theatre

A funny look at death

David Bloom, left, and Richard Newman share two different roles in Western Gold Theatre’s production of Caryl Churchill’s Here We Go, which is at PAL Studio Theatre until May 25. (photo by Colleen Bayati)

“I love Caryl Churchill – she is quirky,” actor Rosy Frier-Dryden told the Independent. “She makes you think, makes you work. You can’t just rely on lines! You have to bring her lines to life.”

Frier-Dryden co-stars in Western Gold Theatre’s production of Churchill’s Here We Go, which centres around a funeral. Director Kathryn Bracht describes the work as “a deceptively simple, 45-minute exploration on death and dying that is a surrealist meditation wrapped up in her crafty, clever dialogue.”

For the run at PAL Studio Theatre, which goes to May 25, Frier-Dryden is joined by fellow Jewish community members David Bloom and Richard Newman in the cast, which is rounded out by Bernard Cuffling, Kate Robbins and Peihwen J. Tai.

“Without giving all of the storyline away, the general structure of the play is that it’s in three parts: a funeral scene; a monologue scene, where the deceased speaks; and a final scene without words,” explained Newman.

“We did our first runs today, and it’s quite remarkable how the three scenes build on each other to explore relationships with aging and death,” added Bloom. “It’s startlingly funny and weirdly moving.”

Bloom and Newman share roles, as do the other actors: Frier-Dryden with Robbins, and Cuffling with Tai.

“In half of the shows, I am on stage in the first third playing one of five people attending a funeral,” said Newman. “In the other half of the shows, I play the subject of the funeral, the guy who died, who has a lengthy monologue – six pages of script, to be precise. This monologue is brilliantly written – emotional, scary and, always, funny. Quite a challenge, but such a great scene to play.

“Because of Churchill’s writing and Kathryn Bracht’s direction, each actor has a lot of leeway to interpret their lines and define their characters. Like me, David will have his own interpretation of both roles, and we’ve agreed not to watch each other, so we’ll not be influenced by the other – we’re developing our characters independently. Each of us rehearses alone in the room with the director.”

Frier-Dryden also spoke enthusiastically about the latitude the actors have in this play.

“The most marvellous thing is, you are allowed to create your own character, based on what Caryl Churchill writes and the freedom she gives you,” said Frier-Dryden. “In the first scene, I am playing a character that is older and a big personality. She is a Londoner, upper class, and lives in Eaton Square with a vast array of friends. She had an affair with the guy whose funeral we are attending. In the final scene, she is ill, has dementia and she is slipping away. She and her husband have come to terms.”

photo - Rosy Frier-Dryden’s character in Here We Go had an affair with the man whose funeral the characters have come to attend — Rosy Frier-Dryden’s character in Here We Go had an affair with the man whose funeral the characters have come to attend. *(photo by Colleen Bayati)*

“Caryl Churchill is quite simply a remarkable playwright,” said Western Gold Theatre artistic director Tanja Dixon-Warren. “She has an extraordinary command of language and deep understanding of human nature. Her work is very reminiscent of Pinter and Beckett, in that the text is pared down to its absolute essentials. There is nothing extraneous or gratuitous.

“She has a distinctive, truly singular approach to writing,” Dixon-Warren continued. “Very often there is no punctuation, and lines are not assigned to specific characters, thus allowing the director and actors to find multiple stories and characters within the piece – knowing that they will bring their life experience to the work. This requires that the director, actors, designers really dig into the play, to find all the nuances and be very, very specific about what they are saying. Her material is, essentially, just the beginning of the conversation.”

It certainly has the actors thinking beyond the play and about their own lives: Bloom is 65, Newman is 78 and Frier-Dryden is 90.

“I find myself being grateful for being alive and still being able to move around under my own power,” said Bloom, who commented that the monologue “is both a marathon and a sprint” in which he immerses himself every bus journey, so he’s physically and emotionally exhausted at the end of each day.

“I think about my parents a lot,” he added, “because the play reminds me of their last years and the different ways they faced bodily decline and death. There’s a scene I’m not in that brings up heartbreaking memories of my father’s last years. But, mostly, I’m so delighted to be working on such a beautiful piece of writing with a group of wonderful people, many of whom are even older than I am.”

“You start to think about what’s really important, what I want to do with whatever is left of my life,” said Newman, who has lost many friends in the last year-and-a-half or so.

“What strikes me most strongly is that I am enjoying being here and am looking forward to sticking around to enjoy life as best as I can, as long as I can,” he said. “I consider myself fortunate – I run, work at keeping my body as healthy as I can – and believe my mind will follow…. This play kind of dovetails with my life and the issues and experiences that arise, the things I’m doing and how I’m dealing with life at this age. It’s a kind of serendipity to be in this play.

“At the end of the day,” said Newman, “I’m reminded that life is a gift, a miracle. I have my work, friends both young and old, family. I’m blessed.”

Here We Go also resonates with Frier-Dryden, who recently lost a family member.

“I have lived through the deaths of many, especially recently, and I think of this play and its themes … all the time,” she said. “I am not just going to rehearse – I am going with the knowledge that someone dear has died, and I can send them off and honour them. I love that every day I think of the person I loved, and he is gone, but not gone.”

“Here We Go features some of the best actors in Vancouver,” concluded Newman. “This will be unlike anything you’re liable to see in the Vancouver theatre season! I hope people will come to the show to watch our performances.”

For tickets to Here We Go, visit westerngoldtheatre.org.

