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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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These Jewish readers wanted happy endings — so they turned to romance
Until a few years ago, every book math teacher Dahlia Evans had read about Jews was Holocaust historical fiction. Searching for a change, she went to her rabbi, who recommended a romance called The Matzah Ball, a Hannukah-themed novel about two archenemies from Jewish summer camp who fall in love as adults.
“It brings a lot of joy, seeing yourself in the characters, reading about the holidays and all of these things that you’ve grown up with,” said Evans, a mother of two from New York who also runs a book-focused Instagram account.
Following the Hamas-led Oct. 7 attacks on Israel, Jewish authors have described an increasingly hostile environment in traditional publishing. In fact, the number of books marketed as Jewish have declined over the past three years — pointing to either fewer Jewish books, or fewer publishers willing to market them as Jewish.
Even so, the demand for Jewish romance novels from Jewish readers has flourished, aided by The Matzah Ball’s author Jean Meltzer and a book club she started called Jewish Joy.
“I think a reason why the community grew is because of what the romance genre itself offers the reader, which is basically happiness,” says Heidi Shertock, the author of two Orthodox Jewish romances and a leader of Jewish Joy. “We’re going to give you that happily ever after, no matter the struggles and the obstacles and the difficulties that the character is facing. And I think we need that so much right now, especially as Jews.”
Bodice rippers and book clubs
Few, if any, Jewish characters were present in mass market romance novels until 1995 when Alina Adams wrote The Fictitious Marquis, the first bodice-ripper with a Jewish protagonist. Other writers such as Jennifer Wilck and Felica Grossman continued writing Jewish romances through the 2010s.
The romance novel, whose sales had been declining, saw a resurgence after 2020, spurred by the pandemic, a TikTok reading community called BookTok and the streaming hit Bridgerton. From 2021 to 2025, romance book sales doubled to 51 million units sold.
As publishers pushed to make romance novels more diverse, Jewish romance enthusiasts had to educate the community that romances by and about Jews represent diverse perspectives too, Wilck said.
“There was slowly starting to become recognition of that and enthusiasm for that,” Wilck said. “It has gotten a lot more complicated after October 7.”
Dahlia Adler, a USA Today bestselling author of Y.A. novels, recently wrote her first adult romance titled Soon by You about a modern Orthodox perma-bridesmaid – always a bridesmaid, never a bride. She has been surprised by its lack of appeal.
“More people who usually enjoy getting to see inside a new culture do not seem to be going anywhere near this book,” said Adler, noting the book’s Jewish themes. “It could be related. It could be not.”
Where Soon by You has received positive attention is a Facebook page called “Jewish women talk about romance.” The page, launched by Meltzer in July 2023, saw an influx of members after the Oct. 7 attacks growing from 1,000 to 3,500 members.
Shertock said the online community has become a safe haven. “Jewish readers weren’t feeling safe anymore in their book clubs,” she said.
Some authors describe a similar feeling. Chayla Wolfberg, an author and Jewish Joy book club leader, said the online Jewish romance community gave her comfort and validation.
“I was seeing so many authors — a lot of people who I used to really admire and look up to — posting things blatantly in support of what happened on Oct. 7,” she said. “I was just so horrified.”
Meltzer said authors like her who had spoken up in defense of Israel or expressed grief about Hamas’s Oct. 7 attacks found themselves doxxed, boycotted and lambasted in reviews.
In January 2024, Meltzer responded by launching the Jewish Joy book club, followed shortly by The Jewish Joy Box, which sends its members monthly boxes of mostly — though not exclusively — Jewish romance novels.
“It had one rule: we read books where nobody dies at the end, which was sort of a tongue-in-cheek nod to all the Holocaust books that we weren’t going to be reading,” she said. “We were going to be reading happy stories with happy endings and Jews who lived life.”
Litmus tests
Rachel Runya Katz’s novels focus on LGBTQ+ Jews of color. According to her Instagram bio, her books are “only ‘niche’ if you’re boring.” She is also vocal on social media about being an anti-Zionist Jew.
She has picked up on a “litmus test” for Jewish authors, which she said some readers won’t read if they have not spoken up about the Palestinian cause.
