Uncategorized
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.
Uncategorized
Klimt Portrait That Helped Save Jewish Subject From Nazi Persecution Sells for Record $236 Million at Auction
Painting by Gustav Klimt ‘Bildnis Elisabeth Lederer’ (Portrait of Elisabeth Lederer) on display at Sotheby’s auction house new global headquarters on Madison Avenue in the Marcel Breuer building in New York, NY on Nov. 12, 2025. Photo: Lev Radin/Sipa USA via Reuters Connect
A Gustav Klimt portrait that helped safe its Jewish subject from Nazi persecution during the Holocaust sold on Tuesday for a record-breaking $236.4 million at a Sotheby’s auction in New York.
Klimt’s “Portrait of Elisabeth Lederer” is a 6-foot-tall painting that the artist worked on for two years between 1914 and 1916. It depicts the 2o-year-old only daughter of August and Szerena Lederer, wrapped in an East Asian emperor’s cloak adorned with dragons. The Lederers, who were Jewish, were Klimt’s greatest patrons and also the second wealthiest family in Vienna, Austria, only behind the Rothschilds. Klimt painted portraits of other Lederer family members as well and their art collection included many Klimt paintings.
The painting is one of only two full-length Klimt portraits that remain privately owned, while the majority of the rest are in museums. The portrait sold for $205 million plus premium to a buyer over the phone. It marks a record for a piece of modern art and doubled the previous record for a Klimt painting, according to Reuters. Sotheby’s declined to share the identity of the portrait’s buyer.
Following Nazi Germany’s annexation of Austria in 1938, which took place two years after August Lederer died, Nazis looted the Lederer art collection but left behind the family portraits because they were considered “too Jewish” to be worth stealing, according to the National Gallery of Canada, where “Portrait of Elisabeth Lederer” was on loan for three years.
In an attempt to save herself from Nazi persecution, Elisabeth fabricated a story that Klimt, who was not Jewish and died in 1918, was her real father. The fact that Klimt had a reputation as a philanderer and spend years obsessing over Elisabeth’s portrait helped support her story. Szerena even signed an affidavit supporting the false claim about Klimt’s paternity in an effort to save her daughter, according to the National Gallery of Canada. The Nazi regime ultimately gave Elisabeth a document stating that she was descended from Klimt and along with help from a former brother-in-law, who was a high-ranking Nazi official, she lived safely in Vienna until she died of an illness in 1944.
The painting was then looted by the Nazis and nearly destroyed in a fire during World War II, but miraculously survived. It was returned to a Lederer family member in 1948, who kept the piece until selling it in 1983. “Portrait of Elisabeth Lederer” joined the art collection of Estée Lauder heir and Jewish billionaire Leonard Lauder in 1985. He died in June at 92 and five Klimt pieces from his collection have sold at Sotheby’s for a total of $392 million.
Uncategorized
Iran Seeks Saudi Leverage to Revive Stalled Nuclear Talks With US
Saudi Crown Prince and Prime Minister Mohammed bin Salman speaks during a meeting with US President Donald Trump, in the Oval Office at the White House in Washington, DC, US, Nov. 18, 2025. Photo: REUTERS/Evelyn Hockstein
Iran has asked Saudi Arabia to persuade the US to revive stalled nuclear talks, underlining Tehran’s anxiety over a possible repeat of Israeli airstrikes and its deepening economic woes, two regional sources with knowledge of the matter said.
A day before Crown Prince Mohammed bin Salman’s visit to the White House earlier this week, Iranian President Masoud Pezeshkian sent a letter to the de facto Saudi leader, Iranian and Saudi media reported on Monday.
In the letter, Pezeshkian said Iran “does not seek confrontation,” wants deeper regional cooperation, and remains “open to resolving the nuclear dispute through diplomacy, provided its rights are guaranteed”, the sources told Reuters.
Iranian Foreign Ministry spokesperson Esmaeil Baghaei said on Wednesday that Pezeshkian’s message to the Saudi crown prince was “purely bilateral.” The Saudi government media office did not immediately respond to a request for comment.
IRAN‘S NUCLEAR SITES BOMBED IN JUNE
Prior to the 12-day war in June triggered by Israeli airstrikes, during which US forces struck three Iranian nuclear sites, Iran and the US held five rounds of talks on the Islamic Republic’s contentious uranium enrichment program.
Since the war, the negotiations have hit an impasse, even as both sides insist they remain open to a deal.
One of the sources in the Gulf said Iran is seeking a channel to reopen talks with Washington, and that the Saudi leader also favors a peaceful solution and conveyed that message to US President Donald Trump during his visit.
“MbS [the Saudi crown prince] also wants this conflict to be over peacefully. This is important to him, and he relayed this to Trump and said he is ready to help,” the Arab Gulf source said.
On Tuesday, the Saudi ruler told reporters: “We will do our best to help reach a deal between the United States and Iran.”
Riyadh and Tehran have been long-time strategic rivals in the Middle East, often backing opposing sides in regional proxy wars, until a China-brokered rapprochement in 2023 eased hostilities and restored diplomatic relations.
