musical theatre

A Dickens of a musical

Anthony Santiago, at front, plays Fagin in Gateway Theatre’s production of Oliver!, which runs until Jan. 4. (photo by David Cooper)

Charles Dickens wrote Oliver Twist in 1837. His eponymous main character, an 11-year-old orphan, has the audacity to ask for more when the workhouse daily gruel is handed out, leading to a series of events that change his life forever. And local audiences will be asking for more, more, more of Gateway Theatre’s offering of Oliver!, the musical “freely adapted” from Dickens’ novel by Lionel Bart, which plays until Jan. 4.

A beloved classic, the 1968 screen adaptation of Oliver! won the Academy Award for best picture of the year. A revival of Bart’s work is currently playing in London’s West End to widespread acclaim. I predict the same for this production.

The story revolves around Oliver’s journey through the gritty underworld streets of Victorian London, from being an impoverished orphan sold to apprentice a cruel undertaker, to his secondment to a gang of street urchins under the tutelage of Fagin “the Jew” and, finally, a reunion with his well-to-do family.

Community member Josh Epstein ably directs his 24-person cast, a superb mix of professional and amateur actors (including 11 children), as they enthusiastically sing, dance and cavort their way across Ryan Cormack’s handsome set.

On the dark side of the original story is Dickens’ portrayal of Fagin as a venal, sinister, petty criminal who runs a den of adolescent thieves, teaching them to pick the pockets of London’s elite. Dickens refers to Fagin as a Jew more than 250 times, mostly in a negative way. He defended his choice by stating that he was just reflecting the reality of the time – that London underworld criminals were almost invariably Jewish. Some say he based the character on Ikey Solomon, a notorious Jewish fence. Over the years, consistently called out by Jewish community members for antisemitism, Dickens eventually apologized and edited out the negative references. Bart, who is Jewish, downplayed any stereotypes of Fagin in his rewrite.

In Gateway’s production, you would not even know that Fagin, played by Anthony Santiago, is Jewish, although, in his one solo, “Reviewing the Situation,” the klezmer-inspired clarinet accompaniment hints at a connection. Even as Fagin salivates over his cache of jewels, overall, he comes across as a lovable rogue, not the sleaze Dickens originally described. On opening night, I asked Epstein about this characterization. “I did not want to make a Jewish caricature of him,” said Epstein. “I wanted the show to be something entertaining and deep without that aspect.”

While this is truly an ensemble production, a number of actors stand out. Many of the veterans take on multiple roles, gliding effortlessly from one to the other.

Miranda MacDougall, who can really belt out a song, does double duty as Nancy, one of Fagin’s accomplices, a kind-hearted strumpet, and Mrs. Sowerberry, the undertaker’s wife. She also carries off a pretty good Cockney accent.

Tanner Zerr plays Nancy’s churlish beau Bill Sykes, whose cruelty leads to murder and his ultimate demise. One wonders what Nancy sees in this violent partner and why she stays with him. The answer comes in her poignant rendition of “As Long As He Needs Me,” which brought tears to my eyes. Zerr also doubles as Mr. Sowerberry in a very funny funeral scene and chorus line dance, including a spry corpse – Kate Malcic.

Santiago is simply fantastic as Fagin. Lucas Gregory as the Artful Dodger, the leader of Fagin’s gang, has a very physical role, as he slides down poles and climbs up and down ladders. I hope he can make it through the three-week run without an injury.

Then, of course, there is Rickie Wang as Oliver. Wang gives a sublime performance and showed his singing talent with “Where is Love?”

More minor characters, Victor Hunter, as Mr. Bumble, the beadle, and Cecilly Day, as Widow Corney, delight in a raunchy two-hander that had the audience in stitches. Daniel Curalli plays Mr. Brownlow, who turns out to be Oliver’s uncle, with the appropriate gravitas, and Suani Rincon does a nice job as Bet,

Nancy’s friend. All the gang kids, from the tallest to the smallest, are great and perform with gusto.

A musical of this scope is nothing without the behind-the-scenes work of the creative team. In this production, they really deliver.

Cormack’s industrial two-storey wrought-iron set constantly revolves, morphing from a workhouse to Fagin’s hideout to a posh London salon to London Bridge. Frenetic activity accompanies each revolution with various cast members running to and fro.

Lighting designer Sophie Tang’s rich colours infuse the various sets, providing the mood for each scene.

The costumes of Donnie Tejani authentically reflect the Victorian era – the rustling petticoats of the ladies, the tattered frocks and knickers of the children’s gang, Fagin’s patchwork overcoat, and fancy waistcoats and trousers for the gentlemen.

Against the backdrop of all of these designs, choreographer Nicol Spinola gets her young charges hoofing away to musical director Sean Bayntun’s impressive six-piece orchestra. With iconic songs like “Food, Glorious Food,” “Consider Yourself One of the Family” and “Oom Pa Pa,” what’s not to like?

