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For theatergoers at Broadway’s recent spate of Jewish shows, attendance is a form of witness
(JTA) — Jewish stories have had top billing on Broadway this season — and Jewish audiences have been flocking to the theater.
Audiences have lined up to see Tom Stoppard’s “Leopoldstadt,” the multigenerational saga of a Jewish family in Vienna, and the devastating consequences of the Holocaust upon its ranks. They have packed the house for “Parade,” a musical retelling of the infamous antisemitic show trial and subsequent lynching of Leo Frank in Marietta, Georgia, in 1915. And just off Broadway, “The Wanderers” (which closed April 2) invited us into the slowly disintegrating marriage of two secular Jews born to mothers who dramatically left the Satmar sect of ultra-Orthodox Judaism, a show replete with intergenerational trauma and a pervasive sense of ennui.
None of these shows offers a particularly lighthearted evening at the theater. So why have they proven so popular? Critics have penned countless reviews of the three plays, analyzing the quality of the productions, the scripts, scores, performances of principal actors, set and design. But for our new book exploring what audiences learn about Judaism from Jewish cultural arts, my colleague Sharon Avni and I have been interviewing audience members after seeing “Leopoldstadt,” “Parade” and “The Wanderers.” We are interested in turning the spotlight away from the stage and onto the seats: What do audiences make of all this? What do they learn?
Take “Leopoldstadt,” for example, a drama so full of characters that when it left London for its Broadway run the production team added a family tree to the Playbill so that theatergoers could follow along. “Leopoldstadt” offers its audience a whistle-stop introduction to modern European Jewish history. In somewhat pedantic fashion, the family debates issues of the day that include Zionism, art, philosophy, intermarriage and, in a searing final scene, the memory of the Holocaust.
For some of the theatergoers that we interviewed, “Leopoldstadt” was powerful precisely because it packed so much Jewish history into its two-hour run time. It offered a basic literacy course in European Judaism, one they thought everyone needed to learn. Others, however, thought that this primer of Jewish history was really written for novice audiences — perhaps non-Jews, or assimilated Jews with half-remembered Jewish heritage, like Stoppard himself. “I don’t know who this play is for,” one interviewee told us. “But it’s not me. I know all this already.”
Brandon Uranowitz, left, who plays a Holocaust survivor, confronts Arty Froushan as a young writer discovering his Jewish roots, in the Broadway production of Tom Stoppard’s “Leopoldstadt.” (Joan Marcus)
Other interviewees thought the power of “Leopoldstadt” lay not in its history lessons, but in its ability to use the past to illuminate contemporary realities. I spoke at length with a woman who had been struggling with antisemitism at work. Some of her colleagues had been sharing social media posts filled with lazy caricatures of Jews as avaricious capitalists. Upon seeing “Leopoldstadt,” she realized that these vile messages mirrored Nazi rhetoric in the 1930s, convincing her that antisemitism in contemporary America had reached just as dangerous a threshold as beheld European Jews on the eve of the Shoah.
We heard similar sentiments about the prescience of history to alert us to the specter of antisemitism today from audiences who saw “Parade.” Recalling a scene where the cast members wave Confederate flags during the titular parade celebrating Confederate Memorial Day, Jewish audiences recalled feeling especially attuned to Jewish precarity when the theater burst into applause at the end of the musical number. “Why were we clapping Confederate flags?” one of our interviewees said. “I’ve lived in the South, and as a Jew I know that when you see Confederate flags it is not a safe space for us.”
“Parade” dramatizes the popular frenzy that surrounded the trial of Leo Frank, a Yankee as well as a Jew, who was scapegoated for the murder of a young Southern girl. Jewish audience members that we interviewed told us that the play powerfully illustrated how crowds could be manipulated into demonizing minorities, comparing the situation in early 20th century Marietta to the alt-right of today, and the rise of antisemitism in contemporary America.
What we ultimately discovered, however, was that audience perceptions of the Jewish themes and characters in these productions were as varied as audiences themselves. Inevitably, they tell us more about the individual than the performance. Yet the fact that American Jews have flocked to these three shows — a secular pilgrimage of sorts — also illustrates the power and the peril of public Jewish storytelling. For audience members at “Leopoldstadt” and “Parade,” especially, attending these performances was not merely an entertaining evening at the theater. It was a form of witnessing. There was very little to be surprised by in these plays, after all. The inevitable happens: The Holocaust destroys Jewish life in Europe, Leo Frank is convicted and lynched. Jewish audiences know to expect this. They know there will be no happy ending. In the secular cultural equivalent to saying Kaddish for the dead, Jewish audiences perform their respect to Jewish memory by showing up, and by paying hundreds of dollars for the good seats.
