Windy Wynazz

Fabulous fare at Fringe Fest

Jolene Bernardino is among the cast of Deborah Vogt’s Carry On: A Musical. (photo by Landon Shantz, graphics by Braden Neufeld)

How many hours do you think you’ve stood around baggage carousels waiting for your luggage? Were you able to do something productive with your time? Or was it luggage limbo? Waiting for luggage becomes the backdrop of one of several plays with Jewish connections at the Vancouver Fringe Festival this year.

When Deborah Vogt and her team in Smackdown 2015 (a 24-hour musical theatre competition) picked “YVR Baggage Claim” out of a hat last year, the brainwave was immediate.

“I think that we were all inspired by the limbo of baggage claim: the idea that you’ve finished your flight, you’ve gone through customs and you just want to finish your journey, yet you’re stuck and powerless while waiting for your bags,” she told the Independent.

“As emerging artists, this feels unsettlingly close to home. We’re at different stages of our careers, but all somewhere in between school and working full time as artists. Do we commit, with the hope that eventually what we’re waiting for will come true? Or do we acknowledge that maybe our bags are lost and go home? And, more importantly, how do we stop and breathe and enjoy our surroundings in the meantime?”

Thus, Carry On: A Musical was born, in which the audience gets to examine the type of people we encounter in baggage claim areas; their physical and emotional baggage.

“Each of our characters is dealing with one kind of baggage or another – the fun part is watching how different people cope with what is lost, damaged, deep-seated or brand new.”

While this is intended to be a fun, silly show, it also addresses real conflicts that people live with every day, Vogt said.

“An important theme for us is the idea that there is no ‘right’ way to live life. Everyone has baggage, and that’s OK. Just like in an airport, there are many directions to take. It’s OK to make mistakes or accidentally get on the wrong flight, because that’s all part of the journey.”

* * *

photo - Randy Ross explores his singledom in The Chronic Single’s Handbook — Randy Ross explores his singledom in *The Chronic Single’s Handbook*. (photo by Sue Brenner Photography)

Enjoying the journey is a key message in writer/performer Randy Ross’ The Chronic Single’s Handbook. In it, Ross addresses the issues of relationships, examining why he’s single, whether some people are meant to be single and whether we should always hold out hope for that oxytocin-creating state we call love.

Based on a book that he’s been working on for seven years, called God Bless Cambodia, Ross places his quest amid a world tour where he strikes out with women on several continents but gets lucky (in many different ways) in Cambodia.

The play is not without its controversy. Because of its raw sexual exploration, some critics have called the work “misogynistic,” while others sing its praises. (It’s rated 18+.)

“The narrator’s trying to figure out why he’s still single,” Ross explained. “He tells stories of past relationships that failed. One is a domination scenario/date. Another is with a sex tourist in Cambodia who gives him a tour.”

In the end, you won’t please everyone, he said.

“My mother has seen the show – twice. She just says, ‘Boys will be boys,’ and we’re New York Jews, so this is our sense of humor. If you look at the whole Clinton/Lewinsky investigation, you could call most of the United States hypocrites.”

In the end, one key thing Ross discovers is that being single may be who he is. It’s a story of acceptance.

In the 35- to 54-year-old crowd, he said, one out of seven has never been married, so marriage is no barometer of mental health.

“Where I live in Boston, most of my friends are in their 50s and have never been married. And that number was comparable for women. You have 70 good years in your life, get on with your life.”

At the same time, Ross believes we are actually meant to be in some type of relationship – whether it’s marriage or not – and that everyone should experience the effect of the “cuddle drug.”

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photo - Windy Wynazz makes a deal with the Devil in Rich and Famous — Windy Wynazz makes a deal with the devil in *Rich and Famous*. *(photo by Shoot That Klown)*

Following from her previous Fringe performance Uncouth, San Francisco–based Windy Wynazz (aka Wendi Gross) is back as co-writer, producer and performer in Rich and Famous, co-written and directed by Deanna Fleysher.

“I’ve built on what Uncouth was last year, but I’ve made it more personal,” said Wynazz. “I make a deal with the devil and undergo a transformation through the play. The theme is similar to making it in showbiz.”

Wynazz said she was interested in exploring what success is at different times of our lives.

