Juneteenth webinar panelists (clockwise from top left) Heather Miller, Dr. Tameika Minor, Rafi Forbush and Kendell Pinkney. (photos from internet)
The United Synagogues of Conservative Judaism (USCJ) held a webinar entitled Juneteenth Through the Eyes of Jews of Colour: Sharing Stories and Perspectives on June 17, the same day the United States declared Juneteenth (June 19) a federal holiday. Slaves were freed from Texas, the last Confederate state with institutionalized slavery, on June 19, 1865.
The objectives of the evening were to establish better dialogue, to create a space to honour the Jewish and Black communities, to learn about the challenges people of colour have in the Jewish community, and to find the means by which people of colour can feel welcome in the Jewish community. Marques Hollie, a theatre artist, storyteller and musician, led the evening with a rendition of the post-Civil War song “Oh Freedom.”
“Our people crossed the Red Sea. People of colour are still in Egypt. For Black people, freedom has not come fast enough and not in a straight line,” said Ruth Messinger, a former politician and head of the American Jewish World Service, in opening remarks that preceded the introduction of the panel discussion.
The four panelists were Heather Miller, Dr. Tameika Minor, Kendell Pinkney and Rafi Forbush. Rabbi Ari Lucas of Congregation Agudath Israel in Caldwell, N.J., moderated the event. Lucas encouraged the audience to listen before asking questions.
“In a lot of ways, I feel like I came out as a Black person last year,” said Miller, president of the Jewish Centre in Brooklyn and a future rabbi. “In the Jewish spaces I have been in, people have tried not to see my colour. The stakes are different for us than the majority of people in this Zoom room. I was afraid this would just be a moment for everyone else and that the world would go back to not seeing this stuff again after the pandemic. I was afraid of being left exposed without a community.”
Minor, a professor in clinical mental health counseling and rehabilitation counseling at Rutgers University, said she would like to see Juneteenth become a day of reflection and not just celebration. “Reflection of where we have come from and how far we have to go,” she said. “It’s not a day we should sit back and not look at the wealth gap, mass incarceration and police brutality. Now it is a federal holiday, and yet so many states are banning critical race theory in schools.”
“For me, the question isn’t what does Juneteenth mean to me now but what might it mean to us moving forward,” said Pinkney, a Brooklyn-based theatre writer, Jewish-life consultant and rabbinical student at the Jewish Theological Seminary. “The Jewish people are so, so good at crafting stories, creating rituals. What rituals might be created 20 years from now around Juneteenth? Which stories and voices will we finally open our ears to?”
He added, “I like to think of it more as a promise of what might be and what we might become as a Jewish community.”
Rounding out the panel was Forbush, youth director at Beth Jacob Congregation in Mendota Heights (St. Paul) and founder of the Multiracial Jewish Association of Minnesota, which focuses on creating space for Jews of colour to connect to one another, through the community, education and advocacy.
“If you had told me that our community would be having this conversation at the beginning of the pandemic, I would have laughed at you,” said Forbush. “There is a bright light in our community starting to see outside of ourselves. If we are a people and not a race, then we owe it to each other to get to know who we are. The idea here is, extend the tent and not move it to exclude somebody else.”
Like Pinkney, Forbush spoke of the potential the holiday holds for the future and the sense of inclusion it can bring to the entire community. He pointed out that young Jews of colour often feel excluded.
Throughout the webinar, the panelists touched on various points of exclusion they feel as part of a community – of not believing they are entirely heard and of the microaggressions that occur in Jewish spaces, such as being quizzed on aspects of Jewish life or being viewed as staff and not a member of the community. Understandably, these are the sorts of issues that drive Jews of colour away from synagogues and other Jewish institutions.
The hope was expressed that Jews of colour could achieve more positions of leadership within Jewish organizations. There was also a sense that the community as a whole is not achieving its full potential without engaging more actively and openly with Jews of colour.
“This year, as we expand upon the understandings of diversity and inclusion, we have, despite COVID, actively widened the doors to our tent so to speak,” said Rabbi Susan Tendler of Richmond’s Congregation Beth Tikvah, which has been promoting the recent USCJ webinars on reaching out to interracial families and building a larger sense of inclusion for all Jews.
