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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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How Billy Wilder and B&H Dairy birthed ‘The Only Living Pickpocket in New York’
Noah Segan’s crime thriller The Only Living Pickpocket in New York has drawn comparisons to NYC auteurs Spike Lee, Elaine May and John Cassavettes. While the writer-director is far from anxious about these influences, he notes another, less obvious touchpoint: a Billy Wilder comedy.
“There’s a line in The Apartment, where the very kindly Jewish neighbor doctor says to Jack Lemmon’s character, after he’s been through all of this meshugas with his apartment,” Segan, wearing a shirt that reads “I [Image of a heart-shaped pretzel] New York,” said in a Zoom interview.
The neighbor advises Lemmon’s befuddled, hyper-gentile character to “be a mensch.” In explaining what it means, he says, “just be a person.”
In Pickpocket, Harry Lehman (John Turturro), the titular gentleman thief, calls his neighbor across the hall a mensch for looking out for his wife. Her response: “I’m just being a person.”
While the film, about what happens when an old-school filcher accidentally lifts a high-tech MacGuffin, has its share of grit and cynicism for an increasingly impersonal, online world, its open-hearted menschlikeit shines through.
I spoke with Segan about the film, his sophomore feature after his 2022 Jewish vampire romp Blood Relatives, about Yiddish, B&H Dairy and whether Turturro is the GOAT of non-Jewish actors playing Jews. The following conversation has been edited for length and clarity.
How did you arrive at this idea of an ode or elegy to a Luddite New Yorker?
I looked in the mirror. (Laughs) I’m sort of a Luddite New Yorker — at heart. But a realist, I guess.
It started with a character. It started with Harry. You go, “OK, what is he going through? How is he functioning? What are his challenges?” And then you go, “Oh man, this guy is New York. And this can happen in New York. And I’m from New York.” You’re looking for patterns, you’re looking for the thing that works for you — but is it a chicken and the egg? Is it New York? Is it Harry? Are they the same thing? But once you get those two aspects, the rest of it can blossom naturally.
Your embodiment of New York is an old Jewish guy.
The embodiment of me is an old Jewish guy! (He fishes out a chai necklace from under his collar.) I got my little chai. Represent for the Forward.

In your previous film, Blood Relatives, you were a Jewish vampire. You said in an interview you were thinking about the fear of “otherness.” I’m wondering if there’s something in that choice of making Harry Jewish. Someone with community, but kind of on the margins. Obviously, in New York we don’t think of ourselves as being marginal, but maybe it’s indicating a change.
I think for the first film, part of the conversation was how to discuss otherness through both a realistic lens: that of a Jew, and through a cinematic lens, that of a vampire. The more you think about things like blood libel, the more you think about things like how Jews were murdered, all of that colors that dynamic. In Pickpocket, it’s a little bit different because Harry isn’t really an “other” he is one of. Not just because there are lots of Jews in New York, but there’s lots of everybody in New York!
I think that New York is often unified less based on religious and racial lines, much more so on socioeconomic lines, which of course is something this movie talks about.
Part of the texture there is Yiddish as a kind of lingua franca. We have Giancarlo Esposito and Lori Tan Chinn — older, non-Jewish characters. They all use it. I know we all say “schlep,” but I teach kids at City College, they don’t all know the word “mensch.” Is that a disappearing part of New York for you, in the same way Harry is recognizing his obsolescence?
To me, it’s not a disappearing part because I run into it all the time, and I think most New Yorkers know a little bit of Yiddish, just like most New Yorkers know a little bit of Spanish and that’s how you get by.
You’ve spoken of the Jewish-Italian handshake, a principle in casting that lets Robert DeNiro play Ace Rothstein and James Caan play Sonny Corleone. I have long maintained that John Turturro is probably the greatest living non-Jewish portrayer of Jews.
I think the idea with John is that he embodies New York to such a degree, that he truly does get to do any version of a New York character. This is a guy who just is New York, and so if you let him be a New York-coded character, it is what it is. It is whatever it needs to be. That man knows more about Philip Roth than anybody I’ve ever met, which makes me feel like that makes him definitely an honorary Jew.
Harry’s doorpost has a mezuzah and he goes to visit his daughter and there’s a wreath on the door. I was wondering about that bit of set dressing.
