with cancer at age 36, when her children were young, Wener hoped to live long enough to see them to adulthood – she now has several grandchildren.
There are many life lessons from such a memoir, of course. One of the most powerful in this one is that it’s OK to be angry, to breakdown, to react how you react. You are not in charge of the disease but you are in charge of everything else, what tests and treatments you undergo, what therapies you try, who you ask for help, how you live your life.
Wener writes without bravado. She kept getting up every day, but she wasn’t always a fighter or optimistic. Her illnesses, especially the last serious one – years of pain and horrible treatments before being diagnosed with a functional obstruction in the colon – pushed her to the limit, as the title of that chapter openly admits. But she did push through, she took the tests, did the research, underwent the surgeries, made the decisions.
Wener shares her thoughts about and discussions with her husband and daughters, and these moments are incredibly emotional. Readers will readily imagine such conversations with their own family and friends and, despite the lack of sentimentality with which Wener writes – or perhaps because of it – most readers will not be able to get through this memoir without getting a little choked up and teary-eyed at times.
Thursday: Fix Your Diet
In the penultimate event of the festival, Dr. Yoni Freedhoff speaks about The Diet Fix: Why Diets Fail and How to Make Yours Work, a clear, concise book that outlines the main weaknesses and myths surrounding dieting, and offers a detailed program that Freedhoff believes can result in success – i.e. long-term weight loss.
It is not a difficult program, but neither is it for the faint of heart. Be prepared to diarize, measure, goal-set and cook. And to be patient, both with the length of time it might take to lose the weight but also with yourself if you break your diet or exercise routine.
According to Freedhoff, most diets suffer from “seven deadly sins,” such as the constant need to battle hunger or resist temptation, and these sins traumatize many people, leading to depression, binge eating and other problems. His solution begins with a “10-day reset.” He does not promise you will lose a pant size or two, but, rather, the reset “is about lifting the guilt, the fear and the traumas of the past off your shoulders and giving you a brand-new relationship with your body, your weight and your health.”
The reset he lays out and the discussion of how it can be applied to any diet and in your broader life seems pragmatic. Freedhoff includes advice for people on medication that leads to weight gain, and for parents on how they can help with their children’s weight. Throughout the book, Freedhoff offers advice that makes it seem like his plan has a better chance than most of working. For example, he summarizes in the epilogue 10 points to remember, including, “If you can’t happily eat any less, you’re not going to eat any less,” and “If you can’t use food both for comfort and celebration, then you’re on a diet that you’re ultimately going to quit.”
The book ends with recipes for snacks and meals, as well as suggested reading and other resources, including smartphone apps.
Left to right: Andrew Wheeler, David Adams, Anton Lipovetsky and Chris Cochrane. (photo by David Cooper)
If Saturday night’s performance of Urinetown was any indication, the Jewish community has two rising stars in its midst.
Triple-threats Anton Lipovetsky and Andrew Cohen are actors to watch; and the latest production at the Firehall is a perfect opportunity to see them show off their singing, acting and dancing talent.
Despite its unfortunate name, which gives rise to equally unfortunate double-entendres in theatre reviews, Urinetown did live up to the hype that’s labeled it a Broadway hit. Not one for musicals, I’m happy to say this one kept me entertained throughout the performance, due in no small part to the fancy footwork directed by Tara Cheyenne Friedenberg and Tony Award-winning lyrics by Mark Hollmann and Greg Kotis.
Urinetown takes place in a “town like any town you might find in a musical,” according to the narrator (who jumps periodically out of his role as Police Officer Lockstock to educate the audience about the workings of a play). The year is some point in the middle of a long drought, water is scarce and free toilets have been overburdened in what have become known as the “stink years.”
Facilities are now owned by private companies who charge people for their use. Thus the request, “A penny for a pee?” becomes the begging mantra of street people looking to relieve themselves. If they can’t afford the few cents to get in the doors, their only recourse is to do their business in a public space, for which they will get arrested and sent to Urinetown. The audience doesn’t get to see Urinetown until the second act, so we’ll avoid the spoiler here. Suffice to say, it’s known as a really undesirable spot, and one to avoid at all costs. So paying a fee to pee is really the only option.
