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Local musical theatre veteran expresses her admiration for Winnipeg Music Festival talent

Music Festival entrants, clockwise from
top left: Yale Rayburn-Vander Hout,
Hannah Schaeffer, Zoe Reider, Gregory Hyman

By MYRON LOVE Regular readers of The Jewish Post & News will no doubt be aware that this writer has been highlighting the outstanding achievement of younger members of our community competing in the annual Winnipeg Music Festival. This year, however, I am taking a slightly different approach with a focus on the other side of the equation – that is, on one of the judges.

Debbie Maslowsky has been a fixture of the musical theatre scene in Winnipeg for almost as long as I can remember. Her career started in high school and continued through Rainbow Stage, the Royal Manitoba Theatre Centre, the Winnipeg Jewish Theatre and much more – including numerous Yiddish concerts in partnership with her late brother, Jerry.
This year though, was the first time that she was asked to be an adjudicator for the Winnipeg Music Festival’s musical theatre category and, she confesses, she was blown away by the talent that was on display.
“It was soul-filling,” she says, “especially after these last couple of years. I was impressed by the commitment of the young performers. I also have to credit the accompanists and voice teachers in helping to choose the right material for the participants.”
Maslowsky herself notes that she has never competed in the Music Festival. “Music theatre wasn’t one of the categories when I was growing up,” she observes. “And I wasn’t that competitive.”

She came to the festival this year through a recommendation from a voice teacher, she reports, based on experience gained over many years as a teacher of musical theatre and coach.
“The adjudicators work within specific guidelines, she says. “We are not looking necessarily for the best singer, but rather, base our decisions on the overall performance including gestures, movement and confidence.”
She points out that songs today are more story-driven than they used to be. Reflecting that, she points out, the festival organizers this year, for the first time, separated the musical theatre category into songs written before 1995 and after –with more recent songs conveying a lot more information aimed at driving the story.
Maslowsky reports that she was overwhelmed by the sheer number of submissions – more than 200 – all of which were virtual performances. “They were all wonderful and interesting in different ways,” she says.

Yale Rayburn-Vander Hout

One of those performances that obviously got her eye was that of Yale Rayburn-Vander Hout who scored a first place standing in the CLASS 1257C MUSICALS 1965 TO 1999, UP TEMPO, 16 YEARS AND UNDER category with his interpretation of “Mr. Cellophane” from the musical “Chicago”.
He was also in the running for the Rainbow Stage Trophy.
Last year, the 15-year-old son of Samantha and Peter was runner-up in in two categories – Vocal Solo, Musical Theatre, Up Tempo and Ballad, for males, 16 and under.
The Grade 10 Gray Academy student has been studying voice with Kelly Robinson for six years and was scheduled to appear in Rainbow Stage’s 2020 production of “the Wizard of Oz”, which was, however, cancelled due to Covid. He has also taken part in his school’s musical productions.
“I feel real good about my performance at the Music Festival this year and am looking forward to competing again next year,” he says.
He adds that he is hoping to pursue a career in musical theatre.

 

 

 

Hannah Schaeffer

Also under consideration for the Rainbow Stage Trophy this year was Hannah Schaeffer, who finished first in CLASS 1207E-14 MUSICALS 2000 TO PRESENT, UP TEMPO, 14 YEARS AND UNDER category – with a performance of “Watch What Happens” from the musical “Newsies” – and was runner up in the CLASS 1207D-14 MUSICALS 1965 TO 1999, BALLAD, 14 YEARS AND UNDER category for “Home” from “The Wiz”.
This is the fourth year that the older daughter of Marc Schaeffer and Kai Sasake has participated. Last year, the then Grade 8 Grant Park Student finished first in the Vocal Solo, Musical Theatre, Ballad, Girls, 14 and under and was recommended for the provincial competition. The year before, she had a second-place finish as part of a vocal trio. In 2019, she won gold in the Vocal Solo, TV and movie musicals at the Girls 12 and under category and scored a first place finish as part of a trio in the Musical Theatre Grade B level. That year, she was also the recipient of a Winnipeg Music Festival scholarship.
“I am looking forward to competing in next year’s festival, too,” she says.
The young singer has been taking singing lessons for six years and participates in her school’s musicals. She is scheduled to sing the role of Roxie Hart in the upcoming Grant Park High School production of “Chicago” in April.

