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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.


The post For theatergoers at Broadway’s recent spate of Jewish shows, attendance is a form of witness appeared first on Jewish Telegraphic Agency.

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Israel’s Bobsled Team Clarifies It Withdrew From Last Day of Winter Olympics After Wanting Lineup Switch

Milano Cortina 2026 Olympics – Bobsleigh – 4-man Heat 1 – Cortina Sliding Centre, Cortina d’Ampezzo, Italy – Feb. 21, 2026. Adam Edelman of Israel, Menachem Chen of Israel, Uri Zisman of Israel, Omer Katz of Israel in action during Heat 1. Photo: REUTERS/Athit Perawongmetha

Israel’s four-man bobsled team withdrew from the last day of the 2026 Milan Cortina Olympics on Sunday after there were issues with how the team wanted to change its lineup mid-competition and allow its alternate to participate.

The team’s captain and pilot AJ Edelman explained in a series of posts on X that since the team knew it had no chance of winning in the third heat on Sunday, it wanted to give their alternative, 25-year-old Druze athlete Ward Fawarseh, an opportunity to compete in the Olympics for the first time ever before the Winter Games concluded. Farwarseh is the first Druze to make it to the Olympics, and this year marks the first time ever that Israel is competing in bobsledding in the Games.

However, changing push athletes midway through a competition is only permitted under special circumstances, including an illness or injury. As a result, the Israeli team – consisting of AJ Edelman, Menachem Chen, Uri Zisman, and Omer Katz – decided together to withdraw from the third heat on Sunday.

“We offered to withdraw before any action was taken,” Edelman told The Algemeiner on Monday, clarifying that his team was not disqualified from the competition, despite reports suggesting the contrary.

“Given that our placement going into the final run was all but predetermined, it was more important to us that our alternate could have the opportunity to compete in the Olympics. The team moved to make the replacement,” Edelman further explained in a post on X. “But the circumstances under which we made the substitution did not meet the bar that allows a team to make a lineup change, and we withdrew from our final run.”

“I will always remain proud that the team looked at their Druze brother, who had earned his place on the team, and unanimously said ‘we want this for you.’ I signed off on it and I take responsibility,” the American-Israeli athlete wrote in a subsequent post. He added that he apologizes “profusely” if fans were disappointed, but in a since-deleted post on X, he added that he does not apologize “at all” for the decision.

“The switch is not only common in our sport, we did it believing it was good for the country and to honor our teammate,” he said. “We thought we were putting country first.”

Team Israel finished the first two runs of the four-man bobsled competition with a combined time of 1:51.16, which placed them in 24th place out of 27 leading into the third heat on Sunday. Edelman and his teammate Menachem Chen also competed in the two-man bobsled race during the Winter Olympics.

In a statement given to The Times of Israel, the Olympic Committee of Israel claimed it did not allow the bobsled team to compete in the third heat on Sunday because they lied about a team member being sick in order to switch push athletes between the first two heats on Saturday and the third heat on Sunday.

“The bobsleigh team asked to include Ward, the substitute, in the competition. According to the rules, this is only permitted if one of the athletes is injured or ill,” the OCI said. “In order to make this possible, one of the team members — encouraged by his teammates — declared that he was unwell. He even went for a medical examination and signed an affidavit so that the Olympic Committee could request approval for a substitution.”

The OCI said that afterward, Zisman “admitted to the head of the delegation that he had acted improperly. This forced the Olympic Committee of Israel to withdraw the request and disqualify the move.” The OCI said that the team’s behavior was “improper” and “goes against fair and sportsmanlike conduct.”

In response to the OCI’s comments, Edelman told The Algemeiner that his team withdrew from the competition before the OCI took any action against them. “The process to change Ward to a primary accreditation is within the OCI control. The team’s withdrawal was within our own,” he said. “The team received a DNS, a ‘did not start,’ not a DSQ [disqualified].”

Bobsled was Israel’s only team sport at the Milan Cortina Winter Games. Edelman is Israel’s first multi-sport Olympian, after competing previously in skeleton, and he is also the first Jewish bobsled pilot to compete in the Olympic Games. He is additionally the most decorated observant Jewish Olympian and is believed to be the first Orthodox Jew to ever compete in the Winter Games.

Over the weekend, Italy’s state broadcaster RAI apologized after viewers heard on air someone tell others to “avoid” filming the Israeli bobsled team before it broadcast coverage of the four-man bobsled race at the Olympics on Saturday. Viewers heard, “Let’s avoid crew number 21, which is the Israeli one.”

RAI condemned the remark as “unacceptable” and RAI CEO Giampaolo Rossi said the incident represented a “serious” breach of the network’s “principles of impartiality, respect, and inclusion.” He added that RAI had opened an internal investigation to determine responsibility for the remarks and disciplinary proceedings.