“We have actively listened and considered with compassion the feelings of people who may want to enter and yet find barriers to feeling authentically accepted within the larger Jewish community,” she told theIndependent. “United Synagogue’s program on Juneteenth is one example of many in which we have taken the opportunity to listen and learn.”
Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.
Living at the Victoria Hillel House has provided Hannah Faber a space to engage with her Jewish identity in a holistic way. (photo from Hannah Faber)
When I decided to move to Victoria to finish my undergraduate degree at the University of Victoria, I was told by a longtime friend to look into the Victoria Hillel House as a place to live. At first, I was cautious because I had not been very active at the Hillel of my last university. Following that friend’s advice has turned out to be one of the most transformative experiences I have ever had. Living at the Hillel House has given me so many opportunities to be a part of the Jewish community, which has irrevocably changed my sense of Jewish identity.
Within the first week of moving to Victoria as a transfer student, I was asked by the Hillel director to volunteer at a lot of community events. There were two things that struck me deeply and had me admiring the local Jewish community. The first was how small it was and, therefore, how everything within it was such a labor of love. The second was how much older most people at community events were and how much they wanted young people to become involved. Even though I grew up in a relatively small Jewish community in Calgary, the question of whether or not young people would commit and engage in the Jewish community did not seem nearly as urgent as it does in Victoria. Victoria Jewry is made up of mostly older people who have dedicated their lives to the community and are looking for people to carry the torch.
The Jewish tradition of sitting down to a nice meal plays a large part at the Victoria Hillel House. (photo from Hannah Faber)
My ability to get involved with the kehilah is in part because I am a resident of the Victoria Hillel House. Living in the Hillel House has provided me a space to engage with my Jewish identity in a holistic way, to explore its many facets and intricacies. The space created is based on values like hospitality, generosity, tikkun olam, as well as inclusive and compassionate listening. I can ask questions about the intersections of feminism and Judaism in my life, and how social justice could be directly informed by my Jewish identity. It is a place where I have explored pertinent questions relating to my Jewish identity with other young Jews, been surrounded by Jewish culture, met members of the Jewish community outside of the university, as well as faculty, and done that all within the Jewish tradition of sitting down to a nice meal.
Hillel House has been a place for me to feel a sense of pride in my identity as a person who is part of a greater shared history. It is rare for one to find a place that validates oneself and simultaneously allows for personal growth. The Victoria Hillel House has done just that. It has played an integral part in allowing me to come into my Jewish identity and, for that, I am very grateful.
Hannah Faberis a Victoria Hillel House tenant, as well as the volunteer coordinator of the Jewish Students Association and an undergraduate studying theatre at the University of Victoria.
On a logging road near Smithers, B.C., the Unist’ot’en people occupy their traditional land in order to stop work on the 11 pipeline projects that would run through the area. Located beside Wedjin Kwa (Morice River), the camp is one of the only places left in the world where it is safe to drink directly from a natural body of water. Add to this the rustling trees, abundant huckleberries, countless wildlife and more, and it is clear why it is worth fighting for this land.
The Unist’ot’en maintain a checkpoint where all visitors must answer a series of questions posed by a member of the clan to assess the level of support for the clan’s action before being allowed into the territory. Supporters and allies have been allowed into the camp, as well as loggers with preexisting contracts; however, pipeline workers and helicopter crews arrive often and are reminded that they have not followed the appropriate channels to be permitted to do work on the land.
During my visit, the camp was on high alert after a tip that police planned to raid and demolish the camp, and arrest people living there. Stories around the campfire included many accounts of police misinformation and aggressiveness from veterans of the land defence struggle since the Oka crisis in 1990. There were also accounts of police following members of the camp when they went in to town, and of helicopters and surveillance drones flying overhead more than six times a day.
As those telling stories began to reminisce about siblings and parents in the residential school system, I saw the patterns of trauma visible in my own family and community emerge. The way that pain is passed through generations reveals an eerie overlap. I see remnants of the Holocaust in the way my grandparents raised my parents, my family’s relationship with food and eating, and the way they remember and guard their identity because someone once tried to take it away. With new research into genetics and epigenetics, we now know that trauma during a person’s lifetime can be passed to their children through their genes. This means that both habits and practices built during a lifetime, as well as genetic responses to stress, can be passed on.