My only complaint is that the hidden orchestra often overpowers the actors (although they are all wearing microphones) so that many of the lyrics are lost. Hopefully, over the course of the run, this will be corrected.

In program notes Epstein remarks: “Directing Oliver! has been an incredible opportunity to reimagine a story that has resonated for generations. While it’s a tale of resilience and hope, it also confronts the harsh realities of poverty, abandonment, and the search for belonging. For this production, we’ve worked to see the story through Oliver’s eyes, capturing the vivid and fantastical way children remember moments.

“This isn’t a softened version of Oliver!, it’s raw, unflinching, and a true dark fairy tale. It’s a story about finding light in the darkest places and holding onto hope when it feels out of reach.”

I highly recommend this delightful musical, suitable for ages 10 and up. Tickets can be purchased at boxoffice@gatewaytheatre.com or by calling 604-270-1812. Special performances include VocalEye audio description for guests with visual impairments (Dec. 28) and a relaxed performance (Dec. 21).

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Making musical amid COVID

Anton Lipovetsky is among the professional artists working with Studio 58 to develop Monoceros: A Musical. (photo by Dahlia Katz)

In the face of a pandemic and all its associated restrictions, the show is going on at Langara College’s Studio 58 – albeit in a very different way. Monoceros: A Musical runs through the end of March and features the contributions of two Jewish community members: writer Josh Epstein and composer/lyricist Anton Lipovetsky.

In contrast to other Studio 58 productions, Monoceros is seen as a “development lab,” an opportunity for the creators to tweak the piece, while allowing students to work on a new musical and learn about the process. The production is not a performance in a traditional sense, as the public will not be able to come and watch it. Ordinarily, shows are performed in Langara’s 100-seat theatre, but this is the first time Studio 58 has created a production outdoors – because of the risks of singing inside.

photo - Josh Epstein — Josh Epstein *(photo from Studio 58)*

Adapted from a Suzette Mayr novel by Epstein and his business partner, Vancouver writer/director Kyle Rideout, Monoceros tells the story of Faraday, a high school wallflower who dreams of becoming a famous veterinarian. When Ethan, a classmate known for wearing a unicorn outfit, dies unexpectedly, Faraday sets off on a quest to fulfil Ethan’s last wish.

“The book starts with one of the most powerful chapters I’ve ever read,” Epstein told the Independent. “I was engaged from the first sentence, my heart was drawn to every word. I, too, lost my best friend much too early and I felt very connected to this book. We were about to turn the book into a film, for which we had funding, but, at the same time, we felt a musical bursting out of it and attached Ben Elliott and Anton to write the music. We fell so in love with the musical that we halted the film for now to keep working on the piece. Our show tackles difficult subject matter but in a fresh, humorous way, daring the audience to go on a wild adventure and to listen.”

“I read the book and I loved it. It was heartbreaking and brutal and honest – the kind of book that really stays with you after you read it,” said Lipovetsky. “We decided to centre the story more on a singular character, Faraday, and her quest to bring unicorns to Calgary in honour of the student who passed away. Her quest challenges who she is as a person and she discovers herself along the way.”

Putting on a production in 2021 is “completely wild,” said Epstein, an award-winning actor, writer and producer. “Until the day we started, we had no idea if it would actually happen. Now, here we are with a full tent city built by Studio 58, a rock concert sound setup and an incredible creative team that includes one of Canada’s top directors, Meg Roe, and Lily Ling (Hamilton’s musical director) – who was only available to us because Hamilton is on hiatus.”

Epstein emphasized that, “while the show’s path has been altered by COVID-19, the team has used the time to strengthen the script and score, as well as attach some of the best people around [to the project]. Above all, the process is very safe and we’re having fun being able to work together, if only from a masked distance.”

“Acting, singing and connecting with your collaborators while most of your face is covered is not easy. The students are doing a wonderful job,” Lipovetsky said. “And rehearsing outdoors during early March in Vancouver can be challenging – but sometimes it’s magical. There are moments where the students’ voices soar in beautiful harmony and the sun will come out above us and I’ll feel real joy. I have missed making music and theatre so much and I’m grateful to get to do it even under these strange circumstances.”

In addition to the staff and faculty who are involved, Studio 58 has 10 professionals working with the students, 14 student performers, and many other students helping with technical requirements. One of the top theatre schools in Canada, with the only conservatory-style program in Western Canada, the professional theatre training program at Langara is in its 55th season. It typically produces four main-stage productions a season, ranging from dramas, to comedies, to musicals.

Monoceros is commissioned and supported by Toronto’s Musical Stage Company and funded by the Aubrey and Marla Dan Foundation. The show has an elaborate development road planned out that will include workshop productions in British Columbia and Ontario – culminating in Toronto – before continuing to other stages.