“I’ve reevaluated what ‘making it’ looks like,” she told the Independent. “It was even reflected in the intense creation period with Deanna. She prods and provokes to bring out the most juiciest and most enjoyable. But, at one point, she said to me, ‘Well, you didn’t make it, Wendi. How does it make you feel?’ I feel tied up in performing, it’s what I love to do. So, that’s success as well. There’s nothing else I’d rather be doing.”

While Rich and Famous is more linear and verbal, as well as less raunchy, than Uncouth, the audience might still expect some coarse moments, given that Wynazz describes the character as a mix of Carol Burnett, Lucille Ball and Lady Gaga.

“People will be dancing with delight when they leave,” said Wynazz. “The idea is that it’s positive and uplifting.”

* * *

Continuing with the theme of self-discovery, Vancouver’s Theatre Terrific jumps into the mix with The Hidden Stories Project.

Inspiration for the play comes from the poem “We are These” from the book In Honor of Our Grandmothers: Imprints of Cultural Survival, authored by Garry Gottfriedson and Reisa Smiley Schneider, with artwork by George Littlechild and Linda Dayan Frimer.

“With Hidden Stories, we used a Cree medicine wheel,” said artistic director Susanna Uchatius. “Each actor is put in a process determining which direction they are connected to. Whenever you start to build something like this, it’s a bit of chaos and a lot of fog. We walk through everyday life and the face we give to the public is actually our mask. Working through the medicine wheel, identifying our animal spirit … and putting on a mask allow the actors to really express who they are.”

Setting this play apart are a number of features.

First, it’s site-specific, taking place outside near the lagoon on Granville Island – rain or shine.

Second, Theatre Terrific includes actors of all abilities. “We have in our group people with autism, cerebral palsy and Downs syndrome,” Uchatius explained. “We bring people together who would normally not come together and unite as ensemble to speak in a common voice.”

It’s also very accessible for those who are deaf or hard of hearing, as there is a lot of imagery but not as much verbal communication.

photo - Butt Kapinski stars in Dick on the Fringe on Sept. 6 — Butt Kapinski stars in *Dick on the Fringe* on Sept. 6. (photo from *vancouverfringe.com*)

“What they’re doing refers to hope and fear. It’s a lifecycle: you’re born, you eat, you speak, you love, you dance, you die. Many people will be surprised to identify with what they see. We deal with basic issues that matter to everyone.”

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The Fringe Festival runs from Sept. 8-18 on Granville Island. Fleysher opens the festival with a fundraising performance Sept. 6, where she reprises her character Butt Kapinski in Dick on the Fringe. Described as part Phillip Marlowe, part Elmer Fudd, Kapinski is the film-noir-style private eye who helps solve the great Fringe murder mystery (see jewishindependent.ca/butt-kapinski-not-your-childrens-clown). For more information, visit vancouverfringe.com.

Baila Lazarus is a freelance writer and media trainer in Vancouver. Her consulting work can be seen at phase2coaching.com.

Going solo at Fringe

Susan Freedman was inspired by her parents’ love letters. (photo from Susan Freedman)

Among this year’s Vancouver Fringe Festival offerings are several one- person shows, including Spilling Family Secrets by Susan Freedman and The Inventor of All Things by Jem Rolls – both of which have had soldout performances and received high praise on the Fringe circuit. The Independent spoke with each artist about their creation.

Spilling Family Secrets is Susan Freedman’s fourth one-woman Fringe show. Its basis is love letters that her parents wrote to each other between 1927 and 1937, which she melds with stories of her own “marital misadventures.”

JI: You’ve performed Spilling Family Secrets at other Fringes. What has some of the audience feedback been?

photo - Susan Freedman — Susan Freedman, creator of *Spilling Family Secrets*. *(photo from Susan Freedman)*

SF: I’ve had terrific audience feedback on this show – and a lot of it! People talk to me about the letters themselves. They are very touched by them. People tell me about how they have seen/found their parents’ or great-grandparents’ love letters. Sometimes the letters have been burned! Sometimes people tell me they’re going to go back and look at them again.

I’ve had many people talk to me after the show about their marital and family issues. It’s an intimate show and people sometimes feel that because I’ve shared my stories, they are comfortable sharing theirs. There is lots of laughter in the show and often some teary-eyed audience members at the end. Yesterday, I had a woman (in Edmonton) run up and give me a huge hug. I’d never seen her before but she was very emotional and positive about the show and felt comfortable coming up to me like that. Pretty lovely!