The peril of these performances, however, is that audiences learn little about antisemitism in reality. The victims of the Nazis and the Southern Jews of Marietta would tell us that they could never have predicted what was to happen. Yet in “Parade” and “Leopoldstadt” audiences are asked to grapple with the naivete of characters who believe that everything will be all right, even as audiences themselves know that it will not. By learning Jewish history on Broadway, audiences are paradoxically able to distance themselves from it, simply by knowing too much.
In the final scene of “Leopoldstadt,” Leo, the character loosely based on Stoppard himself, is berated by a long-lost relative for his ignorance of his family’s story. “You live as if without history,” the relative tells Leo. “As if you throw no shadow behind you.” Audiences, at that moment, are invited to pat themselves on the back for coming to see the show, and for choosing to acknowledge the shadows of their own Jewish histories. The cold hard reality, however, is that a shadow can only ever be a fuzzy outline of the truth.
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In a new opera, Tevye’s forgotten daughter takes the spotlight
For most, the story of Tevye the milkman is tumble-down, work-a-day Anatevka — and it’s a man’s world.
That the Sholem Aleichem stories situated the philosopher dairy deliverer outside of a shtetl, and even that he had two daughters beyond Hodl, Tseytl and Khava, is known to Yiddishists, but may be more obscure to musical theater fans.
Composer Alex Weiser and librettist Stephanie Fleischmann’s new opera, Tevye’s Daughters, which will have a concert performance March 19 at the Museum of Jewish Heritage in New York, is inspired by the story of Tevye’s second-youngest daughter Sphrintse, who took her own life after the failure of an arranged marriage.
Weiser, whose operas include a portrait of Theodor Herzl’s marital squabbles and the battle over a Yiddish dictionary, knew he was reckoning with a titan of American Jewish identity when he picked this material. That’s part of why he and Fleischmann were drawn to it.
“Fiddler itself is really in the popular imagination on the one hand,” Weiser said in a Zoom interview. On the other hand, as Tevye would say, the lesser known stories are ripe for exploration. Weiser and Fleischmann hope audiences will walk in with a certain familiarity, but come away recognizing something more nuanced.
Key to Weiser and Fleischman’s approach is a framing device of their own invention. Tseytl, Khava and Beylke recall the story of their sister’s death decades later, as old women in a cabin in the Catskills in 1964. That memory parallels the journey of Rose, Tseytl’s social justice-minded granddaughter, who marched on Washington to protest segregation and is breaking off her engagement after falling in love with a woman. (The actor who plays Rose doubles as Sphrintse; the older women also play their younger selves.)
“In a way, Sholem Aleichem’s story of Sphrintse is a kind of suppressed memory, culturally, for all of us,” said Weiser. “So we kind of dramatize that by having the sisters also kind of suppress this memory.”
What’s novel about Fleischman’s libretto is the way it shifts focus. It’s called Tevye’s Daughters, but Tevye is only a bumbling bit part, whereas in the Sholem Aleichem stories, he was the sole — and certainly unreliable — narrator. The plot, and the score, reflect the underexamined role of women.
On three occasions, his daughters interrupt a potential monologue to say “it’s not your story to tell.”
In writing the libretto, Fleischmann, who has written operas based on surrealists Claude Cahun and Marcel Moore and an adaptation of a story by Anahita Ghazvinizadeh, looked to the work of Yiddish poets like Kadia Molodowsky. The opera features songs underscoring women-led rituals like braiding challah and lighting shabbos candles. Centrally, it makes use of tkhines, private Yiddish prayers written for women who may not have known Hebrew.
“The sound of those prayers becomes something that’s really at the heart of the opera,” said Fleischmann, noting how the text was drawn from the archives at the YIVO Institute of Jewish Research, where Weiser is the director of public programming. “We had a lot of languages to draw from that were completely our own.”
Instead of a klezmer sound — or the American Songbook stylings of Fiddler composer Jerry Bock — Weiser’s music is more typically operatic (though there are clarinets). A vibraphone is used for the 1964 scenes and there are moments of solo violin that tip their hat to Fiddler, while not being of it.