In the rather stale part of this “town like any town,” a group of homeless people around “Amenity #9” start to revolt against a new fee hike. The group is led by Bobby Strong (Lipovetsky), who happens to be in love with Hope (aptly named, of course), the daughter of Caldwell B. Cladwell (stage veteran Andrew Wheeler). Cladwell is CEO of Urine Good Co., which owns the private toilets. In this case, the love interest doesn’t get in the way of a good revolution, thankfully, and eventually the impoverished cast free themselves from the shackles of the tinkle toll. Is it a time for celebration? You’ll have to see the play to find out.
The role Lipovetsky has been given in this play serves to highlight his incredible singing talent, comedic flair and even his ability to direct the cast in a choir-like ensemble near the end.
The play only demonstrates a few of Lipovetsky’s skills, actually. The gifted 24-year-old has already won a Jessie Award for outstanding composition for the musical Broken Sex Doll (currently on its second run, playing until Nov. 22 at the Cultch’s York Theatre) and he shared the 2011 Mayor’s Arts Award in Theatre with Bard on the Beach artistic director Christopher Gaze. Lipovetsky won for best emerging actor and playwright.
For his part, Cohen has also been busy in the B.C. theatre scene, appearing in Chicago, Fiddler on the Roof and The Laramie Project, as well as becoming one of the finalists on CBC’s Triple Sensation TV show and performing in the 2010 Olympic Games Closing Ceremonies. He also does sound design and composes. (See “A next gen of theatre artists,” Nov. 7, jewishindependent.ca.)
Besides these fabulous contributors are Wheeler as the nasty, money-grubbing CEO, David Adams as the singing/dancing/narrating officer and Michelle Bardach as Hope. As well, numerous quirky directorial choices, such as having Strong freeze with an expression as though he’d been stung by a bee every time he has a flashback, and Little Sally (Tracey Power) jumping in and out of character to ask the narrator questions about the play, meld to create a surprisingly fun, witty and thoroughly enjoyable production.
Artist Lori-ann Latremouille at the opening of her solo show at the Zack Gallery on Nov. 6. (photo from Lori-ann Latremouille)
Fairy tales do happen in real life. Take, for example, the story of local artist Lori-ann Latremouille. In her case, it was not Prince Charming who changed her life, but rather an art agent, by offering representation to the then 21-year-old unknown artist.
Latremouille left home at 16 to escape an unfortunate family situation. Although she liked painting and drawing at school, she was never exposed to the art world as a child. Later, to make a living, she had to take a job that had nothing to do with the arts. Still, art resided in her heart and wouldn’t be denied. “I knew even then I wanted to be creative, not answer the phones for the rest of my life,” she said in an interview with the Independent. “After a couple years, I quit my job and went to the local library.”
She taught herself art history by reading library books and copying masterpieces from illustrations in those books. She even had a show of her reproductions at that library when she was 18. “I kept asking my friends to pose for me but I couldn’t pay them,” she recalled with a smile. “They soon got tired of it, and so did I.”
Despite the tight budget, she continued teaching herself. “I took a class at Emily Carr once and loved it. At about the same time, I went to an art show opening. I had never been to an art show before. I loved it. I wanted to be involved in an art exhibition.”
After a few setbacks and gallons of perseverance, she managed to open her first solo show when she was 20. “There was another gallery show next door. It opened on the same day as mine, and I got lots of traffic from them,” she recalled. “I even sold a few pieces. Then an agent came to my show. She introduced me to the Heffel Gallery.”
One of the most prominent galleries in Vancouver, Heffel represented Latremouille for several years. Soon after this lucky break, she got an offer from an American dealer: he would buy several of her paintings at once and pay her as much as she needed for her monthly rent and bills so she could paint without financial worries. “He asked me how much I needed a month. I gave him a very modest estimate. I was used to economizing, had lots of practise since I was 16.” She was 21 then and she is still represented by that gallery in Portland. “I was blessed,” she said. “I met the right person at the right time.”
Of course, her talent had something to do with it. Her distinctive style – black and white palette, expressive lines and an occasional splash of solid color – emerged in the very beginning of her artistic career. “One color is like one note in music,” she said. “Black and white make the colors sing.”
Visitors to the Jewish Community Centre of Greater Vancouver can enjoy Latremouille’s visual songs this month, as her solo show Dreaming of Chagall is at the Sidney and Gertrude Zack Gallery until Nov. 30.
