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A new play tells the true story of a former Hasid who translated the New Testament into Yiddish

(New York Jewish Week) — The true story of a formerly Hasidic Baltimore man who encouraged Jews to convert to Christianity during the Holocaust serves as the unlikely jumping-off point for a new, Yiddish-language play beginning previews this week in Manhattan. 

“The Gospel According to Chaim” is based on the life of missionary Chaim Einspruch, who was born into a Szanzer Hasidic family in Poland and “found” Christianity before immigrating to the United States in 1913. Einspruch eventually translated the New Testament into Yiddish and self-published it in 1941 after a Yiddish print shop turned down the job. 

A production of the New Yiddish Rep, a New York-based theater company dedicated to Yiddish-language theater, “Gospel” is being billed as the first new, full-length Yiddish drama written in the United States in 70 years. According to David Mandelbaum, the company’s artistic director, the last original Yiddish drama in this country was written in the 1950s by famed Yiddish writer Leivick Halpern, author of the dramatic poem “The Golem.” 

“The Gospel According to Chaim” is also the first full-length Yiddish play by Mikhl Yashinsky, a 33-year-old who has made a name for himself in New York as Yiddish writer, actor, teacher and translator.

Yashinsky stumbled upon Einspruch’s story in 2016 when he was a fellow at the National Yiddish Book Center in Amherst, Massachusetts. Fellows are required to conduct tours of the center and, as such, Yashinksy become familiar with the Yiddish printing type Einspruch’s widow donated to the institution, which is on display in a recreated but non-functional Yiddish print shop. Some of Einspruch’s printing type will be used as props in the play. 

“It got me thinking about the irony inherent in this singular individual,” Yashinksky told the New York Jewish Week. “He was a Christian who believed in the divinity of Jesus but was also a very proud Jew culturally. It made me want to look further into this person.” 

Yashinsky wrote the first act of “Gospel” while he was in Amherst, naming one of the characters in the play Sadie after a colleague there. He completed the play in 2020 in Charleston, South Carolina, where he lived for a time during the pandemic before returning to New York more than a year ago. 

Chaim Einspruch’s Yiddish translation of the New Testament. (Jon Kalish)

In the 1940s, Chaim “Henry” Einspruch drew the ire of Baltimore Jews by standing outside Orthodox synagogues and preaching about Christianity in Yiddish to Jews leaving Shabbat services. In addition to his translation of the New Testament, Einspruch also translated 100 Christian hymns into Yiddish in a collection titled “Hymns of Faith (Lider fun gloybn).”

Many Jews view efforts to encourage Jews to embrace Christianity as offensive and even antisemitic, with Jews for Jesus and other contemporary Messianic movements drawing particular scorn. But Yashinsky said he felt none of that as he sought to bring Einspruch to life.

“I wasn’t interested in just portraying him as a villain and having the play be a piece of propaganda against missionaries,” Yashinsky told the New York Jewish Week about his inspiration. “I really tried to understand why he was doing it. I don’t think Einspruch felt he was being malevolent in anything he did.”

Fascinatingly, Einspruch never formally converted to Christianity, “deeming his allegiance to evangelical Lutheranism a true fulfillment of his Judaism rather than apostasy or betrayal,” writes Naomi Seidman, a humanities professor at the University of Toronto whose scholarly article on translations of the New Testament into Yiddish was published in the Berkeley Journal of Religion and Theology. After Einspruch immigrated to the United States he earned a doctor of divinity degree at Gettysburg College in Pennsylvania. (Seidman will deliver a lecture on Thursday at YIVO, “A Very Jewish Christmas: When Jesus Spoke Yiddish,” discussing Einspruch’s New Testament translation, among others.)

“His native language was Yiddish and he enjoyed Yiddish literature,” Yashinsky said of Einspruch. “His innovation was writing this [New Testament translation] in a truly refined, literary, poetic, idiomatic Yiddish. It reads beautifully.”

Indeed, as Einspruch declares in one scene of the play — which takes place during Hanukkah and Christmas in 1940 and continues into 1941: “The holy Yiddish language is very precious to me.”

Yashinsky plays Einspruch in the production but that was not his original intent. A would-be actor who grew up as a Lubavitcher Hasid was in rehearsals to play Einspruch in a reading done last March but wasn’t up to the task, Yashinsky said. So the playwright decided to take the part himself. “The role felt good to me,” he said. 

The other two characters in the play are Gabe, a printer Einspruch approaches to print the Yiddish New Testament, and Sadie, a friend of the printer and an anti-fascist activist alerting Jews to the atrocities happening in the Holocaust in Europe. During the course of the play, Sadie, whose father converted to Christianity, urges Gabe to turn down the New Testament job; Gabe, meanwhile, needs the business but is reflexively repulsed by the idea of Jews converting to Christianity.