Before the start of the 2026 Winter Games, an apartment in the Czech Republic where the Israeli bobsled team was staying during their final training was robbed, and passports and personal belongings were stolen. Then, during the team’s two-man bobsled race on Feb. 16, a commentator on the Swiss network RTS claimed on-air that Edelman “supports the genocide in Gaza” and should have been banned from the Olympics. The commentator also described the athlete as a “self-defined ‘Zionist to the core.’”

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Jewish Community Advocates Urge US Civil Rights Commission to Take Campus Antisemitism Seriously

A pro-Hamas demonstrator uses a bullhorn during a protest at the University of California, Los Angeles (UCLA) on March 11, 2025. Photo: Daniel Cole via Reuters Connect.

Jewish community advocates and civil rights lawyers discussed the campus antisemitism crisis in American higher education during two days of briefings and public comment held by the US Commission on Civil Rights last week, urging the agency to fight anti-Jewish hatred as aggressively as with other forms of discrimination.

Titled “Antisemitism on America’s College and University Campuses: Current Conditions and the Federal Response,” the forum served as one component of the commission’s bipartisan investigation of campus antisemitism, an inquiry led by Peter Kirsanow, a Republican, and Mondaire Jones, a Democrat. Drawing from advocates as well as critics of the Jewish community’s response to campus antisemitism, it highlighted work that remains undone while exposing some differences in opinion on Zionism, free expression on campus, and interpretation of Title VI of the Civil Rights Act, which prohibits discrimination based on race, color, or national origin in any program or activity receiving federal funding.

During the proceedings, several students who witnessed the onslaught firsthand described how the administrative bureaucracy, a branch of higher education governance dominated by the American progressive movement, stonewalled discrimination complaints, ignored utterances of classic antisemitic tropes, and refused to acknowledge rising antisemitism on the political left while accusing Jewish community advocates of assaulting academic freedom.

“I raised concerns repeatedly with administrators — but was met with silence or deliberate indifference. My peers faced retaliation in classic DARVO tactic: deny, attack, and reverse victim-offender roles,” said Sabrina Soffer, research fellow for the Jerusalem Center for Security and Foreign Affairs and a George Washington University alumna who sued the institution over alleged antisemitic discrimination. “We must stop this pipeline of hate in its tracks. Administrators must be held accountable for failing to enforce academic integrity and upholding their duty of care. We must scrutinize foreign funding, syllabi review, and the composition of academic departments.”

For several years before and since Hamas’s Oct.7, 2023, massacre across southern Israel, The Algemeiner has reported daily on campus antisemitism incidents which involved identity-based physical assaults, verbal abuse, and others acts of discrimination. These included anti-Zionists spitting on Jewish students at the University of California, Berkeley while calling them “Jew”; gang assaults at Columbia University’s Butler Library; swastika graffiti; the desecration of Jewish religious symbols; and the expulsion of a sexual assault survivor from a victim support group over her support for Zionism.

Other incidents include, a faculty group’s sharing an antisemitic political cartoon which marked Jews and Israel as enemies of people of color; a Cornell University student threatening to murder Jewish men, whom he called pigs, and to rape Jewish women, and perpetrate a mass shooting at the campus’ kosher dining hall; and professors praising Hamas’s Oct. 7 atrocities, which included mass murder, sexual assault, and kidnapping as legitimate modes of “resistance.”

Many such incidents preceded the Oct. 7 massacre by several years and received little to no coverage in the mainstream press.

Lenny Gold, executive producer of the campus antisemitism awareness documentary “The Blind Spot,” said during the hearing that higher education has hidden from the problem in lieu of addressing it transparently and vigorously.

“Schools often invoke academic freedom to justify their indifference to antisemitism while failing to recognize freedom’s inseparable partner: responsibility,” Gold said. “Academic responsibility includes eliminating the blind spot towards Jews and our inextricable connection to our ancient homeland, and having zero tolerance for antisemitism in classrooms, on campus, and in curricula, academic departments, and administrative staffs.”

He continued, “Anti-discrimination programs and policies must treat Jews an antisemitism on an equal footing with other protected groups and forms of prejudice.’

Soffer and Gold’s point of view sustained a slew of opposition during last week’s gathering, with some critic isms being uttered by Jewish students from elite colleges who accused the media and pro-Israel Jewish community of exaggerating the antisemitism crisis in the name of profits, ideology, and bullying the Ivy League. They also accused US President Donald Trump — whose daughter is Jewish and whose administration has mounted a legal campaign against campus antisemitism and the ideological bias that fostered it — of exploiting antisemitism to promote a political agenda.