Carousel stages Stuart Little

“When Mrs. Frederick C. Little’s second son arrived, everybody noticed that he was not much bigger than a mouse. The truth of the matter was, the baby looked very much like a mouse in every way. He was only about two inches high; and he had a mouse’s sharp nose, a mouse’s tail, a mouse’s whiskers, and the pleasant, shy manner of a mouse. Before he was many days old, he was not only looking like a mouse but acting like one, too – wearing a grey hat and carrying a small cane. Mr. and Mrs. Little named him Stuart, and Mr. Little made him a tiny bed out of four clothespins and a cigarette box.”

So begins EB White’s classic children’s story Stuart Little, which was published 75 years ago. To celebrate the anniversary, Carousel Theatre for Young People is presenting the play Stuart Little, which was adapted from White’s book by Joseph Robinette. Jewish community members Advah Soudack and Stephen Aberle are part of the production, directed by Carousel Theatre artistic and managing director Jennica Grienke, at Waterfront Theatre April 23-May 11.

Soudack and Aberle take on multiple roles, including as Stuart’s parents. Castmates Melanie Yeats and Megan Zong also play several parts, while Katrina Teitz plays the title role.

photo - Advah Soudack in a table read of Stuart Little, which will be presented by Carousel Theatre for Young People at Waterfront Theatre April 23-May 11 — Advah Soudack in a table read of *Stuart Little*, which will be presented by Carousel Theatre for Young People at Waterfront Theatre April 23-May 11. *(photo by Kezi Jacob)*

“I was so excited when Jennica called me to offer me the role of Mrs. Little,” Soudack told the Independent. “I knew being part of Stuart Little would be wonderful and the fact that music was being added to the story made me even more jazzed! I love being part of theatre for young audiences, as I think it is so important for children to get the chance to witness and experience live theatre. I have very fond memories from the theatre productions I saw as a child and I know they were part of what inspired me to be an actor myself.”

“I loved the book when I read it as a child, and the approach taken by this production sounded like fun,” said Aberle of why he wanted to be a part of it. “I have a long history with Carousel, going back to the ’80s and including many years both touring to schools throughout BC and performing at the Waterfront, so it’ll be fulfilling to come back and perform here with the company again. I’ve also had the pleasure of working with director Jennica Grienke in the past, and I’m looking forward to renewing that connection. Finally: it’s work! And I love to work.”

Aberle has performed in Carousel’s Scrooge, Macbeth, Dream Castles, The Taming of the Shrew and other productions over the years. Soudack was in The House at Pooh Corner, directed by Kim Selody, in 2020. “Unfortunately, COVID shut us down, so we didn’t get the chance to finish our run with Carousel, nor did we get to remount with Presentation House,” she said.

In preparation for the play, Soudack re-read Stuart Little, a book she read as a child – “and I remember loving it and putting all this effort into a very detailed title page for a book report I wrote … putting a lot of effort into drawing Stuart Little and trying to get him just right.”

Not only did Aberle read the book – “and Charlotte’s Web, another favourite by the same author” – but he read it “a number of times and loved it.”

“It’s interesting,” he said, “to re-read it now with grown-up eyes and see things I’d forgotten: Stuart’s pluck, and his enduring quest to reconnect with his bird-friend Margalo, for example.”

photo - Stephen Aberle in a table read of Stuart Little — Stephen Aberle in a table read of *Stuart Little. (photo by Kezi Jacob)*

For Aberle, the enduring messages include: “Don’t give up on your dreams – and don’t pout and sulk when things don’t quite go the way you’d planned! Don’t be a pushover, and don’t be a jerk either. It’s OK to be different. It’s OK to love who you love. Everyone – including animals, both human and non-human – matters, deserves respect and has their part to play.”

“I feel that the relevance of the story in today’s world is to not fear differences in one another and to not judge each other by our appearance or stature,” said Soudack.

“The part of the story that I particularly like is how everyone accepts Stuart without judgment or fear,” she said. “His parents love him for who he is and everyone he encounters takes him at face value, shows him respect and treats him like an equal.”

Aberle’s favourite part is Stuart driving off into the north, searching for his love, Margalo.

Rehearsals hadn’t started when the Independent spoke with Aberle and Soudack, so they couldn’t say exactly what playing more than one part would be like, but they explained their process.

“I usually approach playing different roles by working with different character bodies and vocal placement. I like to work off of a first hit that I get from reading the script and various characters and build from there. Some of the roles we get to play are animals, so that will be fun!” said Soudack.

Aberle said “one of the most interesting things about playing several characters is finding the characteristics that distinguish them so that one can step quickly and surely into their shoes – or, in some cases, paws. Vocal qualities, gestures, mannerisms, all that kind of thing.”

Neither actor approaches a performance for younger audiences differently than they do other shows, though both pointed to some differences.

“Children’s theatre is usually quite playful and energetic and requires a different way of storytelling,” said Soudack, “so I keep that all in mind when I start my prep and enter the rehearsal hall.”

“Younger audiences can sometimes be more upfront in their responses, which can teach everyone – actors, directors, playwrights, everyone – a lot,” said Aberle. “Back in the day, when shoemakers moved from laces to Velcro for young people’s footwear, we used to talk about discovering the ‘Velcro moments’ – when the youngest audience members, sitting cross-legged in the front row on the school gym floor, would start to play with the Velcro on their shoes, peeling and re-fastening it, and the sound would fill the air. Usually, these were ‘author’s message’ moments – when the script stopped being the story of the interplay between the characters and started becoming a moral. Young audiences can smell a moral approaching from a mile away, and they have little patience for it. (That’s probably true for older audiences as well, but they’ve grown better at hiding it.)”