“When I started painting,” she said, “I didn’t see any of the great artists [and their work]. I simply liked black and white. Later, one of the prominent collectors of Chagall’s art in San Francisco mentioned the similarities of my works and Chagall’s. She even bought one of my pieces for her collection. I feel honored.… When I first saw Chagall’s paintings and drawings, I fell in love. There is magic in his works. He also liked black and white. One of my favorite quotes of his is, ‘If I create from the heart, nearly everything works; if from the head, almost nothing.’ That’s how I feel, too. My art comes from the heart. There is so much heart in Chagall.”
Latremouille considers herself an apprentice to Chagall, and several of her pictures reflect that self-assessment. Her drawing “Passing the Egg” is a metaphor for such an apprenticeship, a passing of the torch of art. The theme is also apparent in “Master and Apprentice,” while the bride and groom painting “Blue Orchid” clearly drew its inspiration from Chagall’s soaring brides.
Another theme of the show is the unity of human beings with the natural world. In many paintings, the shapes of people and creatures intertwine. There is no border but skin between them. “I always loved nature, loved animals,” she said. “Most forms of animals, birds and fish fit into the shapes of human bodies. We are intrinsically the same. I know that humanity is capable of doing great harm to nature but we are also capable of healing it. People do it all the time, work on restoring the environment, streams and forests. Maybe I’m a bit naïve but I believe it.”
One other pervading theme, running through almost every painting and drawing, is music. Instruments have a place of honor in most images. “I always loved listening to music when I drew. I also wrote poetry. Still do. I wanted to write songs, so I learned to play guitar in my late 20s. I’m an artist first, of course, but I love music and songwriting. I love drawing musical instruments. I think visual art foreshadowed my interest in music.”
Music often feeds her creativity, but anything can give a spark to an idea: a song, a painting by another artist, something she encountered on an outdoor trip. “I sketch all the time,” she said. “Then I look through my sketchbooks, pick a sketch I like, and start a painting. It grows organically, like a visual conversation with the emerging image. I love the creative process, when I see things falling into place, popping up from the two-dimensional lines of the sketch. When people buy a piece, it’s just icing on the cake.”
Even pain and illness have been an inspiration for her art. In 2012, she was diagnosed with breast cancer. After the diagnosis, depression hit her hard, but she fought it. Several of the best pieces in the Zack Gallery show were painted after her recovery from both cancer and depression. “Rescue from Blue” is a visual tale of escaping fear and pain, of flying into the light, while “Dreaming of Chagall” marks a new direction in the artist’s development. The painting is full of joy and more colorful than any other in the exhibition.
Olga Livshinis a Vancouver freelance writer. She can be reached at o[email protected].
Toby Nadler (photo from Louis Brier Jewish Aged Foundation)
On Thursday, Oct. 23, Louis Brier Home and Hospital hosted an exhibit of accomplished artist and resident Toby Nadler’s work. The exhibit was open to all residents.
In 1970, Nadler began to study oil painting at the Montreal Museum of Fine Art with the late Arthur Lismer, one of Canada’s Group of Seven. After completing a teacher’s certificate at Macdonald College in Montreal, she spent four years teaching children at elementary schools in Montreal’s inner city, where art was one of the subjects, and took evening art courses at Concordia University. She graduated from Concordia in 1980 with a bachelor of fine arts degree, majoring in studio art.
Later, she studied watercolor and multimedia art with Judy Garfin, a Vancouver artist, at McGill University. After a few years, Nadler became interested in Chinese watercolors and calligraphy, and studied privately with a group of other Westerners. The teacher was Virginia Chang, who exhibited her students’ work.
In 1984, Nadler and her late husband Moe moved to Vancouver. Nadler wished to continue studying Chinese art in her new city. She also studied Mandarin at the Chinese library and watercolors with Nigel Szeto at the Chinese Cultural Centre. He was impressed with her work but, after seeing her Western paintings, recommended she continue with her own style, as her personality did not come across in the Chinese paintings to the same degree.
Nadler joined the English Bay Arts Club and the University Women’s Club, where she studied watercolor with various artists, as well as exhibiting there. After a few years, she became an active member of the Federation of Canadian Artists. She volunteered and took courses with their artists and exhibited her own work around the city, including at the Vancouver Public Library. During an exhibit at Oakridge Shopping Centre, an art dealer from Hong Kong admired her work and wanted to know if she had unframed paintings, so that he could roll them up and ship them to his two galleries in Hong Kong. He bought 10 works.
