Amy Lee on Playing Hana Brady

One of the most astonishing stories from the Holocaust to emerge in recent years is that of Hana Brady. In March 2000, a child’s suitcase arrived from Auschwitz at the tiny Children’s Holocaust Centre in Tokyo labeled with that name. Together with students at the centre, curator Fumiko Ishioka set off to uncover the story of Hana in a journey that led her from Tokyo to Prague and eventually to Toronto, where she found Hana’s brother, George Brady – the only member of the family to survive World War II.

Shalom Life recently exchanged emails with Amy Lee, the young Jewish actress stepping into the role of Hana in current remount of Hana’s Suitcase (Lorraine Kimsa Theatre for Young People), about taking on this monumental role and rediscovering her inner child.

What drew you to this particular story from the Holocaust?

I think what makes this story incredible is that it all came to light because of the curiosity and volition of young people from another part of the world. These Japanese children decided that Hana’s story must be revealed they wanted her to have the identity that the Nazis tried to take away from her. Hana's story could have been lost forever, but instead it is being told all around the world. She wanted to be a teacher and now she is able to fulfill that dream in such an incredible way because her story is changing the way children see the world.

Why do you think this story is so important for other people to see?

This is an important story about the Holocaust, and also about the importance of understanding, acceptance and tolerance in the world. Fumiko says in the show “When you open hearts, you open up minds.” I think this show has the ability to do just that.

I read that you wrote to the producers to convince them to cast you in this role. What does it mean to you, as a Jewish woman, to play Hana Brady?

Playing Hana Brady is one of the greatest honours I have ever had. Going to Hebrew school as a child, I learned a lot about the Holocaust. My two best friends had grandparents who were survivors and it was a huge part of their lives. The first time I went to Yad Vashem I was ten years old, and I will never forget walking through the children’s memorial and feeling incredibly overwhelmed by the number of stars [representing the children who were killed] I saw. I feel that it is a privilege (and also a duty) to be able to tell one incredible child’s story and to help share Hana’s passion for teaching.

How did you get into the mindset of a girl in the Holocaust? Did you do any background research, or draw on any personal stories or experiences?

I had an opportunity to speak to two survivors earlier this week who generously shared their stories with me. The book I never saw another butterfly…, which features drawings and poems by children who lived in the Theresienstadt ghetto, has been an incredible resource as well. Children express themselves very honestly, so I can read one of their poems and instantly be transported into that world through their eyes. All that being said, I don’t know if anyone can truly comprehend what they lived through, but I can certainly imagine it and do my best to represent it accurately onstage.

How challenging was it to play a child, considering you are in your twenties?

In many ways, I don’t necessarily feel as though I am all that different a person from who I was when I was younger. I do a lot of clowning and I think that keeps me in touch with my inner child. Also, I think Hana was a very intelligent person, and children who lived through the Holocaust were forced to grow up very quickly, so I try to respect that while playing her.

Does your Jewish background influence your overall work and choices in other ways, besides this particular play?

I am sure it does. I was raised by two of the biggest mensches in the world and they taught me the importance of mitzvot. Because of that, I am always working towards telling important stories – I guess I try to do mitzvot through theatre.

Can you tell me a bit about UNIT Productions, and your Morro and Jasp series? What is your role in that company? What do you enjoy about it?

Up Your Nose and In Your Toes (UNIT) Productions is a non-profit theatre company dedicated to breaking social norms and identifying and exposing the flaws that we, as a society, work hard to cover up. We try to help people rediscover joy, truth and creativity, not as a passing moment but as an important part of everyday life. I am a Co-Artistic Director of UNIT and play the role of Jasp. I love that this little project that we did in university has become something that keeps us all very busy and creative. Morro and Jasp started with a short piece about two clown sisters discovering their reflections in a mirror. We then did three children’s shows for the Fringe Festival and noticed that our clowns were growing up a little bit with every show. In 2008 we created our first adult show, Morro and Jasp do Puberty, which followed the clowns through a week in the life of pubescent girls.

I also love the art of clowning. It is wonderful to have such an intimate relationship with the audience and to allow them to dictate how the show will unfold.

What do you look for in a role, and what kind of roles do you hope to do in the future?

When I think of the roles I played in the past year (a liberal lesbian speechwriter writing for a conservative American president, an insecure high school student who succumbs to peer pressure and tries ecstasy, a pubescent clown romantically fantasizing about puberty, and now Hana), I realize how different they all are, but the characters all have incredibly huge hearts and they all help to tell interesting stories. I hope to keep having opportunities to tell great stories and try new things while I’m at it.

Hana’s Suitcase runs until May 21 at the Lorraine Kimsa Theatre for Young People. For more information, visit www.lktyp.ca. You can also catch Amy Lee in Morro and Jasp Gone Wild at the Toronto and Winnipeg Fringe Festivals this summer.