For tickets (from $19) to Stuart Little, visit carouseltheatre.ca.

Coping with loss, grief

The creative team of Bema Productions’ staging of Rite of Passage, with director Zelda Dean (centre). (photo from Bema Productions)

Victoria’s Bema Productions is staging Rite of Passage, a story of family, grief and coming of age by Los Angeles-based playwright Izzy Salant, at Congregation Emanu-El’s Black Box Theatre March 19-30.

The play centres on Harold, an autistic youth preparing for his bar mitzvah. His mother is suddenly absent and others are not sharing with him why she is not there. Harold’s father struggles with whether he should tell Harold the truth.

“The complex and incredibly human characters go through terribly hard times, yet handle it with grace and humour, even when things are in turmoil and the stakes are high,” Dean told the Independent.

At a young age, Jesse Wilson, who plays Harold, became involved in the local theatre scene that worked with the Victoria Society for Children with Autism. Noticing his passion for the arts, his mother encouraged and supported him in taking classes and performing.

Wilson appeared in Bema’s 2019 production of O My God, in which he played the autistic son of the lead character. He has also performed with a Victoria-based summer Shakespeare company.

“Because autism presents in such a diverse way, depending on the individual, I worked closely with Jesse, who is on the spectrum, to ensure that we portrayed the character in an honest way,” Dean said.

Salant, who will be in Victoria for opening night, said the play follows his family’s story. His mother died by suicide in 2007, and he had written extensively about the experience and his grief. But, he said, he had not explored his family’s grief as well.

“I sat down with my father and aunt for around six hours in the fall of 2016 and, later that same year, I wrote the first draft of the play in a playwriting class as a sophomore at the University of Massachusetts Amherst,” Salant, a journalist and social media manager at Jewish News Syndicate, told the Independent.

Rite of Passage playwright Izzy Salant. (photo from jns.org/writers/izzy-salant)

At the time, the play was called From the Point of View of a Journalist. Several drafts later, it became Rite of Passage. After numerous workshops and rewrites, the work remains focused on the central premise of how to move forward amid grief.

In 2020, at the start of the pandemic, Salant and his writing partner, Ryan Dunn, posted Peace Talks on New Play Exchange, a digital library. Written in 2019, the play explored the Arab-Israeli conflict and how it extended to college campuses.

Shortly afterward, Dean reached out to them asking about rights. Bema performed the piece on Zoom and, later, live at the Victoria Fringe Festival in 2022.

“My working relationship with Zelda has been amazing and she’s served not only as an amazing confidant and director, but mentor,” Salant said. “So, when I told her about Rite of Passage, she was overjoyed. She watched a live reading of it via Zoom back in 2022 and told me she wanted to do the play, and, three years later, after many rewrites and discussions, here we are.”

The first full reading of Rite of Passage took place at the University of Massachusetts in 2018, and Salant produced it the same year. During the pandemic, he met Noah Greenstein, an actor and theatre producer from Boston, and sent him the script. Punctuate4, a company for which Greenstein associate produced, liked the script and organized different readings throughout the United States.

Regarding the Victoria production, Salant said, “I’ve been incredibly involved from a writing standpoint. I’ve had almost weekly calls with Zelda about what’s working, what may need to be tweaked, rewritten, etc. The script has gone through around three draft changes from the time Zelda told me she was going to perform it this season to the show that you’ll see live.

“I’m incredibly grateful to Zelda for putting on this production, as I am to Punctuate4 for all their work, in part because numerous other theatres in my career have told me they loved the play but don’t know if they could realistically stage it, somewhat because Harold is autistic.”

Besides Rite of Passage and Peace Talks, Salant has written Balagan, The Scenic View and Unrequited. He also has penned several short plays and one-act plays, including 2082, which follows two best friends on a road trip to New Mexico in the aftermath of a breakup. It premiered in 2023.

Currently, Salant is putting together a piece titled Catatonic, which his friends have called “Zionist Angels in America.” It’s a two-part play about the post-Oct. 7 world and Salant’s experience covering it as a journalist.

Salant is a member of the Dramatists Guild and the Alliance of Jewish Theatre. He is a graduate of the Kennedy Centre Playwriting Intensive and an Abby Freeman Artist in Residence at the Braid, a nonprofit Jewish literary organization in Santa Monica, Calif.

“I consider myself a Jewish artist through and through. Judaism is a core of my identity and I never want to shy away from expressing it,” Salant said.

Tickets for Rite of Passage can be purchased through the Bema Productions website at bemaproductions.com.

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

The complexities of humanity

Mitch and Murray Productions’ presentation of Heroes of the Fourth Turning co-stars, left to right, Jennifer Clement, David Kaye, Elizabeth Barrett, Aaron Craven and Nyiri Karakas. (Shimon Photo)

This is a story about the interesting and intersecting balance of faith, peace, politics, sex, sexuality, deceit, forgiveness and mysticism with the modern world. How do we grapple with the changing self, while clasping hands with those we no longer align with, but feel we must commune?” said Mitch and Murray Productions’ Kate Craven about Will Arbery’s play Heroes of the Fourth Turning, which has its Western Canadian premiere Jan. 31-Feb.9 at Studio 16.