Saudi Arabia’s growing political weight has made it an increasingly decisive actor in regional diplomacy. Its deep security ties with Washington – and particularly the leadership’s close relationship with Trump – endow Riyadh with leverage few others in the Middle East possess.
Meanwhile, Iran‘s regional standing has weakened over the past two years from devastating military blows inflicted by Israel on its allies Hamas in Gaza and Hezbollah in Lebanon, and the fall of its close ally, Syrian dictator Bashar al-Assad.
“Shifting mediation channels from countries such as Oman and Qatar to Saudi Arabia – a country with structural power, direct influence in the US and a practical resolve to reduce tensions – is the best strategic decision under current circumstances,” said Hamid Aboutalebi, a former senior Iranian diplomat.
“These characteristics make Saudi Arabia an effective mediator and a genuine channel for conveying messages, a position that neither Oman nor Qatar nor the Europeans possess,” Aboutalebi wrote on X.
Given that it is seeking to establish its own uranium enrichment programme, Saudi Arabia has an interest in promoting a US-Iranian nuclear deal, said Firas Maksad, Washington-based managing director at consulting firm Eurasia Group.
During MbS’s Washington visit, he and Trump signed a declaration to complete talks on a civilian energy program, without saying whether Riyadh would be able to enrich.
“The Saudi quest for enrichment is related to US-Iran nuclear diplomacy,” Maksad said. “Saudi has an interest in promoting the US-Iran nuclear talks via a quiet back channel.”
IRAN, US SAY THEY BACK DIPLOMACY, BUT DEMANDS CLASH
The stakes for reviving nuclear diplomacy are high.
Conditions set by Tehran’s clerical establishment and the Trump administration remain sharply at odds, and a failure to narrow differences risks igniting a new regional war.
Gulf states, wary of being dragged into a broader conflict if Israel strikes Iran again, have previously acted as intermediaries – particularly Qatar and Oman.
Iran accuses Washington of “betraying diplomacy” by joining its close ally Israel in the June war, and insists that any deal must lift US sanctions that have crippled its oil-based economy. Washington, meanwhile, demands that Tehran halt uranium enrichment on its soil, curb its ballistic missile program and stop backing regional militia proxies – terms Iran has rejected.
Trump and Israeli Prime Minister Benjamin Netanyahu have warned they will not hesitate to strike Iran again if it resumes enrichment, a potential pathway to developing nuclear bombs.
Western powers and Israel accuse Tehran of using its declared civilian nuclear program as a cover for developing bomb material. Iran says it seeks only peaceful atomic energy and vows a “crushing response” to any more Israeli aggression.
ECONOMIC ISOLATION, PUBLIC ANGER PUSH RULERS TO SHIFT COURSE
Iranian Supreme Leader Ayatollah Ali Khamenei, a hardliner who has the final say on foreign policy and the nuclear program, has ruled out negotiations under threat.
“They want to impose their demands and advance their goals through military and economic pressure. This approach is unacceptable, and Iranians will not submit to it,” he said.
But that line-in-the-sand approach does not cut it for many ordinary Iranians struggling with the privations of daily life.
The economy is buckling under a collapsing currency, soaring inflation and chronic shortages of domestic energy and water – chiefly driven by years of mismanagement and sanctions.
Hemmed in by mounting public anger and the risk of further Israeli attack if nuclear diplomacy fails, Iran’s clerical elite is scrambling for a breakthrough with Washington to ease its crushing economic isolation, two senior Iranian officials, who like others spoke on condition of anonymity, told Reuters.
Kamal Kharrazi, a senior adviser to Khamenei, last week appealed to Trump to pursue “genuine talks with Iran grounded in mutual respect and equality,” according to Iranian state media.
Uncategorized
Israel Expects to Keep Regional Military Edge Despite Planned Sale of F-35s to Saudi
An F-35 jet performs at the Dubai Airshow in Dubai, United Arab Emirates, Nov. 17, 2025. Photo: REUTERS/Amr Alfiky
Israel expects to maintain access to more advanced US weaponry, a government spokesperson said on Thursday when asked about Washington’s plan to sell F-35 warplanes to Saudi Arabia.
Israel is the only Middle East country operating the F-35, one of the most advanced warplanes ever built. US law guarantees Israel a “qualitative military edge” in the region.
“The United States and Israel have a long-standing understanding, which is that Israel maintains the qualitative edge when it comes to its defense,” spokesperson Shosh Bedrosian told reporters.
“That has been true yesterday, that has been true today, and the Prime Minister [Benjamin Netanyahu] believes that will be true tomorrow and in the future,” she said.
The spokesperson’s remarks were the first official comment from the Israeli government on the Saudi sale, announced earlier this week by President Donald Trump.
Saudi Arabia does not officially recognize the state of Israel. Crown Prince Mohammed bin Salman, Saudi Arabia’s de facto ruler, said during a visit to Washington this week that the kingdom wanted official ties with Israel but also wanted to ensure a clear path for a two-state solution with Palestinian independence.
Israel‘s Netanyahu opposes Palestinian statehood.
US officials have said the Saudi jets will not have superior features found in Israel F-35 fighters, which include advanced weapons systems and electronic warfare equipment.