“Since the Gaza War, I’ve felt more hesitant to tell people I’m Jewish, not because I’m scared of being the victim of a hate crime, but because I’m scared people will assume I’m against Palestinian people and associate me with the Trump administration’s anti-Palestinian rhetoric,” American University student Ellie Sweet told the commission, insisting that what is being described as antisemitism is harmless, anti-Israel rhetoric.

Another student, Sarah Silverman of Harvard University, screamed her entire seven-minute statement, in which she at one point charged that “policy described as protecting Jewish students did not make me feel protected!” She added, “Instead, in a deeply troubling way, I felt blamed. I knew I had done nothing wrong, but when decisions are made in your name without ever speaking to you but are affecting your academic community in extremely negative ways, you begin to worry that others believed you asked for these actions.”

A highlight of the event was testimony delivered by Kenneth Marcus, who served as assistant secretary for civil rights during the first Trump administration and currently leads the Louis D. Brandeis Center for Human Rights Under Law.

“Antisemitism does have various disguises, and anti-Zionism in that sense brings forward to the present all of the same tropes, the same stereotypes, the same defamations that have historically befallen the Jewish people, viewing Israel as the collective Jew or Jew among nations” he told the commission. “That is the form of antisemitism that we see most commonly on colleges campuses and that we need to address.”

Follow Dion J. Pierre @DionJPierre.

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German Minister Walks Out After Berlinale Winner Accuses Germany of Aiding Gaza ‘Genocide’ in Acceptance Speech

Director Abdallah Al-Khatib accepts the GWFF Best Feature Film Debut Award for “Chronicles From the Siege,” during the awards ceremony at the 76th Berlinale International Film Festival in Berlin, Germany, Feb. 21, 2026. Photo: REUTERS/Axel Schmidt

German Minister of Environment Carsten Schneider walked out of the awards ceremony at the 76th Berlin International Film Festival (Berlinale) on Saturday after a Palestinian-Syrian filmmaker accused Germany of being “partners in the genocide in Gaza by Israel” during his acceptance speech.

Schneider left the room following the remarks made by Abdallah Al-Khatib, whose film “Chronicles From the Siege” won the Berlinale’s best first feature award in the Perspectives section. “The Federal Minister considers these statements unacceptable and therefore left the event during the speech,” a spokesperson for Schneider said on Sunday, as cited by several media outlets. The minster was the only representative of the German government to attend the awards ceremony, a spokesman for his ministry told the German Press Agency.

Al-Khatib, who lives in Germany and wrote and directed “Chronicles From the Siege,” delivered his acceptance speech on stage with a keffiyeh draped on his shoulder.

“Some people told me, maybe you have to be careful before you say what I want to say now, because you are a refugee in Germany, and there are so many red lines. But I don’t care. I care about my people, about Palestine,” he said. “So, I will say my final word to the German government. You are partners in the genocide in Gaza by Israel. I believe you are intelligent enough to recognize this truth, but you choose to not care.” The filmmaker also held a Palestinian flag on stage and ended his speech with a call for a “free Palestine from now to the end of the world.”

“We will remember everyone who stood with us, and we will remember everyone who stood against us,” Al-Khatib added. He also claimed Palestinians in the Gaza Strip are living under “siege” and “occupation.”

Other Berlinale award winners also used their acceptance speeches to express solidarity with Palestinians or criticize Israel’s military actions in Gaza, during the country’s war against Hamas terrorists who orchestrated the deadly terrorist attack in southern Israel on Oct. 7, 2023.

While accepting the Golden Bear for best short film for “Someday a Child,” Lebanese filmmaker Marie-Rose Osta condemned Israeli bombings in Gaza and Lebanon, and what she called a “collapse of international law,” while also accusing the Israeli government of “genocide.”

“The people of Palestine, you are not alone,” said Turkish filmmaker Emin Alper, whose film “Salvation” won the Grand Jury Prize. “The people of Iran suffering under tyranny, you are not alone, the people of Kurdistan [you] are not alone. And my people, you are not alone,” he added.

Indian author Arundhati Roy pulled out of the Berlinale this year after jury president Wim Wenders said during the opening press conference that filmmakers should stay out of politics.

Earlier this month, more than 100 artists in the film industry – including Javier Bardem, Mark Ruffalo, and Tilda Swinton – signed an open letter criticizing the Berlinale for its “silence” about the situation in Gaza during the Israel-Hamas war and accused Israel of “ongoing genocide of the Palestinians in the Gaza Strip.”

“We call on the Berlinale to fulfil its moral duty and clearly state its opposition to Israel’s genocide, crimes against humanity and war crimes against Palestinians, and completely end its involvement in shielding Israel from criticism and calls for accountability,” the letter stated.

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