Studying with Lone Tratt, Nadler took watercolor and acrylic courses at the Jewish Community Centre of Greater Vancouver, where she also exhibited. Upon request, she donated six of her paintings to decorate their seniors lounge. Her home was decorated with many of her paintings.
A resident of Louis Brier since August 2014, Nadler still occasionally paints at her leisure. The Louis Brier Jewish Aged Foundation accepted her donation of more than 10 paintings as part of their collection to decorate the halls of the home. They also have another few pieces, which they will use to decorate the interior of residents’ and staff rooms. It is hoped that her unique style will bring pleasure to all who see them.
At the Oct. 23 exhibit, Nadler’s son, Peter Nadler, spoke, giving a history of his mother as an artist, and Dvori Balshine thanked Nadler for all of her artwork donations. Music therapist Megan Goudreau and recreational therapist Ginger Lerner composed and performed an original song in Nadler’s honor about her contributions to the art world.
From Nov. 12-15, Rumble Theatre’s Tremors presents three different plays – Trainspotting by Harry Gibson, The 4th Graders Present an Unnamed Love-Suicide by Sean Graney and This is War by Hannah Moscovitch. They will take place simultaneously in different parts of the Russian Hall. After each night’s performances, the entertainment will continue, with an after-party to which everyone is invited.
Part of Rumble Theatre’s mission is to foster “meaningful interactions between emerging and established artists,” and Tremors does just that. From start to finish, each of the plays is mounted by a group of relative newcomers to the professional theatre world. Knowing Rumble Theatre either directly or indirectly through colleagues, both Andrew Cohen and Naomi Vogt leapt at the opportunity to be involved when the call for artists went out.
Andrew Cohen is doing sound design for Trainspotting. (photo from Rumble Theatre)
“I have been interested in music composition and sound design for a long time,” said Cohen. “When I watch – or hear – a show, the moments I can connect to most are the ones where the sound is used to mirror the action onstage. I’m excited to have started exploring and establishing myself as a composer and designer in addition to performing.”
Cohen will be in charge of sound design for Trainspotting. “I submitted to Stephen Drover, artistic director of Rumble Theatre not knowing which plays were being mounted,” he said. “When we all submitted, we were asked which types of shows we were interested in working on and why. They paired all the designers and directors with their respective shows based on similar theatrical esthetics and tastes.”
Rumble’s mandate to mentor newcomers means that “all Tremors artists are assigned mentors, who are helping us to navigate this challenging material,” said Vogt, who was a student ambassador for the organization in her final year of theatre school.
“I promoted Rumble Theatre’s work, especially their phenomenal show Penelope, and co-produced a 48-hour play-building experiment called The Crockpot, which featured one representative from Vancouver’s theatre training facilities: UBC, Studio 58, Douglas, Capilano, Trinity Western and SFU. The goal of the project was to inspire students at these schools to connect with each other. There’s a tendency among theatre students to work only with their peers, even after graduation. It’s important to maintain those contacts from school, but it’s also important to expand into the larger community of Vancouver artists.”
Vogt will be acting in The 4th Graders, which “is about a class of fourth-grade students who honor their classmate Johnny with a play he wrote, following his suicide,” she explained. “The play details Johnny’s version of the series of events that led to his suicide. I play Rachel, an unpopular 10-year-old who is bullied for being overweight. Rachel and Johnny were ‘boyfriend/girlfriend,’ but Rachel ends the relationship because she believes she’s not deserving of Johnny’s love. The 4th Graders Present an Unnamed Love-Suicide is dark, but it’s so hilarious, too. It explores serious themes of love, betrayal and revenge, but through the lens of a 9-year-old, which I hope resonates with audience members of all ages.
Her past experience should help in her portrayal.
“I started performing in elementary school,” she explained, “when I was given special permission to dramatize Shel Silverstein poems during ‘reading hour’ with a friend. We weren’t popular girls, but our classmates thought our skits were funny – plus, we got out of reading hour! We kept going, eventually developing a sketch series of Oprah Winfrey Show parodies, which we’d perform almost daily to our Grade 4 classmates. I, an overgrown poofy-haired 8-year-old, played Oprah. My friend Allison, a tiny bespectacled thing, played our various idols: Michael Jordan, Michael Jackson, Shania Twain and others. We were a hit.”
