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A jingle inspired a show about dueling lawyers. Two synagogues helped bring it back to the stage.
(New York Jewish Week) — For any New Yorker, the background noise of the 2000s may well have been marked by the numbers 800-888-8888, the ubiquitous jingle for the Buffalo-based personal injury law firm Cellino and Barnes.
The renown of Ross Cellino and Stephen Barnes grew even more when the pair contentiously split up in 2017. Their acrimonious business divorce included clashes over managing the business, a restraining order against Cellino, claims of “bullying” by Barnes and a complaint that Barnes refused to let Cellino hire his own daughter.
Naturally, comedy writers Michael Breen and David Rafailedes needed to write a show about what might have gone down, including a scene about how that infamous jingle came into existence.
Breen and Rafailedes had performed the show, “Cellino v. Barnes,” a handful of times in New York in 2020 before the pandemic shut it down. Breen moved to California and Rafailedes headed to grad school and the play they wrote about a unique New York sensation almost faded into the ether.
But this isn’t that story. This is the story of how two 25-year-old high school buddies and amateur theater producers made sure that didn’t happen — and how they leaned on their synagogues to get the job done.
David Pochapin and Cameron Koffman were 22 when they saw “Cellino v. Barnes.” They loved the show for the way it spoke to their sense of humor, their New York childhoods and their love of niche theater. The pair would eventually take on the task of producing the play and teaming up with Breen and Rafailedes to bring it to a wider audience, this time in a vacant office space in Manhattan to really give audiences the feeling of authenticity.
Now 25 and a year into producing “Cellino v. Barnes: The Play,” Pochapin and Koffman are admittedly amateurs — Pochapin works a day job in FinTech and Koffman in city government.
“When we are trying to get people to come see the show, we say, ‘we’re doing this not because we saw a business opportunity but because we genuinely saw a story that more people needed to see,’” Pochapin said. “It’s hard to imagine finding another project quite like this. It’s been a wild ride and we’re super excited for the show.”
(On Oct. 2, 2020, Stephen Barnes and his niece were killed in the crash of a private plane in upstate New York. Pochapin said there is “absolutely no comedy about the plane crash” and the show centers around the creation, success and break-up of the firm.)
Ahead of the show’s opening, the New York Jewish Week spoke to Koffman and Pochapin about why they love the show, how their synagogues and Jewish communities have supported them in this process and what changes they are most excited about.
This interview has been lightly edited for length and clarity.
New York Jewish Week: How did you get involved as producers with the show?
Cameron Koffman: We first saw the show in January of 2020. We had no involvement — we had just seen an article from the Buffalo News: “Show about Cellino and Barnes is an 8.8888 out of 10.” It sounded fun and it was playing in New York City for just a couple shows in January at the Bell House in Gowanus. It was the absolute funniest thing. Then COVID hit, obviously, six, seven weeks later, and life moved on.
I got an email from the venue that the show was back for two performances in August of 2021. David and I dragged more of our friends. It was a big group activity because we had been talking about the show for a year and a half at this point. I mean, it’s Cellino and Barnes, iconic New York names and a jingle that everybody recognizes. We saw it again and it was even funnier.
We had a mutual friend with one of the actors and pushed to get a drink because we just really wanted to tell them, “We thought the play was so funny. It was so great that someone wanted to tell this story.” When we met up with him, we asked if he ever had aspirations to make a permanent run out of it. He said yes, but COVID happened, he ended up having a kid and the other co-writer and actor moved out to the West Coast. Basically, life got in the way. When we talked to [Breen and Rafailedes], it really just sounded like more than anything they needed people to help initiate the process, which we thought we would be able to handle.
We certainly didn’t have experience in production, but we were so passionate about the story and we like to get our hands dirty with logistics. We just thought it was so fun that we wanted to take it to another level and really create a full run of this. We put our heads down, worked on a proposal and here we are.
How did your Jewish communities step in to help get the show back on its feet again?
DP: When we first got into this, which was over a year ago now, we talked to everyone we could, every person that would hear us out and offer an opinion. We reached out to people at my synagogue and they offered to provide chairs for the audience and books for the set, so now we have chairs and books. We’re both very involved in our synagogues — mine is Sutton Place Synagogue and Cameron’s is Temple Emanu-El. My first exposure to theater at a young age was not only in school, but during the Purim spiels at my synagogue. It is because of our communities and our upbringing there that we have the confidence that we’ll be able to do this.