The sonic quality, which pulses like water on the lake where Sphrintse drowned, hints at a hidden narrative. In the opera, Tevye’s daughter Beylke, who decides to stay single, is understood to be gay. Fleischmann and Weiser found interviews in the archives with women born around the time of Beylke, in shtetlach, explaining growing up queer in a rigid milieu governed by tradition.
For Fleischmann, writing these characters reminded her of her immigrant father, and how his “history of exile and resettling” carried through to the political involvement of the younger generation.
At a time of ICE raids, the opera, while it concerns a different community of immigrants, and a different time of political protest, is rooted in a past that feels familiar.
“We can talk today about how it speaks to a resurgence of activism,” said Fleischmann. “How are we going to move forward in the world if we don’t take up arms or use our voices?”
The opera argues that it is the very voices from history that were traditionally silenced that can speak the loudest to us now.
The post In a new opera, Tevye’s forgotten daughter takes the spotlight appeared first on The Forward.
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Man who stabbed Spanish tourist at Berlin Holocaust memorial sentenced to 13 years in prison
(JTA) — A Syrian man was convicted by a Berlin district court Thursday for stabbing a Spanish tourist at Berlin’s Holocaust memorial in February 2025. He was sentenced to 13 years in prison.
Identified only as 20-year-old Wassim Al M. under German privacy laws, the man was convicted on multiple charges, including attempted murder and attempted membership in a foreign terrorist organization, German media reported.
The man told police at the time of the arrest that he had wanted to kill Jews. A formerly unaccompanied minor who applied for asylum after arriving in Germany in 2023, he indicated that he was motivated by distress over the war in Gaza.
His victim was slashed in the neck and face, hospitalized and placed into a coma, and still is unable to work, the court was told.
During the trial, Wassim Al M. said he regretted his actions, but according to German media, the judges did not believe him, because at the time of his arrest, he made an Islamic State gesture.
Still, prosecutors did not pursue a life sentence per the victim’s request that Al M. eventually be able to lead a normal life.
The Memorial to the Murdered Jews of Europe is a memorial and public art piece featuring 2,711 slabs of concrete. It has been the target of antisemitic graffiti in the past as well as the epicenter of a debate over the appropriateness of selfies at solemn sites of Holocaust remembrance.
The post Man who stabbed Spanish tourist at Berlin Holocaust memorial sentenced to 13 years in prison appeared first on The Forward.
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If mollusks are kosher, the world can be your oyster
I’ve gone to work on an oyster farm on Block Island, a tiny dot of land midway between Long Island and Rhode Island, every May for the past few years.
If you are, like most people, unfamiliar with the mechanics of oyster farming, here’s what it looks like, at least on this farm. First, you toot around a saltwater pond in a glorified bathtub with a motor hanging off the back. From the boat, wearing chest waders, you hop in the water to unmoor dozens of giant floating mesh bags full of oysters from lines anchored in the pond. The bags are usually also bogged down with a mess of extraneous sea dwellers like kelp, mussels, green crabs and goopy creatures called sea squirts, so they’re heavy. You pile as many bags as you can into the boat, clamber back in — which is harder than it sounds, because your wader boots are probably stuck in the mud at the bottom of the pond — and bring those bags to a floating barge.
Finally, you dump the bag onto a muddy wooden table, pick out everything that isn’t an oyster, since all of those aforementioned sea critters will kill the prize bivalve, and chuck the extra stuff back into the pond. Then you hand-sort the oysters by size. You harvest ones that are big enough to eat — oysters take a few years to reach full size, and grow unevenly, so each bag always has a range of oysters — shovel the rest back in the bags, get back in the boat and tie them back onto the lines. Then you do it again. On a good day, you get through around 100 bags of oysters in a shift.
Bigger farms might have machinery to help sort the oysters; this farm does everything by hand. This may sound backbreaking, and it is, but it’s also a great break from desk work. A day spent out on the water doing repetitive physical labor is a kind of a reset. You can’t look at your phone with the wet, muddy oyster gloves on, and there’s barely service anyway. Plus you’d probably drop it in the pond, so it’s best not to try.

You may, at this point, notice that you’re reading a Jewish newspaper, that I’m a Jewish journalist, and that oysters are not kosher.