Naomi Vogt plays Rachel The 4th Graders Present an Unnamed Love-Suicide. (photo from Rumble Theatre)
It was then that Vogt knew she wanted to be an actor. “It offered some respect and acknowledgment I otherwise didn’t receive in the social arena,” she said. “I knew it was a job grown-ups had, so I thought, ‘Perfect, got that whole what-do-you-want-to-be-when-you-grow-up business sorted. I’m going to take acting classes, hang up some Destiny’s Child posters and things are going to fall into place for me.’ Obviously, a career in the arts is different than my fourth-grade mind dreamed it would be. I’ve only just transitioned into the professional world, and things are difficult sometimes, but my grade school dream is still alive!”
Flourishing, actually. Vogt just completed the bachelor of fine arts acting program at the University of British Columbia, where she won the Evelyn Harden Award. “It’s an award that the UBC theatre faculty gives to a graduating theatre student and, happily, it accompanies a cheque,” she explained. “It’s made available annually through the generosity of Dr. Evelyn Harden. I was so grateful to be the recipient among my class and it helped me make it through my final year.”
Vogt also expressed gratitude for her connection to the Jewish community. “Like theatre,” she said, “my affiliation with Judaism gave me a cultural anchor. In the rocky seas of adolescence, I knew I was a Jewish theatre nerd and, whenever I felt lame, ostracized or unusual, I could feel confident about those two things. It’s still a big part of my life, and so it features pretty largely in my improv and sketch comedy. I often find myself muttering broken Hebrew prayers or referencing Jewish holidays or practices onstage.”
Describing herself as a “‘character’ type within a pool of ingénues,” Vogt said she “often played one of the following roles: old women, very old women, and men. And, I honestly wouldn’t have it any other way. I’m unusual, so I get to play interesting people. For example, in my final show at UBC, I had the fantastic opportunity to play the murderous king Pere Ubu in an all-female version of Alfred Jarry’s masterpiece Ubu Roi, and I couldn’t have asked for a weirder, bigger, more joyful undertaking.”
Cohen, who has been featured in the Jewish Independent on more than one occasion, is also engaged in several interesting and meaningful undertakings. He was in the JI just a few months ago, when he was interviewed about his involvement as part of the faculty of Gotta Sing! Gotta Dance!, which celebrated its 20th anniversary this past summer.
Over the last couple of years, Cohen said he has spent most of his time out of Vancouver, performing in plays and musicals in Calgary, Edmonton, Toronto and Halifax.
“I spent several months traveling around the Americas to work with the Broadway organization Artists Striving to End Poverty. They commissioned me to direct and musically arrange an international music video featuring some of the students from their schools around the world, and some of their celebrity teachers (like cast members from Netflix’s Orange is the New Black, HBO’s Looking, Wicked’s Kristin Chenoweth and others).
“Most recently, I have been working on re-imagining and rearranging the Joni Mitchell canon for a new show co-created with my beautiful, talented fiancé Anna Kuman. Our show, Circle Game, for the Untitled Theatre Company, was developed as part of the inaugural residency with Capilano University. Anna and I are excited to have been granted another development residence, this time with a professional theatre company in the city. We are also very excited to have New York and Stratford director Robert McQueen helm our next workshop.”
Cohen is part of the tech team for Firehall Arts Centre’s presentation of Urinetown, which runs until Nov. 29. This month, he also “will be workshopping a new musical with Axis Theatre that tours around Western Canada in the new year. Following that will be the next development phase of my show Circle Game…. And then, next summer, I will be playing Judas in the Arts Club Theatre’s production of Godspell. After that, I’ve booked the biggest, most exciting gig of my life: marrying the incredible Anna Kuman!”
As for Vogt, she said about her future plans, “It’s scary to be released out of the safety of theatre school, but it’s exciting to work in the professional community, too. I’m teaching with the Vancouver Youth Theatre right now, which is especially fun because I took their classes as a child. I’m also experimenting with physical theatre and puppetry and, right now, I’m taking a clowning class with the remarkable Gina Bastone. Traveling is a big part of my immediate plans, too – I’m hoping to go to Israel in the spring. But, until then, feel free to hire me!”
Tickets for Tremors ($15 for each play) can be purchased via rumble.org. Since the plays take place simultaneously, it is only possible to see one play per night.