Epstein, whose work has taken him around the world, is currently writing an original feature for Paramount with Rideout. Lipovetsky is an acclaimed composer, lyricist, performer and teacher, and he is currently an artist-in-residence in the Musical Stage Company’s Crescendo Series.

For more information about Studio 58 and its programs, visit langara.ca/studio-58.

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

Celebrate spring with music

Wendy Bross Stuart leads singers Lisa Milton, Kat Palmer and David Urist in the JSA program With a Song in My Heart, which takes place March 29 at the Peretz Centre. (photo from Wendy Bross Stuart)

This year’s Jewish Seniors Alliance of Greater Vancouver Spring Forum features a concert with music director and pianist Wendy Bross Stuart and singers Lisa Milton, Kat Palmer and David Urist. The program, called With a Song in My Heart, takes place March 29 at the Peretz Centre for Secular Jewish Culture.

“We are planning a program of Jewish-related songs all pertaining to our love of music,” Bross Stuart told the Independent. “‘With a Song in My Heart’ is a famous song by Rodgers and Hart (Jewish writers) from the 1929 musical Spring is Here. Very true that, by March 29, spring will indeed be here!

“We will include that song in our program as an ensemble piece,” she said. “We will have duets – in Yiddish – ‘Her Nor Du, Sheyn Meydele’ and ‘Vu Ahin Zol Ikh Geyn’; and many solos from Jewish-themed musicals, for example Rags, Milk and Honey, The Rothschilds and a song that was deleted from Fiddler on the Roof!”

Bross Stuart has contributed to more than a dozen seasons of Theatre Under the Stars, as conductor, music director and pianist, and has been music director and pianist for many other theatre companies, including the Arts Club, the Electric Company, Famous Artists, Touchstone Theatre, Presentation House and Snapshots Collective. She has composed numerous choral arrangements and recorded four CDs of Jewish music with soprano Claire Klein Osipov.

Of the ensemble that will join her on March 29, Bross Stuart said, “These three singers are very accomplished. They must have an opportunity to sing what inspires them, but which also fits into the theme of the program.”

She noted that Milton is Klein Osipov’s younger daughter. “She spent many years observing her mother’s performances and rehearsals. She knows all the arrangements I created for Claire – perfectly. When I accompany Lisa, it’s magic,” said Bross Stuart. “I see and hear Claire! What a delight!”

In addition to being an award-winning musician, Bross Stuart is an ethnomusicologist. She has written two books – Gambling Music of the Coast Salish Indians and, with John Enrico, Northern Haida Songs. She and her husband, Ron Stuart, collaborate in the making of documentary films shot in South Africa.

“Ron and I just returned from two-and-a-half months in Cape Town, where we started working on our eighth documentary there,” said Bross Stuart. “This one is called Gugulethu Warriors – Making Things Right! It’s a documentary based on the grassroots efforts of township residents to cope with the social issues of crime, safety, unemployment and community cohesion.”

The Stuarts established Cultural Odyssey Films, notes the website culturalodysseyfilms.com, “to provide a platform for the production and distribution of documentary films about contemporary cultural groups and individuals committed to social change.”

The Stuarts also formed WRS Productions, which has numerous producing credits, including the Vancouver Holocaust Education Centre’s annual community commemoration of Yom Hashoah, Holocaust Remembrance Day. Bross Stuart said that, while preparing for the JSA Spring Forum, she, Milton, Palmer and Urist are also working on the Yom Hashoah commemoration.

“After that,” she said, “I jump into rehearsals for Theatre Under the Stars’ upcoming production of Disney’s Beauty and the Beast and Perry Ehrlich’s Gotta Sing! Gotta Dance! – year 26!

Bross Stuart is a co-founder of the Gotta Sing! Gotta Dance! musical theatre program, which is held at the Jewish Community Centre of Greater Vancouver every summer. The deadline for youth to apply to this year’s sessions is April 1.

Not one to rest on her laurels, Bross Stuart recently adapted an indie pop song. “I just completed a new choral arrangement,” she said. “Of one of my daughter Jessica’s new songs. A first for me!” (The original “Simple Little Song” can be heard at jessicastuartmusic.com.)

As to why she is making the time to perform at the JSA forum, Bross Stuart said, “The JSA is run by a group of very talented, diligent, kind and caring individuals. They provide a wonderful service to the community, where we share with one another. It is my pleasure to contribute to this.”

With a Song in My Heart starts at 2 p.m. on March 29. Refreshments will be served and underground parking is available at the Peretz Centre – cars must enter the alley from 49th Avenue, as 45th is closed to traffic. The nominal cost of the event is $5. For more information and to register, call 604-732-1555 or email office@jsalliance.org.

Gotta Sing! Gotta Dance! deadline April 1

(photo from Gotta Sing! Gotta Dance!)