“It’s about letting go of preconceived notions,” she said. “It’s about being wrong, even when convinced otherwise. It’s complex and startling and astonishing and I truly think it is one of the great plays of this generation.”

Heroes of the Fourth Turning has won multiple awards and was a Pulitzer Prize finalist. In it, reads the synopsis, “four young conservatives have gathered to toast the newly inducted president of their tiny Catholic college – one week after the Charlottesville riots in 2017. Their reunion spirals into spiritual chaos and clashing generational politics, becoming less a celebration than a vicious fight to be understood.”

“The play’s title is a take on the book The Fourth Turning by William Strauss and Neil Howe, which hypothesizes the cycles of history and attempts to teach us how to live through these cycles via examples from past generations,” explained Craven, who is the theatre company’s board chair and operations manager. “They base their hypothesis on the past 500 years of American history and uncover what they deem as a distinct pattern: that modern history moves in cycles, each one lasting about the length of a long human life and each composed of four times 20-year eras, aka ‘turnings’ that comprise history’s seasonal rhythm of growth – maturation, entropy and rebirth. Otherwise broken down as the High, a period of confident expansion, followed by the Awakening, a time of spiritual exploration and rebellion. Then, the Unraveling, in which individualism triumphs over crumbling institutions. Finally, the Crisis (the Fourth Turning), when society passes through a great and perilous gate in history, a specific time that requires a generation of heroes to rise up, resolve crisis and reset imbalances created in prior turnings.

“The Fourth Turning was written in 1997, at the tipping point between Gen X and the Millennial generation,” said Craven. “It references the Fourth Turning being in line with the coming of age of Millennials, a generation which three of the play’s characters fit into.”

One of those characters is played by Jewish community member David Kaye.

“I play a Catholic man in his late 20s named Kevin who is currently experiencing tremendous crises of identity and faith while struggling with alcohol abuse,” Kaye told the Independent. “A graduate of the Transfiguration College of Wyoming, Kevin received wilderness training, learned to scale mountains, ride horses, build igloos, memorize poetry and speak conversational Latin. Initially believing that he was being groomed to become ‘a leader of the world,’ Kevin has realized that he was woefully underprepared to actually live in the real world.”

While the character is drunk for most of the show, he is the only one asking questions, said Kaye. “He is often the butt of the joke but, ultimately, I think Kevin is the wise fool. Kevin wants so badly to connect with other people, regardless of their political leanings or religious affiliations. He wants to have hard conversations and expand his mind and is open to new ideas; unfortunately, he is not the greatest conversationalist.”

The role has certainly expanded Kaye’s mind. Having attended Vancouver Talmud Torah and King David High School growing up, the actor said “all of the knowledge of Catholicism I have is from pop culture, so building my character’s world has involved quite a lot of reading in theology and philosophy that I was completely unfamiliar with. As far as being a Jewish actor in the context of this play, I think that Kevin is actually the easiest character for me to identify with because he is constantly questioning things, and that was a core part of my Jewish education and exploration.”

Craven, who is also Jewish, “had the unique experience of growing up in a bi-faith family, one half Jewish, the other Pentecostal Christian.”

“It’s a difficult thing to belong to a family unit which falls on both sides of the faith divide and subsequently (often) political divide,” she said. “Perhaps this prepared me for a play like Heroes of the Fourth Turning. I find myself reaching for empathy for these often confused, sometimes wildly misguided characters and that makes this play very uncomplicated and uniquely human.”

She added that it feels like Arbery, the playwright, “is managing a perilous dance between faith, violence, truth and real-world events as his characters evolve and devolve in front of us. It feels much less about faith, religion and belief than it does about the crisis of being human. That’s relatable no matter who you are or which people you belong to.”

“This show can be viewed through many different lenses and each one will have a different takeaway,” said Kaye. The play will “ruffle some feathers,” he said. “But, if you are open to it, this is a show that will provoke thought, challenge perceptions, and might make you question the world around you.”

For Kaye, that is one of the main things he has learned from the character he is portraying – “that it is OK to question everything you have ever known to be true. It may be ugly and uncomfortable, but challenging your beliefs can lead to more authentic connections and a more fulfilling life.”

Craven said Mitch and Murray Productions’ goal has always been to present “bold, smart pieces that require the audience to be willing participants in the discourse and discussion. Our hope is that our productions showcase what it is to be a complex, imperfect human, as opposed to being a human who fits into a specific political, religious or cultural box, the aftermath of which potentially opens us up to empathy and understanding instead of division and despair.”

Set in rural Wyoming, Heroes of the Fourth Turning references hunting, there is a prop rifle on stage and gunshots are heard throughout the play. Other warnings include the use of coarse language and “heavy political debates which cover a range of difficult topics,” said Craven. “With this in mind,” she encourages people to come to the play with “a spirit of open-mindedness and an attitude of willingness – to see, hear and learn. All of which hearkens back to what I mentioned earlier about the plays Mitch and Murray attempts to produce – stories about a conflicted and imperfect humanity. We may not be able to see ourselves uniquely and specifically reflected in these characters, but there is certainly a reflection of humanity that is profound and deeply moving.”

Stories, she said, have “the capacity, when told well, to move and shape our molecules in a unique way. If we can be even a small part of creating compassionate debate, then we’re doing our job.”

For tickets ($15-$37) to Heroes of the Fourth Turning, visit mitchandmurrayproductions.com.