An authority that once promised to keep them safe has betrayed both my ancestors and the people at the camp. When one elder spoke about watching as his siblings and childhood friends disappeared at the residential school, it echoed the blank pages that are so many Jewish family trees since the 1930s. I also see similarities between the Holocaust and the genocide of First Nations peoples through the reserves and the residential school system, the devastation caused by smallpox and alcoholism, much of which was propagated by the state. Not to mention continued racism.
I understand that the situations are not identical but there is enough commonality that it warrants a deeper look. I do not understand why peoples who have gone through cultural and physical genocide don’t come together in dialogue and support for each other’s survival. Throughout the last 70 years, we have promised repeatedly to “never forget,” but First Nations peoples still suffer discrimination, and this should command our attention. When there is injustice for some, there is no justice for anyone, and who better to stand in support of equal rights and freedoms, than a people who also has a long history of being oppressed and having to fight for survival.
Ariel Martz-Oberlanderis a theatre artist, activist and poet living in Vancouver, Coast Salish territories. She is grateful every day for the people who work to make the world a more lovely place to be.
Since 2006, Foundation for Jewish Camp has partnered with communities across North America on the One Happy Camper (OHC) program to grow enrolment and increase awareness. Tens of thousands of campers have experienced Jewish overnight camp as a result of OHC, which offers grants of up to $1,000 to first-time overnight Jewish campers who will attend a nonprofit Jewish overnight camp. The latest study evaluating the program’s impact looks at 2013 data.
The 2013 OHC program was implemented by 65 partner organizations (local Jewish federations, foundations and camps) throughout North America. That summer, 7,300 children received first-time OHC grants.
The analysis of the year’s program was based on survey research among 3,457 recipient families, or 62% of invited OHC recipients. The research was once again supplemented, where appropriate, with data from the 2013 Camper Satisfaction Insights study (CSI), which included a total of 8,180 families from 64 North American Jewish camps and 2012 JData camp research. The CSI study was also conducted by outside evaluators at Summation Research Group, Inc.
The findings indicate that OHC has been highly successful in (1) bringing thousands of children to overnight Jewish camp, (2) creating engagement and connections between camp families and sponsoring organizations and (3) generating a “trial” first-time Jewish overnight camp experience, creating “happy campers” who are highly satisfied, which is leading to high levels of retention.
Based on the 2010 study by the Foundation for Jewish Camp, Camp Works: The Long Term Impact of Jewish Overnight Camp, there is compelling evidence that overnight Jewish camp is a proven means of building Jewish identity, community and leadership. For example, adults who attended overnight Jewish camp are 30% more likely to donate to a Jewish federation, 37% more likely to light candles regularly for Shabbat, 45% more likely to attend synagogue at least once per month and 55% more likely to feel very emotionally attached to Israel. Moreover, CSI research among current campers’ families since 2006 has shown high levels of satisfaction with, and endorsement of, the Jewish camp experience.
In 2013, 7,300 children attended camp for the first time using an OHC incentive. However, some families would have sent their child to camp with or without the incentive. To account for this, recipients were segmented into three groups based on their reported likelihood of sending their child to camp had OHC been unavailable. Based on this segmentation, it is believed that 50% (or 3,650) of recipients may not otherwise have attended overnight Jewish camp. And, for many, OHC incentives helped influence their decision to provide their child with a Jewish summer experience: the research showed that, from an array of summertime alternatives, 60% of all OHC recipients were considering only secular, non-Jewish activities or programs, including 30% who would have simply stayed home. Twenty-six percent of all OHC recipients were the first in their family (parent and/or sibling) to ever attend an overnight Jewish summer camp.
For many campers, year-round connections are being made where none may have previously existed. And, for many families, OHC incentives provide sponsoring organizations with an opportunity to engage them programmatically, philanthropically and emotionally. Whereas 60% of OHC recipients are not currently members and/or donors of their sponsoring organizations, 64% of OHC recipients believed the incentive “very positively” affected their family’s connection to the sponsoring organization, 62% believed the incentive “very positively” affected their family’s connection to the overall Jewish community and 73% of OHC recipients were more likely to support the sponsoring organization.