The deadline to apply for Gotta Sing! Gotta Dance! at the Jewish Community Centre of Greater Vancouver July 7-30 and Aug. 4-27 is April 1. With participants ages 9 to 19 from various parts of Canada and elsewhere in the world, director and creator of the program Perry Ehrlich will be joined this year by faculty including musical directors Wendy Bross Stuart and Diane Speirs; director Chris McGregor; choreographers Jason Franco, Keri Minty and Meghan Anderssen; acting coach Amanda Testini; and Mariana Munoz, set construction and costume co-ordination. The final production of each session will be Wild Wild West Side Story, featuring an original script and a repertoire from Broadway and movie musicals. Also being offered is the finishing school, for serious musical theatre students attending Gotta Sing! Gotta Dance!, and a boot camp dance program. Scholarships are available.

Directing a favourite musical

Malka Martz-Oberlander, left, and Dalia Currie are co-directing Little Shop of Horrors, which is at the Red Gate Revue Stage from Feb. 6-9. (photos from TES Theatre)

At 17, many Jewish Independent readers were probably spending most of their time hanging out with friends, maybe doing a music or art class or two, some sports activities. In addition to being a student, 17-year-old Jewish community member Malka Martz-Oberlander is a filmmaker, writer, film and theatre director, cartoonist, musical theatre actress and photographer. Her latest initiative is a production of Little Shop of Horrors, which is at the Red Gate Revue Stage on Granville Island Feb. 6-9.

Presenting the production is TES Theatre, or Transforming Education, which, explained Martz-Oberlander, was “originally the theatre program at the one-of-a-kind Windsor House School: a democratic, multi-campus, K-12 school in East Vancouver.

“When Windsor House School closed down last year,” she said, “former principal Meghan Carrico decided to start a theatre company for the students, like myself, who wanted to continue to do theatre and musical theatre together. The program that arose after the school’s devastating closure is grounded in the same democratic philosophy. Our mission is to make sure any student who wants to do any aspect of musical theatre can and will be supported by a willing cast and a professional musical theatre teacher.”

Martz-Oberlander is co-directing Little Shop of Horrors with Dalia Currie. Last June, the pair co-directed a production of Much Ado About Nothing that Currie adapted. According to Martz-Oberlander, Currie “loves Shakespeare” and has “co-directed and acted in many of the Bard’s shows,” including playing the role of Theseus in A Midsummer Night’s Dream in 2018, as part of the Carousel Theatre Teen Shakespeare Program.

Currie found musical theatre through joining Windsor House in 2018, said Martz-Oberlander. “She played Olive Ostrovsky in The 20th Annual Putnam County Spelling Bee and Gaston in Beauty vs. Beast, an original parody of the tale as old as time.”

For her part, Martz-Oberlander performed with Encore Musical Theatre (formerly Broadway Edge) for four years, then performed in two shows with Windsor House School and, this year, is a member of Arts Umbrella’s Pre-professional Musical Theatre Troupe.

illustration - Crystal, Ronette and Chiffon are the three narrators of Little Shop of Horrors. Malka Martz-Oberlander sketched this image of the trio, which was colourized by Emi Lavoie — Crystal, Ronette and Chiffon are the three narrators of Little Shop of Horrors. Malka Martz-Oberlander sketched this image of the trio, which was colourized by Emi Lavoie. *(image from TES Theatre)*

Martz-Oberlander said she and Currie initially pitched Little Shop of Horrors to the theatre company because they had both grown up watching it, “and we were very excited at the thought of directing our first musical together this year with the mentorship of our new musical theatre teacher, Isabella Halladay, who is a local musical theatre artist.”

The production involves around 30 people, said Martz-Oberlander, “and all but three of them are students. We held auditions for people within our theatre community,” she said. “We made sure that anyone who was interested has been involved in some way, whether it be onstage or in the tech booth. The actors range from age 14 to 19. There is no live band, we have backing tracks.”

Little Shop of Horrors, both a film and a Broadway musical from the 1980s, is now back on Broadway, said Martz-Oberlander. “It’s about an orphan boy taken in and given a job by Mr. Mushnik, a European Jewish immigrant and the owner of a run-down flower shop in the ‘bad part of town.’”

Despite the fact that both writers of the musical were Jewish – Howard Ashman (who passed away in 1991) and Alan Menken – Martz-Oberlander said that she and Currie were concerned about the portrayal of certain characters, in particular that of Mr. Mushnik.

“As a cast and individually, we have discussed when it’s good to bring out stereotypes and when it’s actually really harmful,” Martz-Oberlander told the Independent. “For example, the character Mr. Mushnik seems like a two-dimensional, money-hungry shop owner. The character embodies this Jewish stereotype throughout the whole story. My non-Jewish co-director and I have tried our best to approach this thought-provoking comedic piece with the intention of not perpetuating hurtful stereotypes. When producing a show written in a different decade, when values were different, it’s so important to come at it from an authentic, respectful and knowledgeable way.”