But what if I told you oysters were, in fact, kosher? That a rabbi once argued they are actually vegetables, by virtue of the fact that they “root” on rocks in the ocean? And that their shells are a form of scales, thus making them part of the kosher category of scaled and finned fish?
These are real arguments that were made around the turn of the 20th century by Rabbi Isaac Mayer Wise, the founder of Hebrew Union College in Cincinnati, the first American institution for Reform Jewish ordination.
The impetus for this Talmudic bit of logic was in large part a now-infamous feast that has come to be known as the “Trefa Banquet,” due to the amount of non-kosher food that was served. The menu included littleneck clams, shrimp salad, soft-shell crabs, a lobster bisque and frog legs in a cream sauce. Bordeaux wine and Champagne, also not kosher, were served alongside each course, and ice cream — real ice cream, made with dairy — followed with dessert, despite previous meat courses that included beef tenderloins and squab.
The occasion was a triple-header of religious Jewish events: HUC’s first ordination, a meeting of the Rabbinical Literary Association and the Union of American Hebrew Congregations, the previous name of today’s Union for Reform Judaism. And the discourse this meal set off about the place — or lack thereof — for kashrut in American Jewish life went on for years.
Despite the fact that oysters had not even been on the menu, in Jewish newspapers across the country, rabbis and laypeople wrote warring op-eds on the kosherness of oysters. Somehow, oysters became the symbol of what American Judaism would be. And, of course, what American Jews would eat.
The symbol of an oyster
I had never eaten an oyster until I lived in Seattle after college; for my first anniversary with a long-ago ex-boyfriend, we went to what was then the hottest restaurant in the city, an oyster bar. We were broke, but playing at a kind of sophisticated adulthood we hadn’t quite reached, and oysters seemed like the way to act out that sophistication.
Presented with a menu of oysters from across the country and not knowing where to begin, we got an array on the half shell, two each of a dozen types presented on a beautiful bed of ice with lemon and mignonette. Unsure how to slurp them out of the shell, I had to ask the waiter whether one chews oysters or just swallows. (You chew.)
The first one tasted like a stormy ocean, another buttery and mild, a third one sweet and meaty. They were evocative, like eating the memory of a day at the beach.
Oysters, if you haven’t had them, have terroir in the same way as wine does. Just as grapes take on the characteristics of the soil they grew in, oysters taste different depending on the water they came from; even though there are only a few different species of the bivalve, there are countless variations. East Coast oysters tend to be sharp and briny and refreshing, while West Coast oysters are usually creamy and sweet. But past that, each one is completely unlike the next.
One oyster I had from Maine tasted like pennies. (Maybe that doesn’t sound appetizing, but neither does petrol, yet aged rieslings are prized for their petrol notes.) I’ve had oysters that tasted delicately vegetal, like a cucumber, or deeply umami like a mushroom.

When the Trefa Banquet occurred, oysters were in vogue across the U.S. And the occasion was a lavish and sophisticated one, almost a coming-out party for American Jewry. It was, after all, the celebration of the first class of rabbis ordained in the U.S., proof to the country that Jews were here to stay, and a statement to the rabbis and Jews of Europe that these American Jews were just as good, just as learned, as their European counterparts. In fact, perhaps more so — they were creating a new model of Reform Judaism, leaving the Old Country’s ways behind for a modern, American image of what it meant to be a Jew. The menu had to be the pinnacle of refinement.
Plus, these Cincinnati Jews had a bunch of New Yorkers in from the big city to impress. In a 2005 paper published in The American Jewish Archives Journal, rabbi and historian Lance J. Sussman argued that the menu, which included numerous French misspellings, may have been the caterer’s attempt to appeal to what he imagined were the more elevated tastes of the event’s East Coast guests.
Of course they served shellfish.

In 1883, the year of the banquet, America’s Jews were largely German immigrants. (Though newer waves of immigration had begun to bring in more traditionally observant Russian Jews fleeing pogroms.) Some of them had been associated with the Haskalah in Europe, a progressive Jewish education movement that advocated for secular education, modern dress and assimilation into wider society. By and large, these Jews were urban, educated and middle-class, having left the shtetl Judaism of their elders behind when they left the village.