“There are people whose takeaway has been: I need to do a thorough background check on every Jew who I think about reading, and I’m not gonna do that to other people,” she said. “I do think that that is a form of bias.”
Katz has noticed other forms of antisemitism in the industry, both before and after October 7.
But she has also faced harsh criticism from other Jewish authors too. She said there were some “Zionist Jewish bookstagrammers who accused me of not being really Jewish and of identifying more as Black than as Jewish because I’m anti-Zionist.”
She thinks that Jewish Joy could very well be doing good work to fight antisemitism. But, she added, “I do not think that this is a good messenger for that because it’s somebody who has so prominently and publicly tried to link anti-Zionism and anti-Semitism … I think that’s a really dangerous translation to make.”
Jewish Joy leadership says that, in addition to creating a safe space for Jewish-romance fans, they want to make it welcoming for Zionists.
“We’re a pro-Zionist community,” said Meltzer. “We support Israelis, and you know the community has made the decision as a whole that they don’t want to support books right now from anti-Zionist authors.”
The Jewish Joy book club has also featured many books from authors who have not publicly commented on the Israeli-Palestinian conflict.
“We don’t really talk about that too much,” Shertock said.
As much as the group was created to satisfy Jewish readers, Meltzer also created it to support Jewish authors.“We needed to move the needle on sales,” she said. In its less than two years, the network has purchased more than 2,500 Jewish books for its boxes.
Meltzer feels like the community has needed to advocate for itself to be taken seriously both in the Jewish world, which she says tends to embrace literary fiction, and in the romance world, which she believes has been more hostile toward Jewish books.
“People take for granted that Jewish romance is going to continue,” said Meltzer. “I do not believe that. I actually think if we don’t fight every day for these books, they will stop being published.”
The post These Jewish readers wanted happy endings — so they turned to romance appeared first on The Forward.
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From Jerusalem’s Old City, a book that defies Israel’s media image
A few years ago, I followed the author and journalist Sarah Tuttle-Singer deep into Jerusalem’s Old City searching for the best za’atar.
To be clear, I was searching. She knew exactly where to go.
Sarah plunged through the crowded, narrow market streets of the Shuq Attarin, or Perfumers Market, whose vaulted ceilings and open stalls served Crusaders and Mamluks. She turned at signless intersections and slipped through nameless passageways, before stopping at a mad scrum of customers outside a small, open shop.
“Here it is,” Sarah said. “The best.”

An elderly man filled orders from barrels of spices and shelves of herbs, potions and remedies. When we managed to grab his attention, Sarah used her surprisingly decent Arabic to order me a kilo.
It tasted nothing like the spice mix I was stuck buying in L.A. The wild oregano that forms the floral, green base of the mixture carried notes of cumin, caraway and dandelion. The sumac, salt and ground sesame made it bright and earthy at once — a blend of disparate flavors that don’t obviously belong together but somehow do.
“How did you find this place?” I asked Sarah.
“I mean, I live here.”
Sarah was raised in Venice Beach and moved to Israel in 2011 with her two children and then-husband, an Israeli. She began writing for The Times of Israel and eventually moved into the Old City itself. We long ago bonded over our common love of Jerusalem, journalism — and Venice Beach.
Her latest book, Fairy Lights in God’s Backyard , is her second nonfiction book about life inside those ancient walls. I loved her first, Jerusalem, Drawn and Quartered, but I wondered, how much more is there to say?
The answer is: plenty. The Oct. 7 massacre. The destruction of Gaza. The Iran missile barrages. A new child. A near-death explosion. All of it filtered through a sharp, sensitive observer living among Jews, Muslims and Christians in the most contested third of a square mile on Earth. I opened the book at 11 a.m. and finished it by 4 p.m., leaving behind circled passages, dog-eared pages and margin notes.
‘The least political way to tell the truth’
Her passage on the local grocery is a good place to start. “There is a shelf in a corner market that doesn’t make sense,” begins one of the book’s many short chapters. Sarah describes a single shelf stocked haphazardly with Bulgarian jam, Italian pasta, Polish pickles, Armenian spice mix, and “tahina labeled in Arabic, Hebrew and Turkish.” She asked the shopkeeper why he kept such a jumble of far-flung ingredients in one place. “People keep asking for home,” he said.
