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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.


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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Antisemitic vitriol claims an unlikely new victim — a flamboyant and popular French DJ

The celebrated French DJ Barbara Butch, whose flamboyant performance at the 2024 Olympic Games in Paris was condemned by Catholics and conservatives, is proudly lesbian and unabashedly Jewish. Last week, the latter quality sparked yet another flare up of antisemitism in France.

On the evening of July 18, about 20 minutes after Butch began a concert in the city of Grenoble, about 150 protestors who had entered the hall with the rest of the audience unfurled pro-Palestinian banners denouncing the brutal destruction of Gaza. Many of them began to fling antisemitic insults and glass bottles at Butch. Stunned by the sudden explosion of violence, Butch soon left the stage. At that point, the municipal authorities intervened. “Confronted by threats aimed at the artist Barbara Butch, and to guarantee the safety of both the audience and performers,” they declared, “the city of Grenoble has taken the decision to cancel the performance.”

This eruption of antisemitism parading as anti-Zionism was as predictable — and as predictably ignored by the local government — as are the fires now consuming swathes of western France. In the weeks leading up to the concert, a petition was launched by the local section of La France insoumise (France Unbowed), the extreme-left political party founded and led by Jean-Luc Mélenchon, who has recently and plausibly been accused of flirting with antisemitism. The petition condemned Butch for supporting a proposed law in 2025 that penalized “new forms of antisemitism,” which potentially included expressions of anti-Zionism and even criticism of the Israeli government.

There were two problems, though, with the petition. First, there is the obvious issue of banning an artist from presenting or performing their work because one disagrees with their political statements. (Statements that do not, of course, inspire acts of racial hatred or violence.) Second, and no less obviously, Butch had almost immediately regretted and publicly retracted her initial support of the proposed law, one she realized could suppress legitimate criticism of Israel’s brazenly illegal and brutal actions in Gaza and the West Bank.

All this was for naught, though. The tract distributed in early May by the local office of Unbowed France demanded the cancellation of Butch’s concert by the city government, which had sponsored the music festival it was part of. Fair enough. Not so fair, though, was the tract’s lurid montage, which placed Butch against the background of an LGBTQ flag spattered in blood and stamped with the Star of David, accompanied by the claim that she was “complicit with the genocide” committed in Gaza.

Equally startling was the role played by Allan Brunon, a parliamentary member of Unbowed France who is also president of the party’s local chapter. Not only did he lead the protestors at the concert venue, but he also insisted that, as far as he could see, their behavior never degenerated into violence, even though videos of the ruckus confirm that bottles and other objects hit the stage, as does the eyewitness testimony of Laurence Ruffin, the mayor of Grenoble, who was also in attendance. Brunon’s faux naïve explanation for the expletives shouted at the concert was equally insulting; they were aimed, he insisted, at Butch’s “political position and not who she is.”

Leaders from across the political spectrum, from the extreme right to traditional left, have denounced the role played by Unbowed France at the concert. Marine Le Pen, the leader of the National Rally who never misses an opportunity to bash Unbowed France and bury her party’s own antisemitic origins, decried “the antisemitism, repeated appeals to violence, and totalitarian nature and project of the extreme left,” while the former prime minister and centrist politician Gabriel Attal, in a mocking allusion to an earlier claim made by Mélenchon, observed that the party’s “antisemitism is anything but residual.” As for the leadership of Unbowed France, Mélenchon has kept silent while the leader of the parliamentary group, Mathilde Panot, spoke in the conditional case, stating that “we would never support, if they occurred, either flung insults or bottles.” (my emphasis).

Wittingly or not, Attal’s remark reaches much further back than last week. Ever since the late 19th century, the extreme right in France has not had exclusive dibs on antisemitism. Édouard Drumont, the author of the virulent antisemitic 1886 bestseller La France juive and editor of the La Libre parole, the newspaper that sparked the Dreyfus Affair, thought of himself as an anti-capitalist and man of the left. It required the immense reserves of eloquence and decency of Jean Jaurès, the Socialist leader, to persuade the rank and file to rally to Dreyfus’ cause. As late as the 1950s, the French Communist Party unhesitatingly followed Moscow’s lead during the late stages of Stalin’s paranoia, featuring spectacles like the “Doctors’ Trial” of 1953, that targeted Jewish “counterrevolutionaries” intent on undermining the Soviet Union.

Of course, the French left has come a long way since then. But to paraphrase Mathilde Panot, if Unbowed France’s apparently uncowed leader, along with a large contingent of his party, are suffering from more than a dollop of residual antisemitism, the future of a democratic and liberal France is at risk.

 

The post Antisemitic vitriol claims an unlikely new victim — a flamboyant and popular French DJ appeared first on The Forward.

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Why I stand with Israel

I’m often asked why I take a public stand on behalf of Israel. Some have asked how I have the fortitude to do so. Others wonder about the “reputational risk.” Still others wonder about subjecting myself to the “awful” comments. To me, they’re like weather reports — a way to gauge the sentiments of those with whom I disagree.

“Just stop talking — if for no other reason than for saving yourself the embarrassment of being heard by anyone.”

“You Zionists are just mad that no one’s buying your narrative anymore”

“F— Israel”

“Hey Peter! When did you drop the second “n” in your last name? When your family eluded capture when Germany surrendered back in 1945?”

“You are so full of $hit! Mamdani condems a genocide unless you think as long a Santanyahu who happens to be a Jew should be able to kill innocent children day in and day out and get away with simply because he is a jew.”

“I have absolutely loved your music over the decades (my favourite artist) but I have difficulty in listening to it now. The meaning behind your lyrics resonates differently with me now — sorry.”