 

 

 

 

Zoe Reider

New to the Festival winner’s circle this year is Zoe Reider, who finished first in the Class 1692 Vocal Duet, Musical Theatre, 16 years, and who has been singing under Geoffrey Heal. The 15-year-old Gray Academy student says that she feels good about her – and her partner’s – performance and is proud to have finished first in her category.
The daughter of Ray Reider has been studying musical theatre with Brenda Gorlick at Winnipeg Studio Theatre for the past six years, at the Theatre Dance Centre under the direction of Kathleen Henry, and at Meraki Theatre Productions, which was founded by Taylor Gregory. Zoe notes that she also teaches dance at Meraki.
She notes that she has acted in several Fringe Festival shows.
“My goal is to appear on Broadway,” she says

 

 

 

 

 

 

 

 

 

Gregory Hyman

In the instrumental part of the Festival, Gregory Hyman once again shone. The 13-year-old son of Hartley and Rishona Hyman scored gold twice, playing classical guitar – Once in the category of Romantic Composers and a second time for a piece of his own choosing.
“I am happy to have won again,” says the Grade 8 St. John’s-Ravenscourt student. (This was the fifth year in a row that he has competed in the Festival.) “I enjoy the challenge of competing in the Festuival.”
Gregory has been studying guitar since he was five and has been taking voice lessons for the past five years.
Nor does he restrict his music making just to the yearly festival. Two years ago, he launched a career as a musician, producer and podcaster. His podcast, “Talk and Rock with Gregory Hyman,” now in its third season, features him interviewing various people in the music business across Canada. Two years ago the young talent, who has also taught himself electric and acoustic guitar, and who goes under the professional name “GMH Rocks”, released his first album, “Basement”, on all streaming platforms. He followed that with a single release in February 2021, and a new album this past February.

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Quick action by archivist Ava Garfinkel saves Jewish Heritage Centre of Western Canada archives from disaster

By MYRON LOVE The downpour that struck our city on Tuesday, June 9, left a trail of basement flooding and other damage in its wake.  As reported elsewhere in this issue of the Post, Temple Shalom, our community’s Reform Congregation, has been forced to relocate its services to other venues because of water damage that has made its building unusable for the foreseeable future.
Another of our institutions that was affected by the storm is the Asper Jewish Community Campus – and specifically the lower level, where the Jewish Heritage Centre of Western Canada stores a good portion of its archives. It was the quick action of archivist Ava Garfinkel and her brother, Max, as well as a number of volunteers in the following days – and the miracle of modern technology – that saved those archives from  destruction.
“This was a potentially devastating and irreversible crisis,” notes Belle Jarniewski, the JHCWC’s executive director.  “Thanks to the quick and diligent work of our staff and a team of kind volunteers, we were able to implement an emergency disaster plan, separate the affected material and move the damp archives to a frozen storage facility within 48 hours. These crucial actions successfully saved the archive, avoiding any mold growth  that would have spread throughout the entire collection at a rapid pace, eventually destroying even the parts of our collection that were left untouched by the flood.”
 
Jarniewski reports that Garfinkel reached out to conservators across Canada for help.  The frozen materials have now been transferred to an out-of-province facility where they will be vacuum freeze-dried in a restoration process overseen by a conservator.
“Our dry and unaffected archives and artifacts were also quickly removed from the basement and brought upstairs to be stored in several places around the Campus,” Jarniewski says. “The directors of the Gray Academy and the Asper Community Campus were kind enough to offer us the space we required to temporarily store our collections.
“The JHC Archive,” she points out, “preserves the precious history and physical memory of our community, also that of the communities across Western Canada and Northwestern Ontario whose histories have been entrusted to us. It dates back to the late 1800s. Information about the delicate, old, and irreplaceable items is frequently accessed by students, researchers, educators, genealogists, and community members. Simply put, the archive constitutes the very heart and memory of our community.”
Jarniewski recounts that when the Campus first opened almost 30 year ago,  several rooms on the first floor were specifically designed with climate control suitable for an archive or museum. But, as different community needs arose, the archives were moved out of the specialized spaces and into the basement.
“With space at a premium in the building, we have had to do our best with the cards we were dealt,” she says.
For security and other  reasons, Jarniewski points out, moving the JHCWC archive out of the Asper Campus has never been a viable option.  “Our museum, our offices, and the other half of our archive are all firmly situated in this building on the main floor,” she notes. “We work within our basement archive daily and we rely on the safety that the security within the Asper Campus affords us.”
 