Finally, CSI results show no meaningful differences between OHC and non-OHC families with respect to overall satisfaction and camp advocacy. While there are a few individual camp exceptions, the findings in all regions are, and have been, consistently outstanding, with 95% of campers satisfied with their experience. As well, the vast majority of parents of OHC and non-OHC campers believe that camp, overall, creates ambiance and atmosphere where their child is proud to be Jewish, and increases awareness of their child’s Jewish identity and/or their activity/participation in synagogue or in their local Jewish community.
Imagine finding a play so funny and thought-provoking that you just had to mount a production of it in your hometown – and you actually had the talent and wherewithal to do it.
Famous Artists Limited’s Bill Allman saw Joshua Harmon’s Bad Jews in London. He’s bringing it to Rothstein Theatre Nov. 10-21, directed by Jay Brazeau and starring two other members of the Jewish community, Amitai Marmorstein and Goldie Hoffman. Rounding out the cast are Alex Rose and Kayla Dunbar.
Bill Allman (photo from Famous Artists Limited)
“It’s really difficult to pick one or two moments of hilarity or emotion from a play that kept me laughing and thinking for its entire duration,” said Allman, “but I loved the raucous interaction between [cousins] Liam and Daphna and, in particular, watching Melody (that’s Liam’s shiksa girlfriend) react to them. The loudness and the verbal vitriol looks completely insane to her and yet the three cousins are sort of saying, ‘What? This is how people talk!’
“As for deep thought, much of the script gives the audience a chance to think about where faith and culture intersect and how these values affect daily life and interaction with others. The great thing about the play is that the characters are drawn in such a way as to illustrate a wide range of human experience and it doesn’t matter where you fall on the spectrum – there will be something in one or more of the characters that makes you say, ‘I’m like that.’ And you may laugh or you may wince but, inevitably, you’ll laugh because 10 seconds later, it’s somebody else’s turn to wince!”
Secular Liam, his “Jew-ish” brother Jonah and their staunch Zionist and Orthodox cousin Daphna fight over the right to their grandfather’s chai necklace after he dies; he had managed to get it (and himself) through the Holocaust, and they each attribute a different importance and symbolism to it. Witnessing the mayhem, as Allman noted, is Liam’s non-Jewish girlfriend, Melody.
“Which one of them is the ‘best’ Jew?” reads the promotional material. “Is it the religious and cultural zealot Daphna, who changed her name from Diana? What about her privileged cousin Liam, who missed Poppy’s funeral to go skiing with his non-Jewish girlfriend Melody? Or perhaps Liam’s brother, Jonah, the quiet one who would prefer not to get involved in the fight?”
Amitai Marmorstein (photo from Famous Artists Limited)
Marmorstein, who plays Jonah, was emailed by Brazeau with a request to read the script. “I’ve known Jay for awhile and have always been a very big fan of his,” Marmorstein told the Independent. “He arranged for Goldie and I to come in and read and talk about the play. He kept saying it wasn’t an audition even though it sort of was. I think he just didn’t want us to get nervous or anything. But the ‘non-audition’ went well, I guess, and Goldie and I were both offered roles.”
Director, writer, actor and producer Ben Ratner recommended Hoffman (who plays Daphna) to Brazeau. “Ben runs and teaches at Haven Studio, and I’ve trained with him a lot, working on many intense plays and scripts in multiple genres. So, it’s really thanks to Ben that I got this part,” she said, “both because of his recommendation and also thanks to his training.”
Hoffman was asked by Brazeau and Allman to read with Marmorstein, and she also recalled being told, “‘Don’t think of this as an audition, Goldie …’ they said and, as I jokingly thought to myself, the unsaid continuation of that line was, ‘… but this read will likely affect whether or not you get the part.’
Fortunately, I got the part, and I’m thrilled and truly honored to be playing such a fun role and being part of this ensemble.”
Characters that are a “type” can come off as superficial. When asked in what ways they infuse their characters with humanity and depth, Marmorstein said, “The best way to never be a stereotype is to work with great writing. Joshua Harmon has written such honest, original, devastating characters that our job becomes much, much easier. I think creating real, non-stereotypical characters is precisely what the art of acting is, so we just try to be creative and honest and hope people connect to it.”