CK: It really is. So many people that we know, that we rely on, that we talk to and the time that we spend with them have helped us put this show together. For example, I lead a couple of lay-led groups at Temple Emanu-El. Through that, I’ve become friendly with dozens of people, I’ve met other people through the young members circle, through becoming friendly with the rabbi and actually leading Shabbat once last year. So — for both of us — one of the main reasons we knew we could do this was because we’re deeply embedded in a large Jewish community and we knew that we could tap into people that would be able to sort of help and guide us with advice and knowledge along the way. Also, we knew we’d be able to blast out the show to a lot of people. David could tell you, one of the first people to buy a ticket for the play was the rabbi [Rachel Ain] from Sutton Place Synagogue, she and her whole family.
As producers you have a little more control than you did as audience members. What changes are you most excited about since the first production?
CK: Not much had to change about the story. Breen and Rafailedes had done the play and certainly the story of Cellino and Barnes is still ever present in the cultural milieu of today. For a large swath of people, millions of people in the New York area, and even in California, where Cellino and Barnes worked too, that jingle just rings a bell and it seared itself into our brains, so our vision didn’t have to be focused on making sure there was name recognition.
When we saw it at The Bell House, the show was very bare bones. The venue had a stage, but it’s a big hall with 200-250 seats and you don’t really feel like you’re at a theater venue — you certainly don’t feel like you’re at an experiential venue. The space that we got on West 23rd is a vacant commercial space that feels like you’re actually in a law office. That was one of the key things we brought — we thought, “if we’re going to really lean on the vibe and the aura of Cellino and Barnes, we want to make you feel like you’re stepping into a dingy personal injury attorney’s office, with plaques on the wall and all of it.”
Why should people see it?
CK: I’m deeply passionate about my love for New York. A couple years ago, right out of college, I actually ran for the New York State Legislature. I love the city. It’s just such an amazing place. Cellino and Barnes is very much a part of New York’s cultural fabric. There are just certain things that resonate with all New Yorkers. It’s Roscoe the bedbug dog from Bell Environmental, it’s Sandy Kenyon from the Eyewitness News “movie minute” in the back of the taxi cab. All those sorts of things that people who grew up in New York or who have spent significant time here will know and recognize.
So many people come from different backgrounds, but there are still these unifiers — everybody’s seen the billboards and subway ads. And although it is a very New York production, we do think that it can resonate with everybody. Every city seems to have their own version of Cellino and Barnes — the mysterious personal injury lawyer who’s on every billboard, on every bus, and who has their slogan.
DP: When you’re in the theater and you’re laughing at these two people that are so nostalgic and are two of the easiest people to laugh and make jokes about, it’s just an unforgettable night. It’s hilarious, and even though it’s a comedy it also makes you think. Cameron and I have had several discussions about who’s right or wrong and Team Cellino or Team Barnes.
“Cellino v. Barnes: The Play” opens on April 13 at 320 W 23rd St. Tickets start at $40.
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The post A jingle inspired a show about dueling lawyers. Two synagogues helped bring it back to the stage. appeared first on Jewish Telegraphic Agency.
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Anti-Israel Streamer Hasan Piker Reaffirms Hamas Support
Hasan Piker. Photo: Wikimedia Commons
Controversial streamer Hasan Piker raised eyebrows Monday after reaffirming his support for the Hamas terrorist group during an interview on the popular left-wing podcast “Pod Save America.”
While speaking with Jon Favreau, former speechwriter to US President Barack Obama, Piker doubled down on his assertion that Hamas is a preferable governing entity compared to Israel.
“This [quote] is from January,” Favreau said while reflecting on previous comments made by the streamer. “‘Hamas is a thousand times better than a fascist settler colonial apartheid state.”
“I stand by that,” Piker responded.
Favreau then asked Piker to clarify whether his comments were genuine or hyperbolic.
“[T]his is the one that bothered me most when I first heard it …. Even if you believe what happened in Gaza is genocide and what’s happening in the West Bank is apartheid, those are different claims from ‘Hamas is a thousand times better,’ because Hamas is an organization that has massacred, raped, kidnapped civilians on Oct. 7,” the former Obama speechwriter said, referring to Hamas’s invasion of and massacre across southern Israel in 2023. “They’ve also been catastrophic for Palestinians by almost every measure … Do you actually mean that or is that a rhetorical move or like a solidarity signal?”
“I mean, it’s all of the above. I do mean it,” Piker affirmed. “I’m a lesser-evil voter and therefore I would vote for Hamas over Israel every single time.”
Jon Favreau: “When you say Hamas is a thousand times better, do you mean that?”
Hasan Piker: “I do mean it … I would vote for Hamas over Israel every single time.” pic.twitter.com/1dNxvOGslo
— Shannon Watts (@shannonrwatts) April 13, 2026
Hamas, which openly calls for the destruction of Israel and the murder of Jews, has launched a brutal crackdown on dissent among fellow Palestinians in recent months. Social media videos widely circulated online show Hamas members brutally beating Palestinians and carrying out public executions of alleged collaborators with Israel and rival militia members.