These Jews began to develop a modernized form of Judaism, largely based in Germany. They changed the liturgy, axing concepts they found backwards, such as the idea that, in a coming Messianic era, Jews would return to Zion and resume sacrificing animals in a restored temple. They recited prayers in German instead of Hebrew and lightened many of the restrictions involved in observing Shabbat, kashrut and festivals. They took on a Christian aesthetic, exchanging synagogue chanting for an organ and choir. Sermons emphasized universal ethical themes instead of Jewish rituals. Some rabbis even argued for allowing both intermarriage and eating pork, though these topics remained hotly debated.
Once imported to the U.S., this newfangled Judaism got more popular.
“Part of the Reform ideology is to get away from all of the laws, all the do’s and don’ts of Judaism, which are considered primitive and superstitions almost,” said Jane Ziegelman, a Jewish food historian and curator of food talks at the Tenement Museum.
Instead, these Reformers wanted to turn Judaism into a more introspective, morally and socially focused religion. And thanks to its roots in the Haskalah, science was core to this new, modern Judaism. Oysters made for a perfect example. At the time, bivalves were considered an aphrodisiac and a health food, and they were both plentiful and popular. (So popular, in fact, that they got over-harvested, which is one of the reasons they’re so expensive today; the mountains of shells from the oysters eaten by New Yorkers were so large they posed a sanitation challenge.) These modernizing Jews understood kashrut to be, fundamentally, about health and ethics, which meant that anything healthy should be kosher.

“The idea was that the unhealthy categorization of the oyster had been proven wrong by modern science,” said Ziegelman.
American Reform Jews saw kosher rules, which they dismissively referred to as “kitchen Judaism,” as a contrast to their more noble pursuit of an intellectual, moral and scientific Judaism. Embracing the oyster was a way to live out their ideals about assimilation, modernization and religious ethics.
“It was the oyster because of its prevalence in American food culture,” Ziegelman told me. “To adopt the oyster was seen as both acculturation — that you really were American — but also you really were a modern person. You weren’t relying on these old kashrut superstitions.”
The shellfish scandal
Not everyone waxes poetic about oysters’ subtle marine nuances so much as their textural similarities to mucus. Personally, I don’t get that — I find them silky, or buttery, or meaty — but I get that oysters can seem a bit gross, and not just because of their texture.
Though on the farm, the oysters float on the surface of the water in bags, they are, at least naturally, bottom dwellers. They’re also “filter feeders,” which means they filter water for their food. This makes them an excellent resource in cleaning up polluted waterways — the Billion Oyster Project in New York City works restoring oyster reefs to the rivers around the city to help clean them and encourage biodiversity. But that also means that oysters aren’t always safe to eat because they’re consuming whatever bad stuff there is in the water. They can purify themselves given enough time in clean water, but they get polluted easily by their environment, perhaps one of the reasons they were originally forbidden under the laws of kashrut.
And even when they’re from clean water, there’s a lot to manage to make them safe. My partner and I run an oyster shucking side hustle with some friends, popping up at bars and events and turning out trays of raw oysters on the half shell. Preparing for each event takes many hours. You have to scrub the mud off each shell with a stiff-bristled brush. Then, since you want your oysters alive until you eat them lest they spoil, you pack them in coolers on ice — but you can’t bury them in too much ice lest they freeze to death. And since they’re salt-water dwellers, you have to drain the coolers regularly to prevent them from drowning in the freshwater ice melt.
On top of that, as a saying goes, oysters are best in the months that contain the letter R — September through April. Some of that is because they are plumpest during colder months when they build up their fat stores. But some of it is because colder waters reduce the risk that a raw oyster will carry a virus or bacteria like Vibrio or norovirus.
Today, farms take the temperature of their water daily and regularly test it for bacteria, so raw oysters aren’t particularly dangerous, but you can still easily get food poisoning from a mishandled oyster. As much as I love them, they’re work. I understand that, to some people, they’re not worth the risk — spiritually or physically.

Perhaps the subversive and literal danger of the oyster is what led to the legend that rabbis at the banquet threw down their napkins and stormed out. The public flouting of kashrut, at a religious event, could symbolize the end of Judaism. The Highland House Affair, as the feast is also known, has become infamous among Jewish historians and rabbis in the century since it occurred as a moment of schism. But in fact, most contemporaneous descriptions of the event make no note of any drama around the menu.
An account of the feast in The New York Herald briefly mentions the non-kosher menu, but does not say that any of the attendees were upset — in fact, to the author’s palpable distaste, quite the contrary. “Instead of rising in a body and leaving the hall, they sat down and participated,” they wrote of the rabbis in attendance.