Goldie Hoffman (photo from Famous Artists Limited)
Hoffman went into more detail. “I think it’s important not to judge your character as good or bad, right or wrong,” she said. “Humans are complex individuals and it’s important to remember that when you portray any character. In fact, generally in real life, we don’t set out to be wrong or behave badly. Most of us try to go through life making good choices, and when we make bad ones or hurt people, we often don’t intend to or don’t even realize the impact of our words and actions. When playing a character, I try to portray their point of view, as best as I can understand it. In fact, after first reading the play, I was actually offended when first seeing Daphna described as a ‘zealot’ in online play reviews and synopses, because I see that term as quite negative, and I didn’t see (or want to see) her that way.
“I feel I really understand where Daphna is coming from, even if I don’t share all her views. In fact, I’d go as far as to say, this is a character that is closest to me of all the roles I’ve ever portrayed – to the point where it’s scary and even embarrassing. As for playing a certain ‘type,’ it’s true there is a certain stereotype and similarity many Jewish girls and women share and, yes, a lot of it does apply to me: brunette, outspoken, loud, animated and, yes, also stubborn and annoying – but also spunky, fun, caring, intelligent and funny (and clearly modest). Hey, let’s face it, get a bunch of Jewish girls in the room, and I challenge you to tell me many don’t look and sound like sisters. Daphna shares these qualities, too, but, at the same time, we’re of course all individuals, and so our views and outlooks on life can be extremely different.
“As far as her being real,” Hoffman continued, “to me, Daphna already is a real person, and I can completely see and hear her, so I only hope I can translate that successfully to the audience. Aside from the parts of her that I relate to, I even know several ‘Daphnas,’ especially being raised Jewish in both N.Y. and Montreal and now being in L.A. a lot, all big ‘Jew-towns.’ There is a unique experience that Jewish girls and women have, which I relate to. For example, facing certain sexist traditions and customs (especially if raised Orthodox), family dynamics, rivalries, pressures and high expectations and, of course, last but not least, we are aware of our brethren’s love of ‘shiksappeal,’ which my character’s cousin Liam has. Though, on that subject, having dated several non-Jewish guys, I say, ‘It’s all good, boys, ’cause it goes both ways.’”
Speaking of which, where would Hoffman put herself on the spectrum of the “bad Jews” depicted in the play?
“In many ways, I think the play is actually poking fun at that very notion of being a ‘bad Jew,’ as there’s really no such thing – or, if there is, well then, we’re all ‘bad Jews’ in one way or another. There is no right way to be Jewish, either religiously or culturally, and, as Jews, we grapple with what that identity means to us and how much we want it to affect our lives and sense of self,” she said.
That being said, Hoffman compared herself to aspects of both Daphna and Liam. “My experience and views about my ‘Jewishness’ continue to change and evolve, so I’ve been all over the map. For instance, as a kid, I was raised Chassidic, and then, as a teen, I became non-observant, but was still a believer. Then, I identified as ‘spiritually Jewish.’ Now, I no longer believe in Judaism, and I’m a secular humanist, but culturally or ethnically, I am definitely Jewish (whether I like it or not). I think this is something a lot of non-Jews have trouble understanding, because the term Jew can apply to both the religion Judaism, but also the Jewish culture, ethnicity, nation and community, as we are such an old people that we predate these modern terms.
“As for Israel, as you know, that’s such a sensitive and ambivalent issue for the Jewish community and something we all have different views on. For my character Daphna, Israel is extremely important and she plans to make her life there. I used to share her fervent Zionism as a teen, and even considered going to Israel as well, either to a kibbutz or to do one of their volunteer programs with Magen David Adom (their national emergency medical disaster, ambulance and blood-bank services as well as national aid society).
“I am still a supporter of Israel, though not without my criticism, just like with other countries; but, unlike Daphna, I don’t support Israel from a religious standpoint and don’t believe in the existence of holy lands. I can speak, read and write Hebrew (also some Arabic), and tend to really like and get along with Israelis and have a few friends and acquaintances in Tel Aviv who are in the arts scene. I think Israeli Jews are such a unique, interesting and strong people, and they’re very different from North American Jews. If I’m fully honest, I think they’re our cooler cousins, because they’re people who just ‘happen’ to be Jewish, versus we here who are taught our Jewish identity and worry about how it squares up with our national one, and who are, by and large, much more sheltered and privileged than they are. I also think Israelis are better looking than we are, but I know that’s up for debate. But c’mon, all those people mixing from all those different countries and backgrounds? You can’t compete with that!”