The mezuzah on the door — it’s like painted over. The idea that it had been there a long time was really important to me. That this is a matter of fact of one’s life. There is probably a question of how much Harry’s culture and religion influenced his daughter, who he left at a young age, and her choices to identify or not with that. Obviously, who knows who she married and how they practice. There are Jews who feel jolly and put a wreath on their door, so there’s no rule about that. But I do think that it is safe to say that there were historic, cultural, ethnic identifying aspects that Harry did not pass on. And that is part of the tragedy, of course, of leaving one’s family.
Did you shoot the film before the death of the MetroCard, and do you think Harry would have been able to figure out OMNY? I feel like the transition from tokens might have been difficult for him.
The transition from tokens was definitely difficult for him. We still had MetroCards when we shot the movie. I think it was a combo. But he doesn’t have a phone to tap! So what’s he gonna do? He’s gonna get an OMNY card and load it up? I mean, I guess that’s sort of like having a MetroCard.
The other day my phone died, so I just used my credit card. So you could do that in theory.
I don’t know if Harry has a credit card.
He deals in cash.
I think what he’s doing is he’s just waiting for somebody to open the emergency door for him. And then he passes them a couple bucks.
How do you think he would feel about Mamdani and the Knicks championship?
I don’t know if Harry votes. I think he likes to stay off the rolls. The more off-the-grid he could be, the better. But I do think that he would be very pleased about the Knicks. I don’t know if he’d be as pleased as John is. But I think he would be very pleased about the Knicks.
We feel that the days of Harry and his analog life are numbered, but there’s also a glimmer of hope when we see him mentoring a younger guy in the old ways of the five-finger discount.
All hope is never lost, especially in New York. New York is a hopeful place. Because it is sarcastic and cynical and has a sense of humor and it’s very fast. People think that that somehow makes it not an optimistic or hopeful place. But no. New Yorkers are the most resilient people on earth — that’s why the all the Jews move here!
Any there other Jewish tidbits that you’re not going to get a chance to to speak about with the general press?
You picked up on B&H right?
I don’t know if I did!
The first scene with Harry, he’s having his matzo brei at B&H.
Oh! I wasn’t thinking of B&H Dairy. I was thinking of B&H Photo.
There used to be a whole cottage industry of these places that that showed up at the turn of the century called B&H, and people go, “Well, why is it called B&H.” It’s Baruch Hashem. It wasn’t anybody’s name. It was just like, ‘Well, I guess thank God we opened up a store.’
(Author’s Note: Regrettably, in the case of the dairy establishment, this tidbit, while widely believed, appears to be apocryphal; the founders of B&H, who catered to Yiddish actors on Second Ave. were named Abie Bergson and Jack Heller and gave their initials to the enterprise.)
B&H is such a great example of New York because it is still kosher. It is still signed off on by a rabbi. The rabbi puts the stamp on it. Remains kosher. It is run by a Catholic Polish lady, her Muslim-Egyptian husband, and the head chef is Mexican. And if you buy the T-shirt, the T-shirt says “Challah por favor.”
It is a great New York, multi-ethnic, multicultural institution, and I’m very proud that we got to shoot there.
The post How Billy Wilder and B&H Dairy birthed ‘The Only Living Pickpocket in New York’ appeared first on The Forward.
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A synagogue and Jewish-owned shops damaged in French riots
(JTA) — PARIS – Jewish-owned shops in Marseille were set ablaze and a synagogue in Paris was vandalized as part of widespread property damage caused by riots across France Saturday and Sunday, according to the Jewish Community Protection Service.
It is too early to assess the full extent of the riots protesting the rising cost of living and the damage they’ve caused, but various elements in the media have described them as civil unrest and chaos.
From Lille in the north to Marseille in the south and in the major cities in between, media estimate that nearly 800,000 people took to the streets and some 2,000 shops were vandalized or looted. Public buildings were set on fire, and hundreds of people or more were injured, including 150 police officers, with thousands arrested.
The riots followed a student uprising that blocked entrances to high schools across the country in recent weeks. Palestinian flags and keffiyas have been a recurring motif in most of the violent protests, acts of vandalism and looting.
But according to SPCJ, known as the Service de Protection de la Communaute Juive in French, there was no evidence that Jewish institutions or businesses were deliberately targeted.
Vandals broke into the Ohalei Yaakov synagogue in Paris’ 19th district overnight between Saturday and Sunday. On Sunday morning, members of the Jewish community discovered that their temporary place of worship had been broken into. The permanent synagogue building is currently undergoing renovations.
Inside the sanctuary, prayer books, tefillin, and various objects — taken from boxes and cupboards — were found scattered on the floor. The rabbi’s office was also searched. Despite the mess, the Torah scrolls appeared to be unharmed.