Only one account at the time, written in New York’s Jewish Messenger by Henrietta Szold (who would go on to found the Jewish women’s society Hadassah) observed that some attendees hadn’t partaken of the food, though, she noted, it was only “a surprisingly small minority.”
“There was no regard paid to our dietary laws,” she wrote of the catering, “and consequently two rabbis left the table without having touched the dishes, and I am happy to state that I know of at least three more who ate nothing and were indignant but signified their disapproval in a less demonstrative manner.”

Wise, the Hebrew Union College founder who had organized the meal, at first defended it, saying he had hired a Jewish caterer who regularly served a Jewish association and had no idea the meal served would not be kosher. Eventually, however, Wise and his supporters changed their strategy and began to defend the non-kosher components. They railed against the idea of kashrut; one rabbi argued that it was the perfect occasion to put “kitchen Judaism to the antique cabinet where it belongs.”
When the 500 members of the Free Sons of Israel, a Jewish fraternal order that Wise belonged to, gathered and supped on oysters, the rabbi reprinted the menu in the newspaper he ran, The American Israelite. He repeated the tactic when another Jewish fraternal order put oysters on a meeting menu. Jews were not accidentally consuming oysters, he pointed out. This was how Jews were eating, and why should they pretend otherwise?
Yet ironically, given his vociferous rejection of tradition, Wise also provided Talmudic arguments as to why the meal may have in fact been kosher; even as he chose assimilation he used Jewish wisdom to justify his choice. In the pages of The American Israelite, he argued “that the oyster shell is the same to all intents and purposes as the scales to the clean fish” and referenced both Moses’ and Maimonides’ statements on the topic. Elsewhere, he called the oyster an “ocean vegetable” to explain why it might be kosher. (Today many vegans take a similar stance; oysters have no nervous system and some vegans are more willing to consume the bivalves than they are honey.)
Others wrote back, citing their own raft of Jewish sages. One B. Younker wrote in to The Jewish Voice to reference Talmudic debates over what constitutes a scale, concluding that the oyster’s shell does not count.
But amid the debate, everyone else kept eating oysters. Sussman’s article in The American Jewish Archives Journal notes oyster-filled menus from the double wedding of two rabbis, a synagogue dedication and a banquet for a Jewish fraternal order; the last even used the same caterer as the Trefa Banquet. Apparently, there was something to that luxurious menu they planned — it was impressive enough to earn them repeat customers.
Today, many Jewish historians look to the Trefa Banquet as the beginnings of the Conservative movement in Judaism, as some of those horrified Jews rejected the idea of kosher oysters and decided they needed to develop a middle ground between the Reform and Orthodox movements. The debate the banquet set off over kashrut, as well as Wise’s liberal interpretations of Jewish law, concerned some Jews who wanted to protect tradition. Soon after the great oyster debate began, the Jewish Theological Seminary, the flagship institution of the Conservative movement, opened its doors as a place to retain some amount of tradition in text and theology.
Fishy Jewish cooking

In my time manning the pop-up, I’ve come to believe that shucking an oyster is an art form. First, there’s the basic problem of opening the oyster. Usually that means inserting an oyster knife at the narrow hinge of the shell — though some people shuck from the side — and wiggling until you feel the point of the knife settle in deeper. Then you lever the knife down to pop the shell, slice along the flat top shell to separate the oyster, and then scoop the knife underneath the oyster to sever the adductor muscle. Personally, I prefer a Duxbury-style knife, which comes to a sharper point, but many people prefer the more classic New Haven-style knife, which curves slightly at the tip, providing a bit more leverage and a bit less likelihood of stabbing yourself in the palm.
Every oyster is different, not only in taste, but in shape, so finding the right spot to pop open the oyster is difficult; it takes practice. And that’s just the first challenge. A well-shucked oyster must be clean, free of shattered shell or sand. Just as importantly, it cannot be pierced by the knife (“scrambled”) and should retain all the liquor inside the shell. Ideally, it’s served on pebble ice, not just cubes, so that it doesn’t tip over and spill.