I support Israel, not because of any government, any particular policy, or anything having to do with geopolitics. I support Israel because half the world’s Jewish population lives there. This is about peoplehood — my people. I understand well how this kind of particularity is easy to criticize, how in an era where the ideology of oppressor versus oppressed has caught the imagination of many people, where thinking about one’s sense of belonging to an ancient nation is thought to be anachronistic, and where a vague notion of universalism has become the new moral imperative.

But as I’ve written many times in my column, all love and all concern begin with specificity. We only learn how to love and be concerned about others through the ways we have loved — and have been loved — by our own.

I see it this way. There are seven million Jews in Israel. They are people of many races and ethnicities, many talents, and many political affiliations. They and their supporters worldwide are now under siege. They have been fighting for their survival, surrounded by neighbors seeking their destruction since before the Jewish state came into existence in 1948—  and they have continued to do so since the pogrom of Oct. 7, 2023.

Some have asked me, by way of accusation: do you now believe in genocide? Have you become a warmonger? (I assume my former fan,  above, feels this way.) Do you support the murder of children? What happened to the man who wrote songs like “Been Set Free,” Impermanent Things,” and “Mission Of My Soul”? Have you suddenly become cruel, hard-hearted?

The questions are too absurd to warrant a response.

For me, support of Israel and the Jewish people more broadly doesn’t take special courage or insight.

If someone were attacking a close relative or friend, my reaction would be the same. It would be reflexive, instantaneous. What consequence could outweigh the idea of sitting back while your loved ones are imperiled? There are those who have argued that whatever cruelties have been meted out are “acts of resistance” and justified military actions by the oppressed against their oppressors. One wonders what logic brought Hamas and its supporters to conclude that K’fir (who was 10 months old at the time of his murder) and Ariel Bibas (who was 4 years old at the time of his murder) were oppressors deserving of death by strangulation.

Such is the strangeness of the current moment, when it feels as though much of the world has once again chosen to place a target on the backs of Jews. Justifications are conjured up and offered, just as they were during the pogroms in Europe, the forced conversions and auto-da-fés of Spain, the fabricated Protocols of the Elders of Zion in Russia, the institutionalized anti-Jewish and anti-Israel campaigns of the Soviet Union that found expression at the United Nations in 1975, and in the demonstrations that erupted immediately after Oct. 7 — before Israel had fired a shot.

Synagogues in America are more than three times as likely as other U.S. houses of worship to employ armed security guards. Jewish day schools too, like the ones my grandchildren attend, face extraordinary security costs. Today, the average Jewish institution spends more than $400,000 annually on security. That represents an average increase of roughly 125% since before Oct. 7.

Let’s pause here.

This means that after the largest massacre of Jews since the Shoah, synagogues and Jewish schools have to spend 125% percent more to protect themselves from another one. The idea should stun any normal thinking person. Though sadly, I believe it would stun very few people these days.

Most recently, in NYC, Mayor Zohran Mamdani employed the magic words that brought him more attention on social media than ever before. The last time I checked the video in which he said the following received upwards of 90 million views: “I will arrest Benjamin Netanyahu if he comes to New York City.”

Not long afterward, a brutal double stabbing occurred, amid shouts of the now all-too- familiar “Allahu Akbar. One of the victims was a man wearing a kippah as he left a synagogue service. The attack happened on the Jewish holiday of Tisha B’Av, no more than a two-minute walk from my daughter’s apartment.

I leave it to you to decide whether this kind of rhetoric helps create a more peaceful New York City.

So I ask: How could I not speak up? How could I not use my voice in support of my people at a time like this? Isn’t it obvious? And why shouldn’t anyone who cares about Jews and Israel use their own voice?

You don’t need a huge platform. You simply need to speak out in whatever sphere you find yourself. This is the moment your parents and grandparents hoped you’d never see.

How you choose to act matters. It matters a great deal.

The post Why I stand with Israel appeared first on The Forward.

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Over 12 Torah scrolls stolen from Paris suburb synagogue

(JTA) — Over a dozen Torah scrolls have been stolen from a French synagogue in an attack the local rabbi called “antisemitic.”

The burglary hit the Grand Synagogue of Levallois-Perret, a wealthy suburb of Paris, between Sunday night and Monday morning. Rabbi Chalom Lellouche said the Jewish community was “violated” by the theft.

“It is, of course, a criminal act, but it is also an antisemitic act that specifically targeted the Torah,” Lellouche said in a joint video statement on Monday with Philippe Cohen, the president of the local Jewish community association.

The des Hauts-de-Seine prefecture, which handles local state administration, said on X that the stolen scrolls represented not just a “simple theft,” but “an entire community of believers that was wounded to the depths of its soul.”

Prefect Alexandre Brugère and elected officials met with Jewish communal leaders in Levallois-Perret on Monday evening, promising to identify the thieves and secure the return of the scrolls. A police investigation is ongoing, according to Cohen.

Cohen said the burglary was the work of a “professional team” that bypassed security systems and said the synagogue’s security was being reassessed. He called the incident “a profound spiritual trauma for the entire Jewish community in France and around the world.”

“It was the Torah — and only the Torah — that was targeted,” said Cohen. “No property was damaged, and nothing else was stolen apart from Torah items of immeasurable value.”

France recorded 1,320 antisemitic incidents in 2025, accounting for 53% of anti-religious acts, according to the Ministry of the Interior. Jews make up less than 1% of the French population.

This article originally appeared on JTA.org.

The post Over 12 Torah scrolls stolen from Paris suburb synagogue appeared first on The Forward.

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