According to a member of the synagogue committee, the incident primarily points to an attempted theft. The suspects may have been looking for money, but nothing was believed to be missing.
This article originally appeared on JTA.org.
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How much will Trump’s endorsement help Netanyahu?
(JTA) — JERUSALEM – Within minutes of President Donald Trump endorsing Prime Minister Benjamin Netanyahu in a post on Truth Social Sunday, Netanyahu’s campaign team had released a 30-second clip showing all the times Trump has lavished praise on the Israeli leader over the past few years.
With polls showing that Netanyahu and his governing coalition are slipping in their struggle to retain power in the upcoming Oct. 27 election and lag behind the opposition bloc, an endorsement from the president of the United States is a powerful statement.
But is it enough to tip the scales?
“I don’t think it will change anything,” said Ilana Shpaizman, a senior lecturer in the Department of Political Studies at Bar-Ilan University.
Of course, she said, “Netanyahu will say this is the proof that I’m a leader and all that, and I can speak to Trump … But so what? His followers already know that and they believe in him. They don’t need the endorsement.”
Those who oppose him, Shpaizman continued, “know that Trump forced him (Netanyahu) to accept the ceasefire in Gaza and accept the hostage deal, and that Trump runs the show around Iran. So they also don’t need the endorsement either,” Shpaizman said.
Some pundits speaking on Israeli news outlets criticized Trump for “interfering” in Israel’s election, while others put it down to the fact that Trump does not want America to return to fighting Iran alone if Netanyahu, who is hawkish on Iran, is replaced by someone less willing to act militarily. If Netanyahu loses, that is a scenario that could play out.
“This is the first time ever that the president, at least publicly, endorses a candidate in Israel’s election,” Bushinsky, a political commentator and former adviser to Netanyahu, told the Jewish Telegraphic Agency.
Bushinsky said he remembered Netanyahu complaining about U.S. intervention in previous elections in 1999 and 2001, when presidents less enamored of him were in office. He even pushed for an initiative that would block foreign funding for election campaigns.
Now, Bushinsky said, “I guess he is not complaining,” adding that the endorsement serves Netanyahu in two ways.
First, it signals that Trump thinks that Netanyahu is the most suitable guy for the job. Second, it puts Netanyahu’s election campaign back on track, refocusing attention on an issue where Netanyahu is strong – Iran.
“It lets him say ‘I can now finish a job, and I can finish a job with Trump,’ and ‘without Trump or without me, the job will not be finished,’” said Bushinsky.
He said that in the last few days, the political debate had pivoted to other issues such as Ashkenazim vs Sephardim, the draft law and the contentious efforts by the outgoing government to overhaul the judiciary.
“This [endorsement] is the ultimate campaign boost for Netanyahu,” Bushinsky said.
But that boost might not be enough.
Most of the polls taken in recent days show the opposition bloc led by former IDF chief Gadi Eisenkot pulling ahead of Netanyahu’s ruling coalition, but give neither bloc enough seats to gain the necessary 61 of 120 seats in Israel’s parliament, the Knesset, to form the next government.
“I think this might give Netanyahu one more seat, one more mandate, but not more than that,” said Bushinsky.
Prof. Tamar Hermann, director of the Israel Democracy Institute’s Viterbi Center for Public Opinion and Policy Research, said that the timing of Trump’s support for Netanyahu in this election race had come both “too late and too early.”
“It’s too late because people have already decided electoral preferences. They may shift within each bloc, but will not move between the blocs because of this,” she said. “And it’s too early because there are nine days to go to the elections, and we can already see other American leaders spilling some cold water over what he said, even on the Republican side of the aisle.”
This criticism, Hermann continued, will be transmitted to Israeli voters, and they will see that Trump is facing a huge battle in the upcoming midterm elections.
“The image of President Trump has deteriorated significantly since April 26, when he started the negotiations with Iran,” she said, pointing to one of the IDI’s recent public opinion surveys that found the president’s popularity had plummeted after he stopped the war with Iran without totally removing the threats against the State of Israel.
According to that poll, the Israeli public’s confidence in Trump as someone dedicated to Israel’s security fell from around 70% to just 42%.
“In my view, the endorsement will not make a big change,” Hermann added. “It will just strengthen Netanyahu’s political supporters, who will see it as a sign that he is still the internationally known figure that even the president of the United States is endorsing.”
She concluded, “The meaning of endorsement in Israel is totally different than in the United States … we are not that used to this kind of move, and it will not make people change their minds.”
This article originally appeared on JTA.org.
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