Turning more serious, Hoffman said she struggles “with the paradoxical dilemma of how to continue the survival of the Jewish people and Israel, while still supporting humanism, secularism, democracy and the belief that mixing is a great thing for humanity. I think this is a major theme the play deals with and questions, and something most Jews can relate to, as well as many non-Jews with strong cultural and ethnic identities and communities.”
Allman is an example of the latter. “I was baptized Presbyterian, but fall very squarely into the religiously lapsed category – I have 50 years of Christmas trees that far outnumber my appearances in an actual church,” he admitted. “The themes in Bad Jews are universal – they’re struggles with personal identity, with philosophy and with both the intimacy and disconnect that everyone struggles with in regards to the religion and culture of their ancestors.”
He added, “[T]here is a very intellectual aspect to Judaism that I find extremely compelling – and that aspect doesn’t exist in a vacuum, it’s tied to practical living. It is certainly behind our initiative to have Rabbi [Jonathan] Infeld come in on Nov. 19 for a talkback with the audience and cast after the show. We’re going to go after the issues behind the story! I love the deeply thoughtful traditions that can give birth to a work like Bad Jews – a work like this comes from inner turmoil and passion. Now that’s living!”
For tickets, click here or visit famousartists.ca. For the full interview with Goldie Hoffman, click here.
Goldie Hoffman is set to play the character of Daphna in Bad Jews, a play by Joshua Harmon. It will be in Vancouver at Rothstein Theatre from Nov. 10-21, directed by Jay Brazeau and produced by Famous Artists Limited. For the Jewish Independent article on the play, which includes portions of the interview below, click here. For tickets, click here.
JI: How hard was it for you to put yourself into your “bad” shoes, or in what ways are you similar and different with respect to the Jewish spectrum than your character?
GH: I’m wearing my “bad Jew” shoes as we speak! In many ways, I think the play is actually poking fun at that very notion of being a “bad Jew,” as there’s really no such thing – or, if there is, well then, we’re all “bad Jews” in one way or another. There is no right way to be Jewish, either religiously or culturally and, as Jews, we grapple with what that identity means to us and how much we want it to affect our lives and sense of self.
Goldie Hoffman (photo from Famous Artists Limited)
That reminds me of the Jewish saying, “two Jews, three opinions,” and that’s something that I think aptly describes Jews, but is something we should be proud of – that we accept and even thrive on debate, discussion, questions and, of course, the fact that we can openly poke fun at the religion and culture. There’s definitely something very Fiddler on the Roof-esque about this play and the characters – each character deals with their Jewish identity, changing times, and the weight of historical and cultural legacy and community, in their own way.
With respect to my character, in some ways I’m both my character Daphna and her cousin Liam, or at least have been aspects of both of them at one time or another. My experience and views about my “Jewishness” continue to change and evolve, so I’ve been all over the map. For instance, as a kid, I was raised Chassidic, and then as a teen I became non-observant, but was still a believer. Then I identified as “spiritually Jewish.” Now I no longer believe in Judaism, and I’m a secular humanist, but culturally or ethnically, I am definitely Jewish (whether I like it or not). I think this is something a lot of non-Jews have trouble understanding, because the term Jew can apply to both the religion Judaism, but also the Jewish culture, ethnicity, nation, and community, as we are such an old people that we predate these modern terms.
As for Israel, as you know, that’s such a sensitive and ambivalent issue for the Jewish community and something we all have different views on. For my character Daphna, Israel is extremely important and she plans to make her life there. I used to share her fervent Zionism as a teen, and even considered going to Israel as well, either to a kibbutz or to do one of their volunteer programs with Magon David Adom (their national emergency medical disaster, ambulance, and blood bank services as well as national aid society).