PuSh Festival turns 20

Clayton Lee explores his childhood obsession with Jewish professional wrestler Bill Goldberg in his The Goldberg Variations, which is at Waterfront Theatre Jan. 30 (photo by Kenneth Koo)

PuSh International Performing Arts Festival runs Jan. 23-Feb. 9. This year’s run marks the festival’s 20th year.

PuSh 2025 features more than 25 presentations, including 20 original performance-based productions; five animated parties and cabaret-style events; two film events; and two artist residencies, one of which will culminate in an open studio showing by international guest artists. In addition to a strong Canadian presence, with 13 presentations, the PuSh Festival includes works by artists of Belgium, South Korea, Brazil, United Kingdom, Uruguay, France, Denmark, Italy, Taiwan, the United States, Sweden and Democratic Republic of Congo.

Among the many presentations this year are at least two with a Jewish angle.

On Jan. 30, 9 pm., at Waterfront Theatre, The Goldberg Variations by Clayton Lee (Canada/United Kingdom) will have its Western Canadian premiere, with a talkback following the show.

Through an unapologetic investigation of desire, power dynamics and identity, Lee explores his childhood obsession with Jewish professional wrestler Bill Goldberg and the impact it has had on his sexual and romantic history. The perplexing crossroads between dominance, submission, heartbreak and vulnerability are laid bare in this candid and unconventional performance where fantasies are both indulged and deconstructed.

Rebecca Margolick is part of Dances for a Small Stage, Feb. 4 and 5, which showcases 10 experimental, short dance pieces by femme and non-binary artists from different generations and dance practices. (photo from PuSh)

On Feb. 4 and 5, 6:30 p.m., at Please Beverage Co., Jewish community member Rebecca Margolick is part of Dances for a Small Stage. Presented by PuSh Festival and Small Stage, the event showcases 10 experimental, short dance pieces by femme and non-binary artists from different generations and dance practices. The other artists participating are Claudia Moore, Cori Caulfield, Jessica Dawn Keeling, Nasiv Kaur Sall, AJ Simmons, Nicole Rose Bond, Burgundy, Ray Young, Adreane Leclerc and Bettina Szabo. There is a post-show talkback Feb. 5.

Other highlights for the 2025 PuSh include BOGOTÁ (Jan. 31 and Feb. 1) by Montreal’s Andrea Peña & Artists, which constructs a brutalist landscape from choreography inspired by Colombia’s political and spiritual heritage, and Dimanche (Feb. 6-8) by Belgium’s Focus and Chaliwaté companies, which paints a sharp yet tender portrait of humanity caught off guard by devastating natural disasters.

PuSh 2025’s animated parties and cabaret-style events include Van Vogue Jam’s Dune Wars Kiki Ball (Feb. 2), opening and closing parties with surprise performances, and the return of the frank theatre’s QT Cabaret at Club PuSh (Jan. 29).

Rounding out the lineup will be two film events: a free marathon screening featuring Brazilian actress Renata Carvalho, the artist behind PuSh’s Transpofagic Manifesto (Feb. 9), and a Born in Flames (Lizzie Borden) film screening (Feb. 6).

The festival’s Industry Series for arts leaders (producers, presenters, curators, directors, and more) returns for 2025, from Jan. 28 to Feb. 2. PuSh, in partnership with Playwrights Theatre Centre and Festival TransAmériques, will also offer free artistic consultations for local artists with invited national and international dramaturgs.

Ticket prices for most PuSh shows range from $15 to $39. Visit pushfestival.ca or call the PuSh Festival info line at 604-449-6000.

– Courtesy PuSh Festival

Join Pacific Theatre in Shire

Peter Carlone, left, and Tim Carlson in Pacific Theatre’s production of The Hobbit (photo by Chelsey Stuyt)

Need a break from reality? On now at Pacific Theatre is The Hobbit, based on JRR Tolkien’s book, with all its adventure, wizardry, fantastical creatures, and more. The tale is brought to life by two actors “and a dragon’s hoard of theatre magic.”

A world premiere, Pacific Theatre’s The Hobbit was adapted by Kim Selody, with additional dialogue by Tim Carlson and Peter Carlone, the two actors who play multiple characters in the production. The Jewish Independent spoke with stage manager Julia Lank before the show opened on Nov. 15.

“We’re less than a week into rehearsal and already our performers, Tim and Peter, have made me tear up laughing with their creative solutions,” said Lank when asked what her most fun problem-solving moment had been so far. “Telling a story designed for dozens of characters with just two actors poses obvious challenges, and the entire team – including our designers – have jumped in with both feet,” she said. “The room is incredibly playful (this morning we were testing out rolling beer can ‘barrels’ down the aisles of the theatre) and our director, Laura [McLean] is also keeping the magic and wonder of Middle Earth at the forefront. The show is going to be full of surprises, and it feels great to be a part of creating something new together.”

Julia Lank, stage manager of The Hobbit. (photo from Pacific Theatre)

Lank is a self-taught stage manager, though she does have a degree in film production and worked as a first assistant director for several years, which, she said, is the film world’s equivalent of a stage manager.

“Stage management is one of those niche jobs that won’t be on a high school career counselor’s radar, but it’s perfect for me – a mix of technical theatre magic, caretaking, and lots of spreadsheets,” she said. “If you’re interested in how the theatrical sausage gets made and you’re unflappable, stage management might be for you.”

Lank’s recent credits include other Pacific Theatre (PT) productions (Gramma and The Cake), as well as Tuck Everlasting (Arts Umbrella), On Behalf (Fringe), L’Elisir d’Amore (Burnaby Lyric Opera), Jasper in Deadland (Awkward Stage) and City of Angels (the PIT Collective), among others.