JI: Sometimes in performing a role more than once, different understandings develop along the way. Have new revelations about your parents, your “marital misadventures” or other parts of the material arisen over the last year-plus?

SF: I am struck by how patient my parents were and how impetuous I was in my love life. More and more, as I do the show, I realize the great benefit in really getting to know the person you are going to marry – before you marry them! I’m more grateful than ever that my parents had such great values, and I realize my good fortune in having had them as parents. I love doing this show and when I mentioned that to my daughter, she said: “Of course you do. You get to spend time with your parents at their best.” It’s true. In their letters, they were young and hopeful and, as my father said in a letter written to Brownie in 1929: “I don’t think we will ever grow old.”

JI: Could you give a brief overview of your creative process, taking the letters from, well, letters, to a performance?

SF: [In the program, it explains:] “My parents’ love letters filled 75 pages – single-spaced – when I transcribed them in 2012. I did it because Brownie and Sam’s 80-year-old letters were too fragile to pass around and I wanted a record of their love story for the family. The letters were long, intimate and wonderful to read. But I do Fringe shows, so I wanted to use the letters in a show. Reading letters on stage is a challenge, so I edited – a lot. I hope what’s left gives you a flavor of Brownie and Sam’s personalities and their relationship….”

That’s what happened. And then I started to combine and add the events from my own life (and my daughter’s) that related to love, the letters and the milestones in the letters. I worked with a wonderful dramaturg-playwright, Lucia Frangione, and she pushed me, asked the right questions and helped so much. Everyone needs a great editor, right? She is mine. I worked with her until I had a good “rehearsal script,” a year ago April.

By now, I’ve done 18 drafts … and I’m pretty pleased with it. It’s just 45 minutes (including time for laughs) and it seems to be a very simple show. It took me a very long time to make it look simple!

I have continued to make small changes and, if I do it again next year (I’d still like to do Montreal and Ottawa Fringes), who knows, maybe more changes.

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photo - Jem Rolls introduces Fringe audiences to Hungarian Jew Leo Szilard (1898-1964), who Rolls believes is a hero — Jem Rolls introduces Fringe audiences to Hungarian Jew Leo Szilard (1898-1964), who Rolls believes is a hero. *(photo from facebook.com/jem.rolls.1)*

Jem Rolls’ The Inventor of All Things is based on the life of Hungarian Jew Leo Szilard (1898-1964): “peacemaker, physicist, refugee, celebrity, Martian, and more. And very funny. Hated by generals, first to think of the atom bomb, and too good to flush his own toilet.”

JI: When did you first “discover” Szilard? What went into creating Inventor?

JR: I was stuck in Dauphin, Man., one Christmas with nothing to read but a cheesy book on Nazi science, which led me to [Austrian Jewish physicist] Lise Meitner and her nephew Otto Frisch, who have a bunch of great stories I could imagine telling, most notably the famous walk in the snow on Christmas eve of 1938 at Kungälv, where she’s just escaped the Nazis by the skin of her teeth, and Auntie Lise and Nephew Otto discuss the strange results in Berlin and suddenly realize that they have all already been splitting the atom in their labs for years – a massive realization which opened everything up.

And that looked like a great story, but then it led me to the funniest, craziest guy of them all – Leo Szilard … he’d thought of the nuclear chain reaction and, so, the bomb, five years before, when he escaped the Nazis in 1933 and was stateless in London.

If he wasn’t so funny, and so preposterously eccentric, I wouldn’t have a show – it would be too dry and hefty. And the fact he’s forgotten just made it all the better to do, especially as the chief reason he’s forgotten is an antisemitic American general deliberately deleting him from history and the fact it’s such a big story of real historical reach. It’s like Frankenstein’s monster: he is the man who forced the atomic bomb genie out of the bottle – because of his fear of the Nazis – and then desperately tried to get it back in again when the German defeat was certain.

I have been thinking about the show for years, and I would explain my ideas to loads of people on the Fringe tour and they all said, “You should do a show about this,” so, in the end, I have.