I am still a supporter of Israel, though not without my criticism, just like with other countries; but unlike Daphna, I don’t support Israel from a religious standpoint and don’t believe in the existence of holy lands. I can speak, read and write Hebrew (also some Arabic), and tend to really like and get along with Israelis and have a few friends and acquaintances in Tel Aviv who are in the arts scene. I think Israeli Jews are such a unique, interesting and strong people, and they’re very different from North American Jews. If I’m fully honest, I think they’re our cooler cousins, because they’re people who just “happen to be Jewish,” versus we here who are taught our Jewish identity and worry about how it squares up with our national one, and who are by and large much more sheltered and privileged than they are. I also think Israelis are better looking than we are, but I know that’s up for debate. But c’mon, all those people mixing from all those different countries and backgrounds? – you can’t compete with that!
I realize I’m sounding a lot like Daphna now in my praise of Israelis, but again, it’s from a different angle. As an artist, I’m specifically very impressed with Israel’s amazing and thriving arts, culture and film scene, especially given all they deal with on the international and domestic front. As I said, I’m not without criticism, but I do feel Israel is unfairly castigated and vilified in the world and held to unfair double standards. I’m unfortunately disillusioned about the possibility of peace there, and can’t help but think of Israel and that entire region with a tinge of sadness. Still, I’m definitely overdue for a visit and would love to perform live there or work on an Israeli film.
However, all that said, I struggle with the paradoxical dilemma of how to continue the survival of the Jewish people and Israel, while still supporting humanism, secularism, democracy, and the belief that mixing is a great thing for humanity. I think this is a major theme the play deals with and questions, and something most Jews can relate to, as well as many non-Jews with strong cultural and ethnic identities and communities.
JI: Characters that are a “type” can come off as superficial. In what ways have you tried to infuse your character with reality/humanity to prevent them from becoming stereotypes?
GH: I think it’s important not to judge your character as good or bad/ right or wrong. Humans are complex individuals and it’s important to remember that when you portray any character. In fact, generally in real life, we don’t set out to be wrong or behave badly. Most of us try to go through life making good choices, and when we make bad ones or hurt people, we often don’t intend to or don’t even realize the impact of our words and actions. When playing a character, I try to portray their point of view, as best as I can understand it. In fact, after first reading the play, I was actually offended when first seeing Daphna described as a “zealot” in online play reviews and synopses, because I see that term as quite negative, and I didn’t see (or want to see) her that way.
I feel I really understand where Daphna is coming from, even if I don’t share all her views. In fact, I’d go as far as to say, this is a character that is closest to me of all the roles I’ve ever portrayed – to the point where it’s scary and even embarrassing. As for playing a certain “type,” it’s true there is a certain stereotype and similarity many Jewish girls and women share, and yes, a lot of it does apply to me: brunette, outspoken, loud, animated, and yes, also stubborn and annoying – but also spunky, fun, caring, intelligent and funny (and clearly modest). Hey, let’s face it, get a bunch of Jewish girls in the room, and I challenge you to tell me many don’t look and sound like sisters. Daphna shares these qualities, too, but at the same time, we’re of course all individuals, and so our views and outlooks on life can be extremely different.
As far as her being real, to me Daphna already is a real person, and I can completely see and hear her, so I only hope I can translate that successfully to the audience. Aside from the parts of her that I relate to, I even know several “Daphnas,” especially being raised Jewish in both N.Y. and Montreal and now being in L.A. a lot – all big “Jew-towns.” There is a unique experience that Jewish girls and women have, which I relate to. For example, facing certain sexist traditions and customs (especially if raised Orthodox), family dynamics, rivalries, pressures and high expectations, and, of course, last but not least, we are aware of our brethren’s love of “shiksappeal,” which my character’s cousin Liam has. Though on that subject, having dated several non-Jewish guys, I say, “It’s all good, boys, ’cause it goes both ways.”
JI: How did you come to hear about Bad Jews and audition for it?