“I worked as PT’s marketing assistant and later marketing director from 2017 to 2023,” she said. “I left last June to pursue stage management full-time, but I consider Pacific a theatre home and love the work and people there dearly. I’m also a self-taught marketer, but it’s easy to advocate for an artistic space when you genuinely believe in the work they’re doing. Many of my favourite theatre experiences, both behind the scenes and as an audience member, have been at PT.”

How she prepares for a new project differs, but, in general, she said, “I like to familiarize myself with the script and score well before a show begins so I can anticipate areas that may need extra support or take more time to come together. The director will be doing this work, too, and you want to be in the best possible position to help them execute their vision. And you definitely don’t want to be in a position where you didn’t realize there was going to be a live goat onstage until the first read.”

A good follow-up question would have been whether Lank was referring to The Hobbit when talking about an acting goat, but the JI missed that opportunity. Instead, we asked about how The Hobbit fits into Pacific Theatre’s aspiration “to delight, provoke and stimulate dialogue by producing theatre that rigorously explores the spiritual aspects of human existence.”

“Tolkien was famously opposed to religious allegorical readings of his work, but the Pacific Theatre community has a fondness for his work that stems from his personal religious background,” explained Lank. “Regardless, if you’re a person of faith or not, I think the values of compassion, the rejection of greed and needless violence in favour of communal care and quiet contentment and imagination in this interpretation of the story make Hobbit a perfect PT show.”

As for Lank, she was raised in the local Jewish community and attends Or Shalom.

“Judaism honours my curiosity and taught me that questioning a system can only improve it,” she said. “My Jewish identity calls me to care for the vulnerable, stand up for communities whose voices have been suppressed, and honour the natural world. It’s very important to me.”

Turning back to less serious matters, Lank said of The Hobbit: “It’s going to be a marvelous, silly, scary adventure – you’ll be very welcome to join us in the Shire.”

The Hobbit runs to Dec. 21 at Pacific Theatre. Performance times are Wednesday-Thursday, 7:30 p.m.; Friday-Saturday, 8 p.m.; and Saturday-Sunday, 2 p.m. For tickets, which start at $20, visit pacifictheatre.org or call 604-731-5518.

A Shylock written for Rubinek

Saul Rubinek in Mark Leiren-Young’s Playing Shylock, which is playing in Toronto. Leiren-Young wrote the work with Rubinek in mind. (photo by Dahlia Katz)

Victoria playwright Mark Leiren-Young spent October in Toronto, where his Playing Shylock is appearing at Berkeley Street Theatre through Nov. 24. The one-man show, which stars Saul Rubinek, is based on the Jewish character in Shakespeare’s The Merchant of Venice.

“I’ve been attending rehearsals, run-throughs and previews as a playwright,” Leiren-Young told the Independent from Toronto before the play’s world premiere. “That means I’m around to work on the script with the actor and director. Since it’s a new script, that means I’m adjusting it to reflect ideas that come up in rehearsals, working with the costumes, the designs and the space. Really, anything that needs doing to get the script as tight and right for the actor and the production as it can be – making sure ideas are clear, jokes land and that Saul is having as much fun as possible.”

photo - Mark Leiren-Young — Mark Leiren-Young (photo by Jeffrey Bosdet)

Leiren-Young’s play Shylock first appeared on stage at Bard on the Beach in 1996. Playing Shylock, he said, is an all-new play with the same core premise: a production of The Merchant of Venice has been canceled in mid-run due to a controversy over the production.

“This is a bespoke piece that started during the COVID lockdown and I built it around Saul’s life experiences after studying his voice, his personal history, his greatest roles, his mannerisms,” Leiren-Young said. “This was written to sound like Saul and feel like Saul and not like a character or story created by me.”

In fact, when actor John Huston, who starred in multiple productions of Shylock, touring five provinces, asked Leiren-Young what was recognizable from that first play, the playwright responded, “The lines that Shakespeare wrote.”

“Beyond keeping some of Shylock’s best lines from Merchant of Venice, this is an all-new play because we’re in an all-new world,” said Leiren-Young. “And it’s a new world in so many ways. Think about how controversies played out before social media. Think about how the issues in theatre and society have changed, and the issues the Jewish community is facing.”

According to Leiren-Young, the original draft of Playing Shylock was completed a couple of years ago. Yet, he tries to update his plays to reflect current circumstances.

“This script always included a cancelation letter inspired by an actual cancelation announcement,” said Leiren-Young. “The original draft for Playing Shylock was inspired by a letter announcing the cancelation of a screening of the controversial opera The Death of Klinghoffer about a decade ago.”

The letter now, he said, is largely inspired by the decision of the Belfry Theatre in Victoria to cancel its January production of The Runner after protesters demonstrated and vandalized its property because they objected to a play about an Israeli volunteer with the Orthodox group ZAKA.

“Not just because it’s more current, it’s Canadian and more relevant to the times,” he said, “but because that letter appeared to be used as the template for canceling another play at a theatre across the street from the Belfry.”

Rubinek, a distinguished stage veteran, is widely known to film and television audiences. To name but a few of his credits: Wall Street, Barney’s Version, Frasier. This past June, the Globe and Mail placed Rubinek in the 25th spot on its list of the greatest Canadian actors of all time.