Piker also suggested that Hamas is “entirely comprised” of orphaned children whose parents were killed in the Israeli-Palestinian conflict — remarks that critics say distort reality and risk minimizing the group’s violent actions. He framed Hamas as a product of trauma, arguing that many of its members are driven by personal loss tied to Israeli military operations. The comments quickly drew backlash from analysts, policymakers, and pro-Israel advocates, who say the characterization is both factually inaccurate and morally problematic.
Piker continued, comparing Israel to Nazi Germany and repudiating Zionism as “an ethno-religious supremacist ideology that is exterminationist.”
The US and several countries around the world designate Hamas as a terrorist organization. On Oct. 7, 2023, Hamas-led Palestinian terrorists murdered 1,200 people, kidnapped 251 hostages, and perpetrated widespread sexual violence during their rampage
Piker’s remarks are the latest in a series of contentious statements on Israel and the broader Middle East, which have drawn scrutiny from both media watchdogs and political figures. His large online following has amplified the impact of his commentary, fueling debate over the responsibility of digital influencers in shaping public understanding of global conflicts.
Piker has drawn immense scrutiny in recent months as his popularity has surged and mainstream Democratic politicians have increasingly appeared on his livestream show.
Beyond Hamas, Piker has also expressed support for authoritarian regimes in China, Russia, and Iran.
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Iran Executed More People in 2025 Than Any Year in Nearly Four Decades, NGOs Find
A February 2023 protest in Washington, DC calling for an end to executions and human rights violations in Iran. Photo: Reuters/ Bryan Olin Dozier
The Islamic regime in Iran has continued to accelerate its execution machine into a steady grind of state-ordered killings, now rising again to a peak unseen since 1989.
According to a joint-annual report released by the European groups Iran Human Rights (IHR) in Norway and Together Against the Death Penalty (ECPM) in France, Iran executed at least 1,639 people in 2025, a 68 percent leap from the 975 killed in 2024 and the highest seen since tracking began in 2008. All known executions were reportedly conducted by hanging.
The number of executed women also rose to 48, a jump from 31 in 2024. Courts convicted 21 of these women for murdering their husbands or fiancés.
The figure of 1,639 human beings represents an average of four executions each day; however, IHR warns that the full body count is likely much higher, as the group requires two sources to confirm an execution.
“By creating fear through an average of four to five executions per day in 2025, authorities tried to prevent new protests and prolong their crumbling rule,” IHR director Mahmood Amiry-Moghaddam said in a statement.
“The death penalty in Iran is used as a political tool of oppression and repression, with ethnic minorities and other marginalized groups disproportionately represented among those executed,” added Raphaël Chenuil-Hazan, executive director of ECPM.
The report cites the higher levels of executions targeting Sunni Muslims such as Kurds in the west and Baluch in the southeast.
A significant number of executions involved non-lethal offenses, with nearly half of documented executions – 747 people – convicted of drug crimes. While most executions took place inside prisons, the number of public hangings more than tripled to 11.
The report begins with a foreword written on Feb. 20 by human rights lawyer Nasrin Sotoudeh. On April 1, Iranian police arrested her and today her whereabouts remain unknown.
Beginning by noting that Iran has ranked highest in executions per capita for many years and remains one of the highest for total killings, Sotoudeh writes that “the reasons for opposing the inhuman punishment of execution are so clear that they hardly require repetition. Nevertheless, governments such as the Islamic Republic of Iran often invoke public opinion to justify this inhuman punishment.”
Sotoudeh explains that the regime justifies executing murderers and drug traffickers because of a supposed public demand, “as though that settles the matter.” She points out that historically executions can rise after revolutions following dictatorships.
“We experienced this ourselves within the past half-century. After the 1979 Revolution, many officers and senior officials of the monarchy were executed without fair trials,” Sotoudeh writes. “Yet the cycle of violence did not end, and the execution machine went on to claim the lives of others, including those who had contributed to the revolution’s victory. This cycle has not ceased to this day, nearly half a century later, and has in fact accelerated.”
Invoking one of history’s most famous victims of unjust execution, Sotoudeh adds, “This is precisely why death sentences should never be issued under the influence of public opinion. Socrates, too, was sentenced to death at the age of 70 by a vote of the Athenian majority and chose to drink the cup of poison rather than leave Athens.”
The report reveals the extent to which the regime has sought to conceal its bloody hands. Official government sources only announced 113 executions (less than 7 percent), down from 9.7 percent in 2024 and 15 percent in 2023.
Rape is a capital offense in Iran, with 37 people killed after convictions. The report notes that “as in previous years, people accused of crimes were tortured and forced to confess. Criminal convictions are frequently based on information extracted under torture.”