GH: Our director, Jay Brazeau, contacted me after speaking with director, writer, actor, producer Ben Ratner, who recommended me to him. Ben runs and teaches at Haven Studio, and I’ve trained with him a lot, working on many intense plays and scripts in multiple genres. So, it’s really thanks to Ben that I got this part, both because of his recommendation and also thanks to his training. I was then asked to read with Amitai (who plays Jonah) in front of Jay and our producer Bill Allman in an informal non-audition audition. “Don’t think of this as an audition, Goldie …” they said, and as I jokingly thought to myself, the unsaid continuation of that line was, “… but this read will likely affect whether or not you get the part.” Fortunately, I got the part, and I’m thrilled and truly honored to be playing such a fun role and being part of this ensemble.
JI: Are you going to get a perm to play Daphna?
GH: Oh no, you’ve just outed me as a straight-haired chick! I’m honestly still debating if I should get a perm or not. I’ve had friends with the real “Jew-fro,” and used to be jealous of them, even with their complicated product-regimen they had to wrestle with, and, of course they were jealous of my straight locks. We want what we don’t have, right? I may curl my hair each night, and I’ve been experimenting, burning my fingers, while I curl my hair trying to get it just right so it looks realistic and doesn’t have that “fake curls look.” I know some actors have used extensions for this part, but I want to be able to use my hair in the scene. So, as I write this now, I’m leaning towards a perm, but we’ll see.
JI: As I don’t think we’ve had the pleasure of interviewing before, can you share a bit about your background? How you’re a dual citizen, and split your time between Vancouver and LA? In what other shows Vancouverites might have seen you recently? Whatever else you might like to add.
GH: Ah, now to sum up myself and my background quickly. As you can tell, I’ve clearly mastered the art of being concise.
Long story short, I don’t have the typical North American Jewish experience, because I was raised in more than one. I was born in Brooklyn, N.Y., into a Chassidic family. My mother was from Montreal, my father from San Diego, and their youthful act of rebellion was to leave their secular Jewish lives, and join an ultra-Orthodox Chassidic movement in N.Y., much to the dismay of their families. Talk about being “bad Jews” and trying to define what that means.
They had us 10 kids quickly, one after the other, and I spent my childhood growing up extremely religious with strict kosher rules, dress codes, and no television, secular music or books (though we were sometimes “bad Chassidic Jews” and cheated with books, and also went as a family to see some movies in Manhattan) – a time I now refer to as the fun “cult days.”
Their experiment with ultra-Orthodox Judaism ultimately didn’t work out for us, and my parents divorced. My mother went back to Montreal to be with her family, and we kids along with her. My father is still Chassidic actually, but I’d say he has his own version of it, and he lives in Vegas now. He is quite a character, and that’s putting it mildly, as is my mother, even more so than in the “typical Jewish parents” way.
In Montreal, we re-integrated into “normal” North American Jewish lifestyles, starting out as Modern Orthodox, but then with varying and changing levels of observance, and each of us being allowed to do our own thing. When I graduated, I was actually going to study law, like all good, smart Jewish girls, but changed my mind at the last second about having a stable life in order to pursue performance and the arts instead.
I got accepted into Studio 58’s professional theatre acting program, so that’s what brought me out here. It was pretty scary because I knew nothing about Vancouver, I knew no one here, and had no money to scout out the city beforehand. After studying, I decided to stay here and started acting and doing comedy. Having been here for several years and because I’m a dual American-Canadian citizen, I recently decided to make the jump to L.A., too, since there is more opportunity there – and, of course, because you can’t beat all that sun and ocean. I love being on the West Coast, though I poke fun at it often, because in many ways I’ll always be a bit of a fish out of water here as an ex-East Coaster. My aim is to try to juggle both cities, L.A. and Vancouver, as much as possible taking advantage of the acting and comedy opportunities both cities have to offer.
As far as other performances Vancouverites may have seen me in, I played Connie in Raving Theatre’s production of My Big Gay Italian Wedding, which was put on at the Cultch. I also played Natalie, in the local independent feature dark comedy, Thirty One Scenes About Nothing, which won best picture at the Oregon Independent Film Festival (OIFF) in Portland. I also perform lots of live stand-up and sketch around town. Last year, I ran a weekly comedy variety show, called The Comedy Cabaret, along with co-host Ruven Klausner, in which we performed various comedy characters and acts. We formed a comedic partnership, previously called Schtuptown (a nod towards our Jewish heritage), now called The Goldie & Ruven Show, in which we perform live and create comedy shorts which are published online.