Shoppers stop in front of that shelf, she writes — sometimes with a nostalgic look, a lump in the throat; sometimes to argue over a recipe, pulling items out, putting them back, defying any order. The shopkeeper gave up trying to organize it.
“Jerusalem, after all, does not behave politely or geographically,” Sarah writes. “It stacks centuries on top of each other and calls it a street. It builds apartments on Crusader arches and prays in languages that never learned to forgive each other. Why should a shelf obey borders that people themselves could not?”
Sometimes, she writes, a conversation starts in front of that shelf. My mother used to make this. We ate this only on holidays. You can’t get the good kind anymore. The shopkeeper, she writes, “understands something important: that in Jerusalem, food is often the least political way to tell the truth. You can argue borders for hours, but you cannot argue the taste of something that raised you.”
An apartment on the seam
It’s the same lesson, I realized later, sitting behind that scrum in the Perfumers Market: My kilo of za’atar was itself a shelf of sorts, oregano, sumac and sesame, none of it asking permission to belong together.
The Old City is divided into four quarters — Arab, Jewish, Armenian and Christian. Sarah moved into her last apartment there in October 2025, on the seam between the Jewish and Armenian Quarters, where Armenian conversation mixed with church bells and the Hebrew songs of schoolchildren next door.
The apartment itself crossed borders. It was built over a Byzantine well that connects to a system of Roman tunnels; the walls themselves were “much newer” — 17th century. She moved in with her toddler son and made it a home, decorating in bright colors and pastels, a style she calls “Mad Hatter in Ottoman Jerusalem,” and planted rosemary, lavender, mint, sage and, yes, za’atar on the roof. Even her garden was a small act of layering something new onto something ancient.
The war in a stone well
From that sweet base, she recorded a particularly fraught stretch in an always-fraught city. Her downstairs neighbor, Claire, whom she greeted several times a day, kept asking Sarah to explain how it is that she, an old woman, outlived her young son.
It’s a question Sarah has heard so many Israeli and Palestinian mothers ask since Oct. 7. “Every time I heard Claire ask why she was still here instead of her son, I heard echoes of mothers everywhere who have asked the same impossible question,” she writes.
Then the Iran war began and the sirens wailed, and each time, Sarah and her neighbors rushed down into the 1,500-year-old Byzantine well to wait out the incoming missiles: the ancient Armenian priest, the chain-smoking French tourists, the Arab TV broadcaster and his extended family, children scared of ghosts, the pedantic American with his “thirty-two-minute breakdown of geopolitical implications,” Muslims, Christians, Jews, and a pit bull named Baku — all brought together hoping to survive the mullahs’ wrath, “a regional war compressed into a stone cylinder beneath the Old City.”
The shelf upstairs holds whatever people ask for. The well below holds whoever happens to be home when the sirens go off. Between the two, Sarah keeps finding the same unlikely arrangement: people who don’t agree on much, sharing space anyway because the ground gives them no other choice.
There are other moments, too, when Sarah watches the divisions that outsiders think define Israel and Jerusalem melt away. When a fire breaks out and residents pour from their homes to help extinguish it. When she suffers an unexplained cardiac event one evening, and friends and neighbors show up to rush her to the ER.
“The paramedics arrived and so did, apparently, half the neighborhood,” she writes. “I haven’t seen this many Jews and Arabs crammed into one small room since the Oslo Accords.”
‘A deep, abiding care’
That’s what makes the book such a beautiful and important read. The hope it offers is earned. Sarah isn’t naive about the violence, fear and resentment tearing her society apart, but she also lives out something most of us, and most of the media, miss: a deep undercurrent of shared humanity running through that land as well.
That became vividly clear when her own sweet apartment blew up — a faulty propane tank burst, collapsing her home around her. The experience sent her through her own cycle of grief, exile and return. Friends, neighbors and strangers — Arab, Jewish, Armenian — rushed to her aid, literally dug her out of the wreckage, then helped her rebuild.
“In the smoke — acrid and choking — there was also something else rising,” she writes. “A deep, abiding care for one another. The kind that lives here but doesn’t make headlines.”
It took me more than a year, but I eventually worked my way through the little pillowcase of za’atar I’d carried home from the Old City that day — folded into turnovers, dusted over roasted vegetables, and, most often, the way it appears on nearly every Palestinian table: pooled in olive oil atop labne.