The execution increase established in 2025 appears to have continued into 2026.
On Monday, for example, the Human Rights Activist News Agency announced that Judge Iman Afshari of the Tehran Revolutionary Court had sentenced to death protesters Mohammadreza Majidi-Asl, Bita Hemmati, Behrouz Zamaninejad, and Kourosh Zamaninejad.
The charges which Afshari judged as worthy of execution included “destruction of public property,” “chanting protest slogans,” “throwing objects including bottles, concrete blocks, and incendiary materials from rooftops,” and “participation in protest gatherings on Jan. 8 and 9, 2026.”
The Iranian regime unleashed a brutal, nationwide crackdown on anti-government protesters in January, resulting in the deaths and arrests of tens of thousands of people. Activists fear that many of those detained will be executed.
The report cites Max du Plessis, a UN Fact-Finding Mission expert, who said in October after observing the increase in killings, “if executions form part of a widespread and systemic attack against a civilian population, as a matter of policy, then those responsible – including the judges who impose capital punishment – may be held accountable for crimes against humanity.”
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Hampshire College closure reverberates for alumni who treasured a Yiddishist hub
Hampshire College, once a hub for Yiddish scholarship thanks to its proximity to the Yiddish Book Center, will close by the end of the year amid financial challenges.
The Yiddish Book Center will not be affected by the closure, said spokesperson Rebecka McDougall, noting that the Yiddish Book Center owns its land and building, located adjacent to campus.
Even so, the closure signals the end of an era for Yiddishists who found their footing at Hampshire. Among its alumni are Yiddish singer Miryem-Khaye Seigel, the Yiddish Book Center’s academic director Madeleine (Mindl) Cohen, and the Forward’s archivist, Chana Pollack.
“It connected me to other people that were very instrumental to my broader Yiddish interests,” said Lana Adler, a 2013 Hampshire graduate who went on to work at the YIVO Institute for Jewish Research, which houses the largest collection of Yiddish-language works in the world. “It was an incredibly important space for Yiddish.”
Hampshire and Yiddish
Founded in 1970 in Amherst, Massachusetts, Hampshire College was conceived as an experiment in alternative education, offering self-designed concentrations instead of traditional majors and “narrative evaluations” rather than grades.
A decade later, it became home to a major Yiddish revival effort when alum Aaron Lansky returned to found the Yiddish Book Center. Alarmed that American Jews were discarding irreplaceable Yiddish books, Lansky set out to save them.
New York City seemed the obvious base. But mentors warned he might “get swallowed up” among the city’s many Jewish institutions, recalled Penina Migdal Glazer, a former Hampshire professor, in a 2024 interview.
Instead, Lansky chose Amherst — a place he knew from his college years, with faculty mentors who could support the project, and more affordable land. He purchased 10 acres on an apple orchard next to the Hampshire campus and, in 1997, built the Harry and Jeanette Weinberg Building, designed to evoke an Eastern European shtetl.
In the years that followed, the Yiddish Book Center and Hampshire College became a magnet for students interested in Yiddish. The two partnered to host Yiddish language classes and programs like the Yiddish Book Center’s Steiner Summer Yiddish Program, where participants immerse themselves in seven weeks of Yiddish language and culture while staying in Hampshire College dorms.
The closure’s impact
Facing declining enrollment and mounting debt, Hampshire College’s Board of Trustees voted to permanently close the school following the fall 2026 semester, president Jennifer Chrisler announced Tuesday.
McDougall told the Forward that the Yiddish Book Center’s summer residential programs are independent of Hampshire College and will continue, adding, “There is currently no programmatic partnership with Hampshire College.”
“We are saddened by Hampshire College’s announcement,” Susan Bronsin, president of the Yiddish Book Center, said in a statement. “Hampshire has been a valued neighbor for many years, and we recognize the significance of this moment for its community.”
For Aleks Ritter, co-founder of the student group Hampshire Jewish Life, the campus’ proximity to the Yiddish Book Center was a large part of the school’s appeal when he first applied. Ritter had studied Yiddish through YIVO in high school and hoped to continue in college.
He and his friends would often go to the Yiddish Book Center to study and hang out, and several of his friends worked part-time jobs there.
“The school has been really wonderful for Jewish students,” Ritter said.
Now, Ritter will have to transfer to another college in the area.
For alumni like Adler, the loss also feels personal. Hampshire was the first time she had formally studied Yiddish — an experience that shaped her career.
“There was something special happening at Hampshire,” Adler said. “It was very important to me and to a lot of other people. I’m just so sad. I can’t believe it’s closing.”
The post Hampshire College closure reverberates for alumni who treasured a Yiddishist hub appeared first on The Forward.