“I believe that if the people who made that list see this show, they’ll want to bump up his ranking by a fair bit. Watching Saul deliver Shakespeare’s lines is amazing. Watching Saul deliver my lines is a dream,” Leiren-Young said. “He’s 76 and he’s better on lines than any other actor I have ever worked with.”

Of the play, Rubinek said Leiren-Young “leaps into the historic controversy about the character of Shylock with gleeful relish and biting humour and then has the chutzpah to create a poignant study of why theatre should matter.”

The actor added, “To collaborate with on a new play – and I’ve done a lot of them – Mark is an actor’s dream: tirelessly inventive, generous, creatively stubborn in all the right places and, best of all, funny.”

This weekend, on Nov. 10, 2 p.m., at Victoria’s Congregation Emanu-El, Leiren-Young will give a talk about Playing Shylock, his original play Shylock, the character of Shylock, the impact and history of The Merchant of Venice and “anything else the audience that day wants to talk about.”

The author of numerous books, Leiren-Young is the only writer to win the Leacock Medal for Humour (Never Shoot a Stampede Queen) and the Science Writers and Communicators Award for Canada’s best science book (The Killer Whale Who Changed the World).

Leiren-Young’s Sharks Forever is a non-fiction book for middle-school readers and features an introduction by environmental activist Paul Watson. His next book, Octopus Oceans, is being released in early 2025. He is currently working on a new book for young readers focusing on how to protect the oceans and the animals who live there.

To follow Leiren-Young online, visit his website, leiren-young.com, and his Substack page, substack.com/@skaanapod?.

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

A love affair that lasts

Sarah Heyman and Jerry Callaghan co-star in Bema Productions’ Same Time, Another Year, which opens July 17 at Congregation Emanu-El’s Black Box Theatre. (photo from Bema Productions)

From July 17 to 28, Bema Productions will be staging Same Time, Another Year, the sequel to Bernard Slade’s Broadway hit Same Time, Next Year, at Congregation Emanu-El’s Black Box Theatre.

The sequel catches up with Doris and George, who, in the first instalment, have carried on a long-standing love affair – meeting each other for a weekend once a year despite being married to others. Same Time, Another Year starts on their 25th anniversary, in 1976, and continues through their subsequent February rendezvous over the next 17 years.

The pair are now in their late sixties, faced with the responsibilities and consequences of life, all the while reexamining love beyond their annual assignation and the romance contained within it. Told in six scenes, and against the backdrop of the late 20th century, their affair and their perspectives on their relationship evolve and change. Along the way, there are illnesses, career successes and setbacks, second marriages, second families, and grandchildren.

“I knew that many of our patrons would remember Same Time, Next Year and, like me, wonder what happened to George and Doris 25 years later. I have had quite a few [people] tell me this since the advertising went out,” said Zelda Dean, founder and managing artistic director of Bema. “Maybe because I am ‘that age,’ the play spoke to me, as it addresses what we all have to face as we age – the fears that everyone has about their health and about losing the ones we love.”

Doris and George form a special bond beyond the bedroom, one with its own sincerity. Further, they provide a kind of gauge for what happens in the other’s life.

Dean told the Independent that what she likes most about the play is the unique relationship that develops over the many years, although the characters only meet once a year. She feels that audiences will enjoy the continuation of their journey.

Dean added that it has been a delight to work with the two leads, Sarah Heyman and Jerry Callaghan, whom she described as two very gifted actors. Both have been in the business for several years and are also close friends, which, Dean explained, made it easier for them to portray the relationship between the couple.

“A ‘two-hander’ is always a challenge for the actors. Of course, many lines have to be learned and there is never time for a break on stage,” Dean said. “This particular play has six scenes, mostly four years apart. This means the actors have to change their costumes in two minutes or less. Much harder than one would think, especially standing in the wings.”

A Canadian playwright and actor, Slade created two popular television series in the late 1960s and early 1970s, The Flying Nun and The Partridge Family. He also wrote for Bewitched and The Courtship of Eddie’s Father, among others. He began his career as an actor, performing in more than 200 plays on stage, radio and television, in regional theatres around Toronto and on camera for the CBC. By the mid-1970s, Slade turned his comedic focus to the stage and wrote more than a dozen plays.

One of the most produced and successful two-person plays, Same Time, Next Year opened on Broadway in March 1975, originally starring Ellen Burstyn and Charles Grodin, and ran for more than 1,400 shows during the course of nearly four years. It toured across the United States, played in London and was translated into several languages. It was adapted into a film in 1978 that featured Burstyn and Alan Alda.

It has been said that Slade’s strength as a writer derives from his ability to fill the characters’ lives with events of great richness and depth, and still maintain the easy lightness so important to a romantic comedy – with strong dialogue and a consistent, realistic and emotional tone. The theme of Same Time, Another Year, as well as the original, is that few (if any) relationships fit into neat boxes, and each has its own rhythm and place in people’s lives.

For more information, showtimes and tickets, visit Bema’s website, bemaproductions.com.

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

Not-so-accessible city

Lenard Stanga as Hugh and Cadence Rush Quibell as Shiloh in Realwheels Theatre’s Disability Tour Bus podcast, which will be released July 17. (photo by Rashi Sethi)

On July 17, Realwheels Theatre releases its new production, Disability Tour Bus, as a radio play podcast available for streaming at realwheels.ca.