Martz-Oberlander had only praise for the production’s venue, the Red Gate Revue Stage. Saying that the cast and creative team were “incredibly lucky to get to rehearse and perform” there, she added, “I think a place like the Revue is vital at a time in Vancouver where things are less and less affordable – to have arts spaces and small theatres like the Revue is very important.”

As for Little Shop of Horrors, Martz-Oberlander said, “I think it’s a great opportunity to come out and support local youth-directed theatre and watch a fantastic show! This show is really a one-of-a-kind, hilarious science fiction musical that will have you humming tunes for weeks after.”

Tickets to Little Shop of Horrors ($5-$15) can be purchased at the door or online from brownpapertickets.com/event/4481952.

Stand! opens on Nov. 29

Marshall Williams as Stefan Sokolowski and Laura Slade Wiggins as Rebecca Almazoff fall in love in the movie musical Stand! (still from the movie)

The film Stand! comes out in Cineplex theatres across Canada on Nov. 29. Locally, it will play at SilverCity Riverport Cinemas in Richmond. The story of how the independent film got to the big screen is as interesting as the movie itself. And both it, and the musical on which it is based, started with a simple conversation.

The idea for the musical Strike! came over a deli sandwich in 2002. Then-Winnipeg Free Press editor Nicholas Hirst suggested to Winnipeg composer, producer and writer Danny Schur that there might be some musical-worthy drama found in the Winnipeg General Strike of 1919. Schur – who already had two full-scale musicals on his CV – followed up, coming across a photo of Ukrainian-Canadian Mike Sokolowski, who was killed by one of the “special police” – the actual police force, who sympathized with the strikers, had been fired and replaced with thugs – in what is now known as “Bloody Saturday,” June 21, 1919. Being Ukrainian-Canadian himself, Schur was hooked.

He wrote 18 songs and the script for the musical Strike! by 2003. A workshop of it at the University of Winnipeg connected Schur to director Anne Hodges and writer Rick Chafe, who helped get the production ready for its première – first an abridged version, an outdoor show in 2004; then the full version in 2005. (Chafe is also co-writer of the film with Schur.)

“The idea for the movie first sprang from a conversation I had with Jeff Goldblum in 2005,” Schur told the Independent in an interview. “He was sitting beside me at the Winnipeg world première (he was in a relationship with our Winnipeg female star [Catherine Wreford], whom at that time had a Broadway career). After seeing the musical, he stated, ‘Big story, big ideas, it would make a great movie.’ And I thought, ‘If Jeff Goldblum says it will make a great movie, that must surely be the case.’ I naively believed it would take two or three years to come to fruition and it took 14. Shows what I knew!”

Those years would be filled with adapting the musical from stage to screen, raising the large amount of money needed to film a movie, casting the roles, finding a director, finding a production company, etc., etc.

The considerations in translating the stage production to film were legion, said Schur. “First, some songs had to go, because the average number of songs in a movie musical is eight; the stage show has 18. Some of the cuts were obvious – because some of the actors we cast were not singers. In all cases, it was a matter of what served the story best. What works on stage does not necessarily translate to screen. Rob [Adetuyi] was extremely helpful in this regard, having as much experience as he does with film.

“But the biggest change to screen was Rob’s doing: to make the film more diverse. Emma, the black maid, was a conscious change to reflect history better and have a more diverse film. So, too, was the case with the character of Gabriel [a Métis soldier who served in the war].”

When Adetuyi, the director of Stand! (whose mother is Jewish, as it happens), changed the maid character from being Irish to being a black woman who had fled racist violence in the United States, Schur wrote a new song, “Stand,” which became the title of the film.

Sokolowski is one of the main characters in both the musical and film. He and his son, Stefan, are struggling to earn enough money to bring the rest of their family to Canada from Ukraine. Among their neighbours are Jewish siblings Rebecca and Moishe Almazoff, the latter of whom is based on a real person. (Moishe Almazoff is the pen name for Solomon Pearl.)

Amid the harshness of life and their bleak future, Stefan and Rebecca fall in love. Schur told the JI that he based the interfaith romance on that of his aunt and uncle, “she the Christian, he the Jew.” Of course, the couple’s relationship isn’t welcomed by their families and respective communities. And, of course, the poor living and working conditions, the labour unrest, the threat of deportation and the violence are not conducive to love.

In a neat turn, the making of the film has led to changes in the musical.

“I always say, musicals are never written, they’re rewritten,” explained Schur. “So, where, before, the movie was substantially different from the stage musical, we have now edited the stage version to reflect the movie. So, now they’re pretty close. Having said that, the stage play has more songs.”

The music is certainly one of the highlights of the film. In this regard, and also another of the Jewish connections to the production, Schur noted, “Gail Asper is the hugest supporter of the movie, having invested in the stage show and the movie, and she convinced Montreal’s Sharon Azrieli to do the same. Sharon, who is an opera singer, sang the closing credit song, ‘Change,’ which I wrote for her.”