To prevent this kind of near disaster again, she added, the lower level storage area has to be renovated for safety while maintaining the standards of practices for long-term preservation. “We have already put a plan into motion for more effective humidity control and the sealing of the room,” Jarniewski reports.
“All of our textual records must be placed in specialized archival enclosures, our artifacts must be re-boxed/wrapped according to their individual preservation needs, and we must purchase adequate shelving that will keep our collections away from the ground and the walls while allowing for effective air circulation. These protective measures will be costly, requiring specialized materials, but they are necessary.”
The overall estimated budget for this project, Jarniewski  says,  is approximately $100,000.  So far, she reports, the JHCWC has received a quarter of that amount through donations..
She expresses the hope that Post readers will consider donating to this essential project so that the JHCWC can continue protecting the priceless history of Western Canadian Jewry for generations to come. A tax receipt will be provided to all donors.
 “With the funding in place, we should be able to have everything in place in less than six months,” Jarniewski says.
 Readers who may want to consider donating to the JHCWC in support of this vital project can either phone 204 478-8590 or go online to jewishheritage@jhcwc.org.  Donations can also be made online though Canada Helps: https://www.canadahelps.org/en/charities/jewish-heritage-centre-of-western-canada-inc/

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A response to Isha Khan’s op-ed in the August 1st, 2026 issue of the Winnipeg Free Press

Isha Khan , CEO of the Canadian Museum for Human Rights

By SIMONE COHEN SCOTT Ed. note: Isha Khan is the CEO of the Canadian Museum for Human Rights. In the August 1st issue of the Winnipeg Free Press Ms. Khan wrote an op-ed defending the museum’s decision to mount the exhibit titled “Palestine Uprooted: Nakba Past and Present.” The Free Press has published many letters about the exhibit, but some readers of that paper are frustrated that their letters were not published. We were asked by Simone Cohen Scott whether we would print a letter that she had sent to the Free Press, but which was not published.
Since there is always room on this website to publish as many articles as we’d like, we agreed to publish Simone’s letter, which follows here:


Isha Khan states in her op-ed piece that the choices of what to exhibit, what to examine, what to feature, were made according to certain parameters, which she called a “framework.” What, specifically, comprised this so-called framework? It is obviously exclusive of elements relative to the history of the period displayed. She said the purpose of the exhibit was….”to promote reflection and dialogue.” Reflection and dialogue about what? Did the Arabs who left the area know that the United Nations had offered them a state too? If they had known, would they have wanted to accept? If, given the choice, would they have stayed and lived beside the Jews? Or, did they indeed, want five Arab nations to attack the Jews? Such questions as these would have promoted “reflection and dialogue.”

What is the understanding implicit in the exhibit? Khan quotes from a banner that hangs in the museum: Article 1 of the Universal Declaration of Human Rights, “We are all born free and equal in dignity and rights.” Should the Jews have rights? If so, what should they be? May they have a state? When a people is attacked by 5 nations, as Israel was in 1948, wherein lie the human rights?

Why did Khan’s advisors choose to use the word Nakba in the exhibit title? The original use of the Arab word ‘nakba’, meaning disaster, was intended to depict, that in spite of being assured by the Arab/Islamic leaders that it would be a quick war and that they would win, that did not happen. The word disaster was meant to mean the shock and the disappointment. The real disaster, or tragedy, ‘Nakba’ if you will, is that the Arab/Islamic countries in the world, (and there are plenty of them), have refused to welcome refugees of a war their own leaders chose to start. They have allowed these displaced persons to stagnate in UNRWA, an industry in itself. Where are the stories of the people in UNRWA housing? Another group it would have been enlightening to hear from is today’s Israeli Arab population – the doctors, dentists, nurses, lawyers, judges, entrepreneurs, business moguls and more, the descendants of those who stayed in the country in 1948, who had and whose offspring have had the same opportunities as every Israeli citizen. There is much easily accessible research that has been neglected in the preparation of this exhibit. This blatant lack of effort is shameful.
Kahn explained, when asked, that the context of the conflict of the time is too complex to have been included. Is she saying that people who go to museums can’t handle broad, multi-faceted ideas… that she deliberately designed a walk-though soundbite, not a process for mind-expanding grasp of history?