On my last trip to Israel, I met Sarah and her boyfriend for a drink at Hataklit, a neighborhood bar near Zion Square. She and her son have found a new place. She’s still at The Times of Israel, now writing a feature called Peoples of Israel, profiling an endlessly interesting cast of characters. And to share her love of Jerusalem’s people, cultures and food, she’s even leading occasional tours through the Old City.
If you go, I recommend the za’atar. It won’t taste like anywhere else — which, if Sarah’s book is right, is exactly the point.
A version of this essay first appeared in Rob Eshman’s Substack, Foodaism.
The post From Jerusalem’s Old City, a book that defies Israel’s media image appeared first on The Forward.
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‘I felt I couldn’t talk about the war’: Jewish and Muslim teens make space for tough conversations
For Jewish student Maxanne Wallace-Segall and Muslim student Nabila Rahman, the months after the Hamas-led Oct. 7 attacks on Israel were filled with a tense quiet.
Then freshmen at Stuyvesant High School, a public school on Manhattan’s southern tip, the two girls had only been friends for a few weeks. As their social media feeds became inundated with polarizing content from across the spectrum, neither of them knew how to bring up what had happened.
“I felt like I couldn’t talk about the war with one of my closest friends in the world, just because I was terrified about what I would say and what she would say,” Wallace-Segall said.
That tension ended when Wallace-Segall interviewed Rahman for an article in their high school paper about the pain many students were experiencing in the first months of the Israel Hamas War. Broaching the subject for the first time, they realized that — despite coming from different perspectives — both were primarily concerned that their friends were OK.
“It wasn’t a question of ‘do you support Israel or Palestine?’. It was a question of [if you were] OK; if your family was OK. That was what mattered at the moment; her opinion didn’t matter, even if it differed from mine,” Rahman told Wallace-Segall for the article.
Now rising high school seniors, the duo runs The Together Project, a citywide organization dedicated to dialogue between Muslim and Jewish teens — Zionists and anti-Zionists alike. This summer, that dialogue has deepened and the reach has widened with the launch of a twice-weekly program called the Ohel/Ahl Fellowship, named after Hebrew and Arabic words for friendship. Since June, Jewish and Muslim teens from public, private, religious, and secular schools in the New York area have come together around sacred texts, swapped stories, consulted experts and explored each other’s neighborhoods and perspectives.
Emboldened by their first conversation, Wallace-Segall and Rahman began speaking about the conflict with Muslim and Israeli friends. But, when starting the organization, those friends opted not to participate. The Muslim friend’s family refused to let them talk to people who supported Israel, while the Israeli friend wasn’t allowed to talk to anti-Zionists. The organization continues to face this challenge, with some criticizing its inclusive nature. On one Instagram reel posted by the project, a user commended the concept, but pointed out the number of Palestinian deaths and disagreed with participants working alongside Zionists.
“i was like yessss this is what we need!!” they wrote at first. “only for u to include zionists 💀absolutely not. none of you are truly anti-zionists if you agree to work closely with zionists, especially at this time.”
But that misses the point, Wallace-Segall said. “To exclude the Zionist narrative would be to exclude the issue itself.” That widespread opposition toward dialogue highlights “the necessity and urgency of starting it even more,” she added.
To expand citywide, the girls drew upon their previous connections — someone with whom Wallace-Segall often debated about the subject, another who had written poetry about her religious identity. Currently, the organization has branches at four public high schools in three of the city’s five boroughs.
The Together Project also established a partnership with the New York Society for Ethical Culture, a social activism organization that offers meeting space for several grassroots organizations and hosts all branches of the Together Project, and other interested students, for a citywide conference three times a year in winter, spring and summer.
At those seasonal meetings, students go over historical timelines, read books, articles, sacred texts, and poetry and push themselves to grapple with hard topics. The conversation subjects range from comparisons of the Torah and Quran to what Muslim and Jewish teachings say about queerness, and how being a member of the LGBTQ community informs support for Israel, given its comparatively tolerant culture, and support for Palestinians in Gaza, given the nature of their collective struggle.
Wallace-Segall’s favorite conversations are those that question “why do you believe what you believe?”
