Skip to content

  • Home
  • Subscribe / donate
  • Events calendar
  • News
    • Local
    • National
    • Israel
    • World
    • עניין בחדשות
      A roundup of news in Canada and further afield, in Hebrew.
  • Opinion
    • From the JI
    • Op-Ed
  • Arts & Culture
    • Performing Arts
    • Music
    • Books
    • Visual Arts
    • TV & Film
  • Life
    • Celebrating the Holidays
    • Travel
    • The Daily Snooze
      Cartoons by Jacob Samuel
    • Mystery Photo
      Help the JI and JMABC fill in the gaps in our archives.
  • Community Links
    • Organizations, Etc.
    • Other News Sources & Blogs
    • Business Directory
  • FAQ
  • JI Chai Celebration
  • JI@88! video
Scribe Quarterly arrives - big box

Search

Follow @JewishIndie

Recent Posts

  • Galilee Dreamers offers teens hope, respite
  • Israel and its neighbours at an inflection point: Wilf
  • Or Shalom breaks ground on renovations 
  • Kind of a miracle
  • Sharing a special anniversary
  • McGill calls for participants
  • Opera based on true stories
  • Visiting the Nova Exhibition
  • Join the joyous celebration
  • Diversity as strength
  • Marcianos celebrated for years of service
  • Klezcadia set to return
  • A boundary-pushing lineup
  • Concert fêtes Peretz 80th
  • JNF Negev Event raises funds for health centre
  • Oslo not a failure: Aharoni
  • Amid the rescuers, resisters
  • Learning from one another
  • Celebration of Jewish camps
  • New archive launched
  • Helping bring JWest to life
  • Community milestones … May 2025
  • Writing & fixing holy scrolls
  • Welcoming by example
  • Privileges and responsibilities
  • When crisis hits, we show up
  • Ways to overcome negativity
  • Living in a personal paradise
  • I smashed it! You can, too.
  • חוזרים בחזרה לישראל
  • Jews support Filipinos
  • Chim’s photos at the Zack
  • Get involved to change
  • Shattering city’s rosy views
  • Jewish MPs headed to Parliament
  • A childhood spent on the run

Archives

Tag: Civil War

Small glimmer of hope

The tyrannical regime in Syria has collapsed, and Syrian leader Bashar al-Assad has fled to Russia. We can hope this represents the end of the catastrophic Syrian civil war that has cost perhaps 600,000 lives, maybe more, and displaced half the country’s population.

The only thing that seems certain, however, is that the Assad regime is over. What comes next is largely unknown.

The forces that undid Assad, whose family has ruled the country with an iron fist for five decades, are a mix of ideological and theological entities, including Hayat Tahrir al-Sham, a group that sprang from the Islamic State and has links to al-Qaeda, as well as Western-aligned Kurdish nationalists, deserters from the regime’s military, and forces aligned with a vast array of foreign actors, including Russia, Turkey, Saudi Arabia, the Gulf States and the United States. These are not likely to coalesce into a comfortable new government.

Regardless of what happens next, Israeli and American leaders were happy to take some credit for Assad’s fall.

Binyamin Netanyahu, Israel’s prime minister, said the outcome “is the direct result of our forceful action against Hezbollah and Iran, Assad’s main supporters.”

“For years,” said US President Joe Biden, “the main backers of Assad have been Iran, Hezbollah, and Russia. But, over the last week, their support collapsed – from all three of them – because all three of them are far weaker today than they were when I took office.”

Israel has created a buffer zone in the Golan Heights to protect its territory in the event of continued unrest.

Meanwhile, there were US airstrikes on Sunday against the Islamic State, which operates in parts of Syria, an act intended to hamper that extremist group’s ability to fill the vacuum left by Assad’s toppling. But the United States is now just weeks away from the transition to a new president – a president who was elected partly on the promise to avoid foreign military entanglements.

At the same time, Donald Trump’s approach on issues has tended to be unpredictable. In characteristic all caps, Trump posted about Syria on the weekend, “This is not our fight.” Just days earlier, he promised “all hell to pay” if the Israeli hostages held by Hamas are not released by the time he becomes president. Whether the new Trump regime is isolationist or belligerent may depend on the mood the president wakes up in or what cable news channel he last binged.