As for the feat of getting an independent movie a national release, not to mention deals for distribution in the United States and Japan, Schur said, “This is a truly indie release; in other words, there is no distributor involved. We went to Cineplex and said, ‘We have an audience. Please give us some screens.’ Where Cineplex could have given us a token, small number of screens, they provided screens from sea to shining sea, which is a testament to their belief in the film. I cannot say enough good things about the good people at Cineplex for giving us our chance to make a stand, especially in the midst of so busy a late fall season.”

Stand! showtimes and tickets are listed at cineplex.com/movie/stand.

“The movie is a unique opportunity to take the experience of the Jewish community in Canada circa 1919 and apply the lessons of the era to today, be those lessons for the community itself, or the broader community of immigrants,” said Schur. “In an era where discrimination is on the rise, the movie is a metaphor that teaches us that ‘love thy brother’ is the best way forward.”

Gotta Sing! 2019 registration

(photo from JCCGV)

For the past 24 summers, Gotta Sing! Gotta Dance! has attracted hundreds of enthusiastic and talented participants from throughout Canada, the United States and Israel, many of whom have gone on to successful careers in the performing arts. The deadline is April 1 to apply for this summer’s sessions, which take place at the Jewish Community Centre of Greater Vancouver July 2-25 and Aug. 6-29.

The director and creator of Gotta Sing! Gotta Dance! is Perry Ehrlich, who received an Ovation Award and the Canadian Bar Association’s Community Service Award (acknowledging his dedication to working with children and musical theatre). A composer, pianist, teacher, arranger, producer, adjudicator, writer and talent coordinator, Ehrlich also directs ShowStoppers performance troupe (theimpresario.ca).

Gotta Sing! Gotta Dance! is taught by a faculty of professional instructors, each working in his or her respective field, including musical directors Wendy Bross Stuart and Diane Speirs; director Chris McGregor; choreographers Anna Kuman, Jason Franco, Keri Minty and Meghan Anderssen; acting coach Amanda Testini; and Mariana Munoz and Charlie Weaver, set construction and costume co-ordination.

Peter Birnie, former theatre critic for the Vancouver Sun, commented that the faculty members “are all teaching in a carefully choreographed nesting of studies that takes place all over the JCC and culminates in a big, brassy show. I try to attend every year, and always come away just as thrilled as the parents and families with the level of talent on display. It is about the joy that comes from singing your lungs out and dancing your hooves off.”

This year’s final production in each session – called Shamilton – will take place in the Rothstein Theatre and feature an original script and a broad repertoire of music from Broadway and movie musicals.

The Finishing School will again be offered for serious musical theatre students attending Gotta Sing! Gotta Dance! and it will feature approximately 10 sessions from 3:15 to 5:15 p.m., after the regular program, which will run 9 a.m. to 3 p.m. Finishing School students will receive instruction in audition technique, presentation of songs and scene work, and will participate in intensive dance workshops and meet with well-known professionals in the theatre community.

The Boot Camp Dance – for those either new to dance or wanting to refine their skills – will also be offered.

The cost to attend Gotta Sing! Gotta Dance! is $750 for JCCGV members and $850 for non-members. Scholarships are available through the Babe Oreck Memorial Fund, the Phyliss and Irving Snider Foundation, and others for those with financial need.

For more information and registration, visit jccgv.com/performing-arts/gotta-sing-gotta-dance.

Welcome to Cabaret!

Dylan Floyde as Cliff Bradshaw and Erin Palm as Sally Bowles in Cabaret, presented by Studio 58. (photo by David Cooper)

“I honestly couldn’t think of a more important show to do right now, with such a divided political climate. The past is as important as ever, we must not let it fade. We need stories like these,” Erin Palm told the Jewish Independent about Cabaret, which opened at Studio 58 (Langara College) last week and runs until Feb. 24.

The musical is set in Berlin in 1929, as the Nazis begin their ascent to power in Germany. Palm plays the role of Kit Kat Klub headliner Sally Bowles, the British singer with whom American writer Cliff Bradshaw falls in love.

“Sally is such a complex character. I’d say the most important thing as an actor is honouring her, and acknowledging that she and the other characters in Cabaret are based on the real experiences of Christopher Isherwood, back in Weimar Berlin,” said Palm. “The biggest challenge for me is to know her apathy. It’s painful and tragic.

“I have, hopefully, given her autonomy throughout her journey. I am not a fan of judging the characters I play so, to combat that, I focus on how she is brave, independent and whimsical. She uses humour and imagination as a tool to get through her own challenges and I think that’s where the fun comes in. Really, she’s searching for freedom, and I love playing with that as an actor.”

Palm is in her third and final year at Studio 58. “I became a student the summer after I finished playing Fruma Sarah in Fiddler on the Roof with RCMT [Royal City Musical Theatre] and traveling to Toronto to do the National Voice Intensive. It was a big decision to go back to school, but I know the legacy of Studio 58 is that it turns out fine actors. I wanted to give myself the best opportunity to grow and gain new tools.”