I’m a performance poet by trade and, though I’m loath to leave that for awhile, the change has been great and, as it’s storytelling, I’ve had to make myself coherent and completely understandable, which has never quite been a priority before. Plus, performance poetry is a very good place to venture into storytelling from. I have all manner of vocal and physical and linguistic tricks I am thoroughly enjoying deploying in a tight historical narrative.

JI: When and where did you first perform Inventor? What are some of the ways in which you have adapted your performance or the content, if at all, as you’ve performed it?

JR: I wrote the show in Cyprus … having been thinking about it for years, and I edited it and learnt it up the Rio Negro in the Brazilian Amazon, in a lovely small town no one goes to called Barcelos and on the front of the slow boats which ply the reaches of the Amazon…. The journeys take days and I would sit on the front all day watching the unchanging jungle go by and muttering the script to myself as the sun arced the unchanging sky.

The process is a long one: years of thinking and reading/researching, a quick first draft and then a long four-month process of learning and editing to get the story in shape, which involves months of agonizing times, throwing bits out of the show that I really like till I have a tight, coherent thing which still has to be performed.

I always open in Montreal, and only then do I find what the show really is, and then there’s weeks of battle to get a show I am happy with and which my performance is doing justice to. It’s also a struggle to make oneself physically and mentally tough enough to give the show what it needs day in and day out.

Doing the show has forced the horrible realities of the times upon me. I know all the history, of course, but to follow the life of this guy who escaped the antisemitic reaction in Hungary in 1919, then the Nazis, who did so much to help his fellow Jews, who never finished any work because he’d always already had another brilliant idea … I really like the guy. I tell the audience I think he’s a hero, that I’m going to prove he’s a hero. Everyone likes their forgotten heroes and, when I show the audience that he was the chief wrecker of the Nazi bomb, I get a huge round of applause for the guy. One can make the claim that a Jew doomed Hitler – and that man is Szilard. And the forgotten-ness of the story is shocking – why hasn’t [Steven] Spielberg made a movie out of him?

I’ve had some very nice times with the show. I’ve been blessed in Hebrew by an old singer. I’ve had very respectable, well-dressed young men come up to me and shake my hand and say, “Well, I’m a Hungarian Jew and no one ever told me that story,” and I had a professor emeritus of physics from Toronto literally bouncing up and down in glee after show, Bob Logan, a Brooklyn Jewish guy who actually met Leo in ’57 and loved the show. I’ve had an Einstein scholar who had to go back and check his research and see that, yes, I was right, and he’d never realized certain things about Einstein because I am putting together Szilard’s story in a way that no one ever has – I am going for the drama, for the cliffhangers, for the big moments, and there a number of very big moments from 1933-1945.

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Among the one-person shows at this year’s Vancouver Fringe Festival, which runs from Sept. 10-20, are also:

photo - Comedienne Windy Wynazz takes a unique view of the life of a showgirl in UnCouth — Comedienne Windy Wynazz takes a unique view of the life of a showgirl in *UnCouth*. *(photo by Lynne Fried)*

UnCouth (14+), created by Windy Wynazz with Dan Griffiths, and performed by Wynazz. The show is “a bawdy, campy, comedy cabaret, drawing for inspiration on real-life experiences of being teased in school, falling in with a ‘bad crowd,’ and heteronormative gender expectations,” Wynazz told the JI. The 2014 San Francisco Comedienne of the Year “uses contemporary clowning to dig deeper into the underbelly of humanity, all while providing subversive comic relief on the human condition.” UnCouth is also at the Victoria Fringe Festival till Sept. 4.

photo - Roy Horovitz brings the English version of Benny Barbash’s play My First Sony (which is based on Barbash’s 1994 novel of the same name) to this year’s Fringe — Roy Horovitz brings the English version of Benny Barbash’s play *My First Sony* (which is based on Barbash’s 1994 novel of the same name) to this year’s Fringe. *(photo by Erez Schwarzbaum)*

Roy Horovitz brings the English version of Benny Barbash’s play My First Sony (which is based on Barbash’s 1994 novel of the same name) to this year’s Fringe. The play is told from the perspective of Yotam, an 11-year-old who records everything on his tape recorder, “my first Sony,” including some of the painful moments in his life, such as his parents’ separation.

For tickets and the full schedule, visit vancouverfringe.com.