In The Remains of Love, her latest novel to be translated into English, Zeruya Shalev once again explores (and crosses) intimate emotional boundaries. In this novel, however, she also overtly explores territory that she has actively resisted – Israel, where she was born and still lives.
“In my previous works, I avoided relating to the Israeli reality in a straightforward way,” Shalev told the Independent in an email interview. “The readers could have sensed it only indirectly – through the reckless pace, the intensity and perhaps even the pessimism. In this book, however, I felt an urge to open more windows to the Israeli reality – such as the history of the kibbutz and the burning issues of human rights. Each book has its own needs. Many issues that did not fit right in the previous books with the previous protagonists found themselves fitting perfectly into this one and its characters; this is because the Israeli reality affects them in a deeper and a more profound manner. And yet, still I am wrestling with the dominance of this reality, and try not to let it take over my books – it’s enough that it controls my life.”
Shalev included a winking emoticon after this last comment, indicating that the remark should be taken with a grain of salt, or at least not as seriously as it reads. She has an engaging manner and a sense of humor, which comes through in her writing (amid the serious, emotional and provocative material) and especially in interviews (there are several available on YouTube). In addition to her talent as a writer – her novels are critically acclaimed and have garnered various awards – Shalev is a thoughtful, friendly and relaxed interviewee. She is a great choice to launch this year’s Cherie Smith JCCGV Jewish Book Festival on Nov. 22.
The Remains of Love (Bloomsbury, 2013) centres around a dying woman, Hemda Horovitz, and her two adult children, who each have families, foibles and problems of their own. Her favorite, Avner, is a human rights lawyer; he is questioning everything about his life, whether he has made a dent in the inequality and injustice in the world, as well as his relationship with his wife and sons. Hemda’s daughter, Dina, has devoted herself to her own daughter, Nitzan – giving her the love she never received from Hemda – but, like most teenagers, Nitzan is pulling away, so Dina looks to adopting a child to fill the void, even though her husband and daughter are against it.
The focus on three protagonists required a change in style for Shalev.
“In my previous novels, I concentrated on one protagonist, and followed her stream of consciousness in the first person, which creates immediate intimacy,” she explained. “The first person traps the readers in the inner world of the character, and even when he or she depicts other characters, they often seem like a projection of his or her own qualities. In this book, I wandered between three minds, three streams of consciousness, and the third person enables me much space and flexibility. At first, I was afraid that the third person might hurt the intimacy of the voice, but in retrospect it seems (or at least I hope) it didn’t. The first person is completely monogamous, and the third person gives you more freedom, which I and my protagonists needed for this book.”
The literal translation of the novel’s title is “the shards of life.” In the French version – and perhaps in other languages, too – chayyim is translated as “life.” However, Philip Simpson, who does a skilled job of translating the book’s content, style and emotion, chooses the word “love.”
“The French title of the book is more loyal to the original title in Hebrew (The Remains of Life) than the English one,” acknowledged Shalev. “Yet my English publisher (in the U.K. and U.S.A.) turned to me and explained that this name does not possess enough beauty and lyric in English; I therefore agreed to change it. We tried together to find a new title that would fit the themes in the book, and also be of poetic value, and this is how we got to this name. It is indeed interesting to realize how easily one can substitute the word ‘life’ for the word ‘love.’ All three protagonists of this book are indeed longing for love, all are experiencing it as a drug-of-life, each in their own unique way. Life without love seems to them tasteless, and they are all willing to go a long way to find it; not only in the footsteps of romantic love, but the love for a child, a brother, for life itself.”
Shalev’s Vancouver visit is part of a tour that begins in Houston and which also stops in Detroit, New York and Chicago.
“Unlike the dozens of tours I have done in Europe, I haven’t had many professional visits in the U.S. and Canada,” she said. “I am very much looking forward, especially to seeing Vancouver, which I heard is amazingly beautiful. As someone who has lived her entire life in a warm and desert land, I admire the cold weather, the mountains and lakes.”
Hopefully, she also likes rain.
***
The Sol & Shirley Kort Author Series will feature Zeruya Shalev in conversation with the Globe’s Marsha Lederman on Nov. 22, 7:30 p.m., in the Rothstein Theatre. Tickets ($20) are available from ticketpeak.com/jccgv or the Jewish Community Centre of Greater Vancouver, in person or by calling 604-257-5111. For the full Cherie Smith JCCGV Jewish Book Festival lineup, visit jewishbookfestival.ca.