“It really gets everyone to think about the specific moments with their families and their friends and reading the news in which different aspects of their opinions have been shaped,” she said.
Last November, members of the group attended a United Nations conference on establishing a Middle East zone free of weapons of mass destruction. As she listened, Wallace-Segall was inspired by those “dedicating their lives to committing to peace.” At the end, four of The Together Project members were given the opportunity to speak about their organization and share their thoughts on the solutions that had been presented.
“So often in the UN, when we see discussions of rebuilding communities … it’s decades or years after the conflict happened,” Wallace-Segall said in her speech. “I think the time to start rebuilding communities is now.”
At Ramaz Upper School, a Jewish day school in Manhattan, now rising senior Gabriel Flatto-Katz found himself in a Jewish bubble. Amidst the tensions of the New York City mayoral election, he realized that he “didn’t have any Muslim person that I could call a friend,” and sought to start an interfaith student organization.
Despite reaching out to many Muslim organizations, however, he wasn’t able to find any interested partners. Then he discovered the Together Project and helped Wallace-Segall and Rahman develop this summer’s Ohel/Ahl Fellowship.

The fellowship has enabled students who were already involved, along with many new ones like Flatto-Katz, to engage more deeply with meetings twice a week. So far, the fellows have hosted speakers from the Rose Castle Foundation, which helps equip leaders to navigate conflict; explored the Islamic wing of the Metropolitan Museum of Art and analyzed poetry by Israeli and Palestinian writers.
Rather than jump right into sensitive political discussions, students explored each other’s religious identities and established trust in initial meetings, so they have felt more comfortable sharing sensitive opinions in the latter half of the fellowship.
According to Gershon Rozenberg, a rising senior at SAR High School, a co-ed modern Orthodox yeshiva in Manhattan, that turning point arrived during a recent discussion the students had about war. Participants shared conflicts that felt most personal to them and their families and how this might impact their thoughts on the Israeli-Palestinian conflict. Some mentioned the Vietnam War, the Bangladesh Civil War and the Holocaust.
Rozenberg called it “the most vulnerable conversation we’ve had among fellows.”
For Rahman, this conversation helped her realize just how personal the Israeli-Palestinian conflict is for Jews. “For people like Gabi who literally have family in Israel, there was so much more at stake,” said Rahman, who doesn’t know anyone who is Palestinian.
Along with speakers, the fellowship has a board of mentors from Jewish and Muslim organizations, including Rose Castle, the Tannenbaum Foundation, Jewish Theological Seminary, and a Palestinian representative from Debate for Peace.
“We’re still kids running a kids’ program,” Flatto-Katz said. Mentors provide necessary guidance on how to run an interfaith organization, advise on ground rules during sessions and recommend texts to study. To build a consistent base of students at each meeting, mentors also have helped recruit teenagers they had worked with previously.
Flatto-Katz recruited Rozenberg after reading Rozenberg’s piece in SAR’s campus newspaper arguing that the school “should do a better job of understanding the Palestinian perspective.”
To complement the students from private Jewish day schools, leaders have been reaching out to private Muslim schools. But they’ve encountered difficulty.
“A lot of the kids have never met a Jewish person before, so it’s hard for them to make that first step,” Rahman said.
Many of the students from private Jewish schools say they have been moved by the contributions of Muslim participants, including rituals like chanting from the Qur’an or talking about their religion. “People have enjoyed the ability to hear something so different than what they’re used to,” Flatto-Katz said.
Within Jewish youth spaces, Flatto-Katz said students strongly support Zionism, but also crave hearing new perspectives. It’s not always easy for Flatto-Katz to “have really hard conversations,” as he has family in the region, but he senses and shares a “hunger for understanding.” Agreement or consensus is not required, he said.
“This is my friend Nabila who doesn’t agree with me on 99% of things, and I think it’s really cool that we get frozen yogurt together,” Flatto-Katz said.
To Rahman, the diversity of high school environments and the formative teenage years are what makes the work they are doing now so significant.
“Making sure younger people are involved in this kind of things is so important,” she said, “because they are the ones who are going to be shaping the future.”
The post ‘I felt I couldn’t talk about the war’: Jewish and Muslim teens make space for tough conversations appeared first on The Forward.