There’s something meditative to running the oyster pop-ups, trying for the perfect shuck with every oyster. They’re rushed and busy and stressful — there’s always a line and shucking a dozen without scrambling or shattering is hard to do when you’re working fast. You have to reach a sort of zen state to fly through them, finding the right point on each shell to insert the knife, cleanly severing them from the shell and cleaning out any sand inside. No one wants that grinding sensation you get when you have a snack at the beach and feel the grit between your teeth. And you can’t appreciate the unique texture and taste of each varietal if they’re a scrambled mess inside.
The oyster should be a plump, pearly arc in the shell, with lacy frilled edges. It should be beautiful.
Apparently everyday Jews saw the beauty in the bivalve. They largely left the debates over kashrut to the pages of The American Israelite and continued to eat oysters by the bushel.
A 1911 blurb in the J. Jewish News of Northern California excitedly announced the beginning of oyster season, listing several of the area’s best “oyster houses,” as did Jewish newspapers across the country over the next few decades.
Jews even ran their own oyster stands. An 1892 article in the B’nai Brith Messenger wrote a brief piece marveling at the success of one Al Levy, whose Southern California oyster cart did so well he was able to open cafes and “cocktail rooms.” Despite Levy’s obvious disregard for kashrut, the piece notes that he “has been one of the most progressive, honored and beloved Jews in this community, popular alike among Jews and gentiles.”
Some of the most popular Jewish cookbooks from the era are full of oyster recipes, literally writing the bivalves into Jewish food history alongside kugel and latkes.
Aunt Babbette’s Cookbook, a Jewish cookbook that remained in print for 25 years, featured 11 oyster recipes in its fish section; the rest of the fish, all kosher, are given one preparation apiece. A dish that sounds an awful lot like kugel — though the cookbook doesn’t use that term — includes an option to add oysters. (Notably, other seafood like clams and shrimp are omitted from most Jewish cookbooks of the era.)

For all the enthusiastic embrace of oysters, though, there was still one line that wasn’t crossed: pork, which even the Trefa Banquet did not serve.
“The debate over selective kashrut centered on two issues: pork and oysters,” wrote Sussman, the rabbi and historian, and the line was drawn, for the most part, between the two. Pigs have long been a metonym for kashrut and Judaism, and centuries of antisemitic caricatures pictured Jews riding pigs. Eating pork, apparently, was instinctively understood by most American Jews as a step too far, a symbolic denial of identity.
The power of ‘kitchen Judaism’
The oyster has always been the perfect metaphor for American Jewish life.
There’s a Judaism of purity, hewing to the safety found in tradition: keeping kashrut, retaining a degree of separation from the rest of society. But most American Jews opted for a Judaism of experimentation, in which the rules get bent, reinterpreted and altered to adapt to the ways of a new culture and new country. It’s more dangerous; one might eat a bad oyster. But in the meantime one also gets to enjoy the good ones. Yet even as Jews debated how far Judaism could stretch and remain Jewish, they did so Jewishly. Even the Jews who, over a century ago, rejected Jewish tradition and embraced shellfish justified their choices with Talmudic citations and biblical exegesis. They used Jewish law to justify why Jewish law was wrong about the oyster. What debate could be more Jewish?
Food, since then, has become both more and less central to Jewish identity. Plenty of Jews now will eat bacon or ham, and a celebration of the Trefa Banquet’s centennial in 2018 served a menu of mostly pork, connecting to Judaism specifically through a rejection of its strictures. Kitchen Judaism has become aspirational instead of pejorative as food traditions have become a rich and beloved way to connect with Jewish identity. Meanwhile, the Reform tradition has actually tipped back toward kashrut observance; in 2001, at the Central Conference of American Rabbis, the Reform movement added in a recommendation that Jews follow “some element of Jewish dietary discipline.”

Through it all, the oyster has remained the perfect symbol of the decision confronting American Jews: How much should they assimilate to their new country, and how much tradition must they retain to stay Jewish?
This summer, I think I might have to miss the oyster farm; life has gotten in the way and I just don’t have the time. Still, I’m sure I’ll be shucking up trays for friends and customers somewhere (including at my Jewish wedding).
And most importantly, I’ll be carrying on the proud tradition of the oyster debate. I’ll admit that I don’t really buy the idea that shells are the same as scales, though I’m sympathetic to the idea that they should be categorized as vegetables. But the discussion I’m more interested in is how to eat them. The right answer is raw and plain. Maybe a drop of lemon. Maybe.
Cocktail sauce or horseradish or hot sauce, though? That’s heresy.
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