One thing that seems certain and hopeful is that the collapse of Assad is part of a broader series of setbacks to the Iranian-based web of international terror. Israel has massively undermined Hezbollah, killing many of its top leaders and destroying much of its capabilities. The war against Hamas in Gaza, protracted, horrific and with no apparent end in sight, is nonetheless on the trajectory it set out on, more than a year ago, to eliminate Hamas as a force.

Assad’s collapse, while leaving a vacuum, is unequivocally the end of something terrible. Whether it is the beginning of something better is a question.

In one of the most encouraging signs, some commentators are suggesting that the multi-front failure despite billions of dollars in Iranian funds funneled to its proxies could even endanger the fundamentalist regime in Iran itself.

This is no time to celebrate. It is always, however, worth seeking out reasons for hope. That is especially true for Jews in the season of Hanukkah.

The collapse of the Syrian regime, the immense weakening of Hezbollah and Hamas and, to some extent Iran, are glimmers of light in a place and time of much darkness. It would be profoundly naïve, however, to assume that what comes next for Syria (and, as a result, for the region) will be either quick or entirely positive.

For the sake of the Syrian people, we hope for something resembling stability, as well as human rights and social and economic reconstruction. For the larger region, we hope for stability and that multi-front conflicts resolve in ways that advance mutual well-being.

For the sake of Israelis, who have known far too much war and violence, and whose borders and neighbourhood have been notoriously dangerous for 76 years, may the latest developments prove, when history is written, a step toward lasting peace. 

Posted on December 13, 2024December 11, 2024Author The Editorial BoardCategories From the JITags Civil War, conflict, Israel, Middle East, politics, Syria, United States
From Mideast to the South

From Mideast to the South

Pericles is one of the best Bard on the Beach productions this season. (photo by David Blue)

If the thought of being transported to the mystique and exotic locales of the ancient Middle East appeals to you, then you must see Pericles, which is currently playing on the Howard Family Stage at Bard on the Beach, alternating with Othello.

Director Lois Anderson takes this rarely produced play – only once before in Bard on the Beach’s 27-year history has it been performed, and scholars believe Shakespeare only wrote the second half of it – and creatively turns it into something magical, with puppets, terra cotta figurines, white-faced ghostly creatures and billowy sheets that morph from crashing waves to animals.

As you enter the tent, your breath is taken away by Jewish community member Amir Ofek’s captivating set design: soft desert hues, Corinthian columns, red and gold brocade-tasseled tapestries, woven baskets and blown glass. John Webber’s warm lighting pervades the room. The mood is reinforced by Malcolm Dow’s exquisite sound design; a melodic fusion of traditional Middle Eastern fare. Before it even begins, the play is a visual and aural treat.

Pericles is the tale of the nautical odyssey of a wandering prince, the eponymous hero Pericles of Tyre (Kamyar Pazandeh), as told through flashbacks by narrator and healer Cerimon (David Warburton) in the temple of the goddess Diana to a young woman he has saved from a brothel. As he tells her, it all began with a trip to Antioch 15 years earlier, when our hero hoped to marry the princess of that city but had to flee for his life when he learned the secret of her incestuous relationship with her father.

Pericles’ escape takes him to many ports, culminating with a shipwreck at Pentapolis. There, he wins the hand of the princess Thaisa (Sereana Malani) in a jousting competition and sets sail with his new wife, now pregnant, to reclaim his throne in Tyre. Daughter Marina (Luisa Jojic) is born on the ship and Thaisa dies in childbirth. Pericles throws his wife’s body into the sea and heads to the nearest port, Tharsus, where he leaves Marina in the care of his longtime friend, Governor Cleon (Luc Roderique), and his wife, Dionyza (Jeff Gladstone in an interesting gender-role reversal).

Fast-forward 14 years. Marina has grown into a beautiful young woman. Dionyza, jealous for her own daughter’s betrothal chances, arranges for a servant, Leonine (Kayvon Kelly), to murder Marina. However, pirates kidnap Marina before the dastardly deed can be done. She is sold to a brothel, but keeps her virtue with eloquent talk, and captures the heart of Governor Lysimachus (also played by Kelly).

In the meantime, Pericles returns to Tharsus to reunite with his daughter but is told that she is dead. I stop here so as not to spoil a very surreal ending – you will have to see it to believe it.