Written for podcast platforms by Amy Amantea and Jewish community member Rena Cohen, Disability Tour Bus follows Shiloh, a young wheelchair-user, as they navigate their first day as a guide for Funcouver Bus Tours. Working alongside longtime employee and relentless dad-joker Hugh, Shiloh struggles to stick to the Funcouver script when so much of “Canada’s most wheelchair-accessible city” is still so inaccessible. People and politics collide until a new passenger, Tess, comes aboard and offers common ground. The tour must go on! Because there’s someone special waiting for Tess at the end. At least she hopes there is.

The role of Hugh is played by Lenard Stanga, Jewish community member Cadence Rush Quibell plays Shiloh, and co-writer Amantea is Tess. The cast is rounded out by Mack Gordon, Caitlyn Bairstow, Ian Hanlin and Lauren Jackson playing multiple parts.

“As a wheelchair-user, I’ve heard that whole ‘most accessible city’ line a lot,” said Realwheels co-artistic director Adam Grant Warren. “It’s a big part of the reason I moved to Vancouver from the other side of the country. I’ve been here for 16 years now. After hundreds of busted elevators, torn-up sidewalks and too-full buses, I know Vancouver has a lot of work to do. Access-wise it means well, but it’s a mess sometimes. For me, that’s one of the most interesting tensions in this project: the attempt to create access when no one thought to ask what those of us who are looking for it actually need.”

– Courtesy Realwheels Theatre

The birth of a classic movie

David Wallace, J.D. Dueckman, Matt Ramer and Rachel Craft in Metro Theatre’s Moonlight & Magnolias, which runs to May 18. (photo by Emma Chan)

Gone With the Wind (GWTW) is my all-time favourite movie and, if adjusted for inflation, the highest ranking movie of all time. To think that the screenplay for Margaret Mitchell’s 1037-page tome was hashed out in a five-day marathon by two Jews and a WASP holed up in producer David O. Selznick’s Hollywood office beggars belief. And yet, that is what happened – and Moonlight and Magnolias, currently playing at Metro Theatre, is Ron Hutchinson’s hilarious take on what went on in that office.

It is 1939, Selznick is producing both GWTW and The Wizard of Oz (TWO). He has just sacked director George Cukor three weeks into production (due to a run-in with Clark Gable) and pulled Victor Fleming off the set of TWO (he allegedly slapped Judy Garland) to direct. There are only five days until production resumes. Selznick’s reputation with his father-in-law, studio head Louis B. Mayer, is at stake. He needs a hit. Enter Ben Hecht, a successful Hollywood screenwriter, to the rescue. However, Hecht has not read the book and is not crazy about the job – as he says, “No Civil War movie has ever made a dime.” But he succumbs to Selznick’s relentless pressure, sacrificing his artistic standards for financial security.

Selznick gives strict instructions to his assistant, Miss Poppenghul, to hold all calls and let no one in or out of his office. He orders up a diet of peanuts and bananas (apparently brain food) for the triumvirate’s sustenance.

As Hecht pecks away at his typewriter, Selznick and Fleming reenact various scenes from the book in zany physical comedy fashion, giving life to the iconic characters Scarlett O’Hara, Rhett Butler, Melanie and Ashley Wilkes and even Prissy, the maid.

In Metro’s production, J.D. Dueckman is sublime as the neurotic Selznick. Kudos to him for mastering his dialogue-intense role and for his parodies of various GWTW cast. From his first approach to Fleming, played by Matt Ramer – “How do you feel about being locked up in a room with two crazy Jews?” – to his eureka moment for Clark Gable’s famous last line where yes, my dear, he frankly did give a damn, you can feel the passion behind the independent producer’s quest for his holy grail.

In counterpoint, David Wallace as Ben Hecht plays his role in a much more subdued manner. The audience gets that he is torn between writing the screenplay as Selznick envisions it and his own activist leanings to not glorify the Antebellum South but, rather, “make America look its ugly mug in the face” – its racism and antisemitism (sound familiar?). He astutely points out to Selznick that, no matter what his successes are, he will never be allowed to join the country clubs of the WASP elite or buy a house in certain parts of Beverly Hills and that the handful of Jews who created Hollywood are always worried about being shipped back to a Polish shtetl.

Ramer captures Fleming’s broody persona and does a wonderful job portraying Melanie during her childbirth scene. All three men have great chemistry together.

Rachel Craft brings a feminine presence to the testosterone-fueled stage as the ever-suffering and sleep-deprived Selznick assistant.

As the writing marathon continues, the order of the office disintegrates into paper- and peanut-shell-strewn chaos as the three amigos stumble around the office in a disheveled and bleary-eyed stupor. As they finish the project, the men realize that, indeed, “tomorrow is another day.” Cue the melodramatic theme song to close out the show.

Francesca Albertazzi’s set is what you would expect of a Hollywood mogul’s office – a polished mahogany desk, a crushed velvet couch, leather-bound armchairs and elegant light sconces. In a subtle nod to detail, the office window is framed in the iconic green velvet drop curtains fringed with gold tassels (that Scarlett used to fashion the gown she wore to visit Rhett in jail to ask for money to save her beloved Tara). The glorious reds, oranges and golds of the film are reproduced throughout the play by lighting director Les Erskine.

Director Catherine Morrison has ably helmed the production with her talented crew in this hidden gem of a funky theatre. You don’t have to be a GWTW fan to appreciate the show. Just go and see it. It will give you a nice escape from these troubled times.

Tickets can be purchased at metrotheatre.com or from the box office, 604-266-7191.

Tova Kornfeld is a Vancouver freelance writer and lawyer.