The role of Gabe the printer will be shared by actors Sruli Rosenberg and Joshua Horowitz. Rosenberg, 30, grew up as a Satmar Hasid in Williamsburg and now lives in Monsey, a different Hasidic community upstate. He describes himself as “reformed hasidische” and said most of the time he doesn’t he doesn’t wear a kippah but he continues to observe Shabbat — meaning that Horowitz will play the printer then.

In an effort to master the English language, Rosenberg stopped reading and writing Yiddish as a teenager. He had little contact with the Yiddish arts revival until the Spring of 2021 when he attended Generation J, a Yiddish arts program in Germany, thinking he may want to become a writer. While he was there, Rosenberg was baffled when other participants informed him of the Yiddish theater scene in New York. “I’m, like, ‘No there isn’t. I would’ve known of it,’” he recalled.

Inspired, Rosenberg returned to New York and got a job as the assistant to New Yiddish Rep’s Mandelbaum, helping him move sets around the office and driving him around town. When Rosenberg was feeding lines to actors auditioning for “The Gospel According to Chaim,” Yashinsky asked him why he didn’t audition himself. Now, Rosenberg makes his professional acting debut in the play. 

Sadie, a fiery antifacist organizer is played by Melissa Weisz, 40. In the play, on Christmas Day, she asks Einspruch: “And what are you going to give him as a gift, your messiah, huh? It’s his birthday, after all. Maybe a barrel of Jewish blood? A fitting gift. Maybe the extermination of another shtetl of Jews in Europe? His followers have been giving him such gifts for thousands of years, and it seems he never gets tired of it.”

Weisz, too, grew up as a Satmar Hasid in Borough Park and made her acting debut in 2010 playing Juliet in the feature film “Romeo and Juliet in Yiddish,” which set the Shakespearean tale in Hasidic Brooklyn. She also had one of the leads in a New Yiddish Rep production of “God of Vengeance,” the Sholem Asch play about lesbian love.

“These two characters come from very different places but they’re both trying to figure out how to save people,” she said of the link between protagonists Sadie and Chaim.

Yashinsky said he sees a wide audience for the show, despite its niche topic and language.

“Many will come who are attracted to Yiddish and to the various dramas and emotions and curious personalities that are part of its tumultuous 20th-century history,” he said. “But I hope anyone also comes who may have ever wondered about the entanglements of opposing religions, the holiday wars in America, the confluence of ethnicity and faith and identity and human ambition.”

The recent Yiddish-language version of “Fiddler on the Roof,” which had a revival last year after an initial run interrupted by the pandemic, introduced audiences to “supertitles” — English-language translations that are projected behind the actors. But Yashinsky said even people who do not know Yiddish will benefit from hearing it on stage.

“The language should not hold anyone back,” he said. “On the contrary, I hope it draws them in.”

A bigger question is whether native Yiddish speakers in the city are likely to see the show. Rosenberg acknowledged that his Hasidic mother was not crazy about his career path. “Isn’t that the universal quarrel that parents have with their children going into the arts?” he said. “She definitely did not take well to it. She doesn’t get it. I don’t blame her.”

And new Yiddish Rep’s Mandelbaum chuckled when asked whether there might be chartered buses bringing theatergoers from Borough Park to see the play. But he does think that Yiddish plays can appeal to the Hasidic Orthodox community, as well as a more secular one: During the 2019 Folksbiene production of Leon Kobrin’s classic Yiddish comedy “Di Next-Door’ike (The Lady Next Door),” Mandelbaum said there were shows filled with young Hasidic Jews who had played hooky from their yeshivas.

Well aware of the Yiddish music revival that’s going strong in New York and abroad, Mandelbaum concedes that Yiddish theater has not enjoyed that same kind of renaissance.

“If Yiddish theater is to really have a life, then it is essential that there be people who are going to write Yiddish plays,” he said during a rehearsal break. “Yiddish theater ought to be more than re-staging things from the past. We need to have young Yiddish writers writing plays.”

Then he declared, “May there be many Yashinskys.”

“The Gospel According to Chaim (Di psure loyt khaim)” is performed in Yiddish with English supertitles. Previews begin on Thursday, Dec. 21; the world premiere is on Sunday Dec. 24 at 7:30 p.m. There will be a total of 21 performances through Sunday Jan. 7 at Theater for the New City (155 First Ave.). 

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The post A new play tells the true story of a former Hasid who translated the New Testament into Yiddish appeared first on Jewish Telegraphic Agency.

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The BBC Documentary That Paints Every Israeli as an Extremist

The Jewish community of Beit El in Judea and Samaria. Photo: Yaakov via Wikimedia Commons.