Fellow Jewish community member Josh Epstein makes his directing debut with this production. A multiple-award-winning actor and filmmaker, he was a student at Studio 58, where he played the role of Joey in Pal Joey. “I also met my creative partner, Kyle Rideout, while there and we named our company Motion 58 in honour of Studio 58,” said Epstein. (He and Rideout recently sold a feature film pitch to Paramount with the Transformers producers, di Bonaventura Pictures, said Epstein, “and we have a variety of film and TV projects at various stages of development.”)

About returning to Studio 58 for Cabaret, Epstein said, “I’ve been talking to Kathryn Shaw [Studio 58 artistic director] for a couple of years about returning to direct something, as I now felt ready, and Cabaret was my first and only choice.”

Epstein said he has a few favourite scenes, ones “that bring tears to my eyes, but none more than a late scene between Herr Schultz and Fraulein Schneider, the older couple that has sweetly fallen in love. None of the characters truly knows what’s coming. Herr Schultz still sees himself as a German and firmly believes he won’t lose anything. It’s heartbreaking.”

Another returning Jewish community member for this production is lighting designer Itai Erdal.

“Studio 58 is one of my favourite places to work,” he told the Independent. “I keep coming back because I love the staff and I love the energy of the young students and because I’ve done some of my best work there. I find it to be a great working environment, which often allows for some real magic to happen.”

Erdal is enjoying lighting Cabaret, which has much darkness in it story-wise, as well as being set in a nightclub.

“Lighting musicals is always tricky but it’s really wonderful to light a musical like Cabaret, just because of that darkness you refer to,” he said. “So many musicals are very lighthearted and it is so refreshing to do a musical about something that matters so much. It’s also some of the best music ever written for theatre, so it’s a joy to light these iconic songs and support these brilliant young actors as they tackle those songs.”

Given that Cabaret is such a well-known musical, Epstein said, “I’m definitely encouraging the team to tell the story that’s written, first and foremost, but any staging or performance that’s been done before, I’m not that interested in repeating. We’re creating something that is unique to Studio 58, their intimate space, and it will be aggressive, fun and stimulating.

“I’m very excited for the fresh performances of Sally and the Emcee in our production,” he added. “I think we’ve found a Sally (Erin Palm) that doesn’t feel sorry for herself, that has strength and power and makes active decisions rather than accepting her lot in life. Our Emcee is female and, after watching how Paige Fraser has done it so far, I would never want it any other way. For one, she dances and sings better than most of the men who have played the role before onstage.

“We’ve also played with the musical numbers,” he said. “‘Mein Herr’ is gonna rip the roof off the theatre and I think we’ve reinvented the pineapple song [‘It Couldn’t Please Me More’].”

Epstein recommends that audience members arrive early. “There’s a burlesque show you won’t want to miss,” he said.

The production’s promotional material, which advises that the show is suitable for ages 16+, comes with the warning, “Possible nudity, probable vulgarity and other behaviour your momma won’t approve of!”

For tickets, visit langara.ca/studio-58/current-season.

A royal panto at Metro

Katherine Matlashewski plays Mopsy in Metro Theatre’s musical panto King Arthur’s Court. (photo by Tracy-Lynn Chernaske)

While Katherine Matlashewski has numerous acting, singing and choreographing credits on her resumé, the musical panto King Arthur’s Court, which opens tonight (Dec. 14) at Metro Theatre, will be her first pantomime.

“Unlike a traditional play, there is a lot of improv and audience participation,” she explained about a panto. “This can be a challenge because, as an actor, you never know what is going to happen.”

But it’s also part of the fun. “In any show,” she said, “everyone brings something unique to the table. In this wonderful cast [of 28], there is such a wide range in age and skill level.”

In contrast, King Arthur’s Court marks fellow Jewish community member Heather Webster’s third panto. Webster has been stage-managing at Metro for about five years now, but her connection to Metro – and pantos – goes further back.

“My first theatre experience came from my grandmother, Shirley Rose,” Webster told the Independent. “She took me to the Metro Theatre when I was 12 for my first panto. From there, I got into working backstage and learning stage craft in high school at Kitsilano from Julie Bond. In Grade 11, I began volunteering at the Metro Theatre, and have been ever since.”

Webster, who used to work as an on-call tech for the Rothstein Theatre at the Jewish Community Centre of Greater Vancouver, does stage-managing in her off-time. Her full-time job is with Purolator.

Matlashewski teaches at Arts Umbrella. “I love having the opportunity to share my love of visual and performing arts,” she said. “I believe it is so important for kids to have a creative outlet as part of their education.”

In addition, Matlashewski owns a small business, Sweetheart’s Baking, which can be found on Instagram and Facebook. “Like theatre,” she said, “my passion for baking started at a young age. This keeps me extremely busy when I am not in a show.”