Simone Cohen Scott,
(sent to the Free Press August 13th, 2026)

Post script from Bernie Bellan: This website has never refused to carry any post that may be critical of the CMHR, despite what some readers of this website might think. We do allow comments to articles, but anyone commenting through our “Comment” portal has to register by giving their name and email address so that we can confirm they are a real person. In addition, we welcome longer contributions from readers. Many of the posts you will find on this website come from regular contributors, such as Henry Srebrnik. If you have something you’d like us to consider publishing – and the only criteria are that it be reasonably well written and void of slanderous remarks, email to us at jewishp@mymts.net.

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Young Winnipegger Dr. Yale Michaels receives $550,000 Canadian Cancer Society research grant

By MYRON LOVE It has been shown on many occasions that a teacher can have an outsized role in shaping a young person’s life.  Dr. Yale Michaels’ life story is one example.
During a recent interview with the young cancer researcher – the son of John Michaels and Karen Stern – Yale recounted how a Grade 7 teacher at Grant Park High School was largely responsible for his decision to pursue a medical career in medicine.
The young Michaels attended Brock Corydon Elementary School and was a long time Massad camper.  In junior high school at Grant Park, however, he recounts, “I was having a tough time staying on task. Thankfully, my Grade 7 science teacher suggested that I might find it interesting volunteering to help in a cancer research lab.  He had a contact and got me in.  I loved it. It was a good fit for me.  I never looked back.”
Michaels (whose zaida, Leon Michaels, was a leading cardiologist here) spent much of his free time during his high school years volunteering in the lab.  After graduation, he enrolled in Harvard –with help from the university’s financial aid program – where he earned his Bachelor’s degree.   He followed that up with a Ph.D. from Oxford in 2019, followed by three years as a  post-doctoral Fellow – before returning to Winnipeg in 2023 to work at Cancer Care Manitoba, as well as teach at the University of Manitoba.
“I enjoyed my time both at Harvard and Oxford,” he says.  “What made England even more enjoyable is that Yale has family there. His grandparents – Leon and Joan Michaels – were born and raised in London and Yale’s time there overlapped for a few months with his brother Jamie (about whom there was a story in a July issue of the Post), who  earned his Master’s Degree in Creative Writing at the University of London.  
This past June, the young researcher learned that he was to be the recipient of a $550,000 Canadian Cancer Society Emerging Scholar Research Grant, covering five years of research.
Michaels’ field of research focuses on new ways of combating blood cancers – specifically in the new area of immunotherapy.   He is being aided in his research by lab tech Dana Segal and graduate student Serena Dembowksi.
Michaels adds that he is collaborating with a number of other researchers from Winnipeg – and throughout Canada, including Drs. Harinad Maganti, David Szwajcer, Jody Haigh, Versha Banerji, and David Knapp. 
 Using the patient’s own immune cells – specifically CAR T cells -to treat blood cancers was first approved in 2017, Michaelsreports.  “The treatment has shown itself to be really successful.  Many patients go into remission and some may have the potential to be cured.”
One of the drawbacks, he explains, is that the treatment is prohibitively expensive.  Each dose costs about $500,000 U.S.
“What we are trying to do in my lab and elsewhere is find a way to greatly reduce the cost,” he explains.  “It becomes a matter of scale.  Other drugs used in treating cancer can be produced in amounts of 1,000 doses per production run.  But right now CAR T therapy is made on a one-off basis with an individual manufacturing run for each patient. We are attempting to instead make CAR T cells from stem cells – which can be grown in large quantities. We are trying to use genetic engineering  to manipulate them so that they can be administered safely to patients.
“We (Michaels and fellow researchers) are making good progress in this area,” he adds.
He cautions that the research is still in the formative stages and that clinical trials are still several  years away.  “Our research so far though has shown that our treatment would seem to be effective at killing cancer cells,” he reports.  “This grant from the Canadian Cancer Society will help us to further that research.”
Outside of work, Michaels notes, much of his time is spent with his family – Dr. Allison Marmel and their two-year-old daughter, Rose.
(Ed. note: We should note that Yale Michaels was also the punter for the Harvard University football team – by far his greatest achievement.)

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