All of the cast, many of whom play multiple roles, are outstanding but special mention must be made of Pazandeh, who runs the gamut of emotions from victorious suitor to grieving husband and father; Jojic, who gives the right touch of innocence to Marina; Warburton, with his wizardly tricks; Gladstone as a very creepy Dionyza; and Kayla Deorksen as Bawd, the flamboyant brothel owner.

Costumer Carmen Alatorre’s costumes are spot on with flowing robes of bright, textured fabrics: earth tones to represent the land and shades of blue, the sea; the main characters are contrasted by off-white ghostly spectres.

Pericles was one of Shakespeare’s most popular plays in its time and Anderson’s rendering makes it easy to understand why. The intimate setting of the Howard Family Stage is perfect for this showcase of hope, perseverance, redemption and ultimate reconciliation. I took my 11-year-old niece to opening night and she loved it. Of the four Bard productions, this one topped the list for me and it is highly recommended.

photo in Jewish Independent - Luc Roderique and Kayla Deorksen in Othello
Luc Roderique and Kayla Deorksen in Othello. (photo by David Blue)

Playing in repertory with Pericles on the Howard Family Stage, and featuring most of the same actors, is Othello, set in 1864 Charleston during the American Civil War.

What does it take to drive an intelligent, successful, respected man into a jealous husband capable of a murderous rage? A manipulative villain named Iago – and Othello really is the story of this vile person, who brings tragedy to all unfortunate enough to cross his path.

Directed by Bob Frazer – who played Iago in Bard’s last mounting of this work – this psychosexual drama gives a new perspective to the racism inherent in the testosterone-infused military world in which black Othello (Roderique) lives.

The story revolves around Othello’s rise to power in the union army and Iago’s (Kelly) planned revenge as he is passed over by General Othello for a senior position that is given to Cassio (Gladstone). To get even, Iago plants the seeds of doubt in Othello’s mind as to the fidelity of his new wife, Desdemona (a mixed racial union), accusing her of an intimate tryst with Cassio.

Slowly, Othello is convinced – a handkerchief allegedly found in his good lady’s room the final proof – that Desdemona has been untrue and, in a moment of murderous passion, strangles her in her canopied bed. Emilia (Jojic), Iago’s wife but also Desdemona’s maid and confidante, walks into this deathly scene, tells Othello the truth of the handkerchief and outs her husband for his role in the tragedy. Othello is overcome with grief and remorse and takes his own life.

Iago is a sadistic sociopath who manipulates those around him with his ersatz sycophantic charm. Kelly is sublime in this role – you love to hate him. Tall and slender, Roderique portrays a sympathetic Othello with a quiet sense of dignity and authority that disintegrates as we watch his metamorphosis into uncontrollable and lethal rage. Deorksen is a sweet-tempered but strong-willed Desdemona. Jojic gives a heart-breaking performance as a passionate and loyal servant torn between her duty to her husband and that to her employer. Lesser roles are ably played by Malani (Bianca), Andrew Cownden (Roderigo), Ian Butcher (Gratiano) and Shaker Paleja (Montano).

Costumer Marla Gottler provides crisp navy uniforms for the Union soldiers and gorgeous Scarlett O’Hara-type frocks for the ladies. Music is pure southern comfort with banjos strumming “Dixie.” Unfortunately, the set design is a problem. The same Ofek-designed Pericles set is used, and that Middle Eastern look with its columns and arches seems out of place in a moonlight and magnolias milieu. However, the minimalist use of props – a couple of boxes here, a table there – allows the audience to focus on the powerful words that make Othello one of Shakespeare’s most eloquent works.

This production is good, but it would have been so much better had it made more use of its Civil War setting, other than just to give a perfunctory nod to the fashion and music of the time.

Othello runs to Sept. 20 and Pericles to Sept. 21. For tickets and more information on these shows – and Romeo and Juliet and The Merry Wives of Windsor – visit bardonthebeach.org.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Format ImagePosted on August 26, 2016August 25, 2016Author Tova KornfeldCategories Performing ArtsTags Amir Ofek, Bard on the Beach, Civil War, Othello, Pericles, Shakespeare
Proudly powered by WordPress