At age 2, her mother enrolled her in her first dance class at Arts Umbrella. “In the years to follow,” Matlashewski said, “I continued my training in dance while also exploring theatre and visual arts. My love of musical theatre began at a very young age. Since then, I have not looked back. I feel extremely blessed to have had multiple opportunities to train with so many professionals in the industry. I am grateful to have taken part in programs such as the Arts Club’s Musical Theatre Intensive and the Pre-Professional Musical Theatre Troupe at Arts Umbrella.”

Among Matlashewski’s teachers and colleagues in the Jewish community have been Erika Babins, Perry Ehrlich and Wendy Bross Stuart, to name only a few.

“As a result,” said Matlashewski, who comes from a small family, “I have had many wonderful opportunities to connect with others in the community, create a positive support network, and learn more about my culture. I feel so blessed to be a part of such a warm and welcoming community.”

Matlashewski has also worked with the director of King Arthur’s Court before.

“Last year,” she said, “I worked with Chris Adams (our director) on RCMT’s [Royal City Musical Theatre’s] concert production of Into the Woods. He encouraged me to take part in this production.”

Adams was most recently featured in the Independentfor directing and co-producing Sweeney Todd: The Demon Barber of FleetStreet (jewishindependent.ca/experience-sweeneys-revenge). While this isMatlashewski’s first show with Metro, this will be Adams’ seventh show andthird panto with the theatre.

“I remember sitting in the audience, as a little kid, booing the demon and cheering the good fairy and then rushing to the stage after the show, just to get autographs from the cast,” he recalls on Metro’s website. “From that childhood time,” he says, “panto has kept a warm place in my heart.”

King Arthur’s Court will feature a demon and a fairy, too, along with a dragon and, of course, Arthur and the Knights of the Round Table. Chivalry and chicanery will run aplenty, and the audience will be encouraged to cheer and jeer.

Matlashewski plays Mopsy, the court jester. “My role requires me to do lots of singing, dancing and goofing around onstage,” she said. “I also talk directly to the audience at certain times.”

And, behind the scenes, Webster will be managing the chaos. For her, she said, “The best part is when I get to hear the kids talk to the actors during the meet-and-greets, and hearing their favourite parts of the show.”

For more information about and tickets to KingArthur’s Court, visit metrotheatre.com/currentshow. It runs until Jan. 5.

Two solid TUTS productions

Andrew Cownden and Paige Fraser in Theatre Under the Stars’ production of 42nd Street. (photo by Lindsay Elliott Photography)

The gasp of surprise and awe came from the row behind. “The glass slippers,” whispered the gown-clad girl, maybe 7 or 8 years old, when Cinderella received her infamous footwear from Fairy Godmother in Theatre Under the Stars’ production of Rodgers & Hammerstein’s Cinderella on opening night.

Directed by Sarah Rodgers, this social justice-infused version of the tale (with book by Douglas Carter Beane) seemed to resonate with the younger audience members, even though it was understated. The pace was on the slower side, the music beautiful but not that memorable and the costumes by Christina Sinosich were a mixed bag of styles but all earthy in tone, with no flash or brilliant pops of colour. Cinderella sported a pale blue and white dress in her harsh life with her stepmom and two mean stepsisters (though one turns out to be pretty nice) and a mainly white ball gown, with some silver and blue accents. Prince Topher’s outfits were basically brown or black, with the exception of white formal wear, though they also had some fancy detail work.

The cast performed admirably, especially Mallory James as the heroine, Ella. Tré Cotten seemed a little less sure in his role as Topher, but was suitably dashing and princely, wanting more than a beautiful woman for his wife and wanting to be more than just a ruling figurehead. The revolutionary Jean-Michel, played by Daniel Curalli, and the not-so-evil stepsister Gabrielle, played by Vanessa Merenda, add interesting elements to the play for those who’ve only seen the less substantive (story- and character-wise) romantic version. And the ensemble, in which Jewish community member Lyrie Murad sees her TUTS debut, does a fine job.

Alternating with Cinderella on the Malkin Bowl stage is 42nd Street, which, despite its Depression-era story, costumes and set, is an uplifting, energetic and fun production.

The role of Broadway producer Julian Marsh seems to have been written for Andrew Cownden, and Paige Fraser – making a very strong TUTS debut – is perfect as Broadway ingénue Peggy Sawyer. While the entire cast and ensemble is great, Colin Humphrey as choreographer/dance leader Andy Lee is fantastic, cigarette hanging out of his mouth for much of the show, even when putting the chorus through its paces. And, ironically, Janet Gigliotti as fading star Dorothy Brock is probably the brightest light of this show.

The direction by Robert McQueen, the choreography by Shelley Stewart Hunt, the musical direction (and acting) of Christopher King, the set by Brian Ball, the costumes by Sinosich, etc., etc., all come together neatly in this production.

For tickets to both Cinderella and 42nd Street, visit tuts.ca.