Louis Theroux first visited the West Bank in 2011 to film a documentary titled Louis and the Ultra-Zionists, part of his long-running series for the BBC. Back then, he at least seemed to possess a trace of journalistic curiosity. Even the title signaled a degree of editorial caution — framing his subjects as a small, ideological fringe rather than representative of Israeli society as a whole.

At the time, Theroux made an effort to clarify that he was profiling a narrow segment of Israelis. He showed legally purchased Jewish homes (sold by Arab landowners, no less) and acknowledged the regular — and at times deadly — terror attacks faced by Israeli civilians living in the area, often requiring military protection. There was condescension, certainly. But there was also context.

Fast-forward to 2024, and the curiosity is gone — though the bemused, slightly smug expression remains. His new BBC documentary, Louis and the Settlers, drops even the soft qualifiers. No “ultra.” No nuance. Just “settlers.” And with that, Theroux makes it clear: half a million Israelis living in the West Bank are one and the same — extremists who, we’re told, want every last Palestinian removed from the land.

This time, the documentary doesn’t begin with questions. It begins with conclusions. And Theroux uses a brief, unrepresentative snapshot of life in the West Bank to draw sweeping indictments of the entire Israeli state.

The message is unmistakable: Israel is the problem. Settlers are the villains. And Palestinians are passive, blameless victims of a colonial project.

Within the opening minutes, Theroux plants his ideological flag. He refers to the West Bank as “Palestinian territory” and describes every Israeli community within it as illegal under international law — a sharp departure from his more qualified approach 14 years earlier.

And while his personal views seep in throughout the film, they become crystal clear during one exchange at a checkpoint, where an Israeli soldier casually refers to their location as “Israel.” Theroux shoots back: “We’re not in Israel, are we?”

And just like that, the BBC and Louis Theroux have redrawn Israel’s borders. No Knesset debate needed.

Erasing History to Blame the Massacre

The timing of this return trip is no accident. The film comes in the shadow of the October 7 Hamas massacres — the day 1,200 Israelis were slaughtered, families were burned alive in their homes, and children were dragged into Gaza. And yet, Theroux barely mentions it.

The few passing references to October 7 serve not to inform the audience — but to imply that Israel may be exploiting its own dead to justify further expansion. It’s not an investigation. It’s an accusation. And it allows him to skip over thousands of years of Jewish history in order to frame the current war in Gaza as a convenient cover story for Israeli “aggression.”

Take Hebron, for example. Theroux tells viewers that “in 1968, the year after [the West Bank] was occupied by Israel, a community of Jewish settlers moved in illegally. They now number some 700.” He fails to mention that in 1895 — decades before the modern state of Israel existed — Hebron had a Jewish population of 1,429.

Jews have lived in Hebron since antiquity — it’s where, according to Jewish tradition, Abraham purchased the Cave of the Patriarchs. Modern records date the community back centuries, despite discrimination under Ottoman rule and bans on Jewish prayer at holy sites. In 1929, Arab rioters carried out a massacre, wiping out Hebron’s Jewish population. Dozens were murdered; the rest were expelled. Under Jordanian rule from 1948 to 1967, Jews were banned from the city entirely. When they returned after the Six-Day War — not as colonists, but as a displaced community coming home — Theroux picks up the story there and calls it “illegal.”

On the Six-Day War itself, Theroux offers no context. No mention of the Arab armies preparing to destroy Israel. No mention of Israel’s preemptive strike against an existential threat.

According to The Settlers, Israel simply “occupied” — full stop.

Palestinian Terrorism? Not Even a Footnote.

Theroux visits Evyatar, a small Jewish community near the Palestinian town of Beita, and uses it as a stand-in for the entire West Bank. Beita is depicted as a symbol of peaceful resistance: a proud, ancient Palestinian village standing firm against violent settlers backed by IDF soldiers.

It’s a neat story. Too neat. Because missing from the story are years of organized, violent riots from Beita — complete with Molotov cocktails, burning Stars of David, and Nazi swastikas. All carefully omitted to preserve the narrative: Palestinians peaceful, settlers aggressive. Facts that don’t fit? Left on the cutting room floor.

Meanwhile, Israeli nationalism is treated as something sinister and unsettling — a moral aberration to be examined. The notion that Jews might want sovereignty or security is met with thinly veiled suspicion. Yet Hamas’ goal of a Jew-free Palestine, explicitly laid out in its charter, is never mentioned. Nor is the Palestinian Authority’s “pay-for-slay” policy, which literally incentivizes terrorism by rewarding those who murder Israelis — including women and children.

These aren’t fringe details. They’re central to understanding the region. And Theroux knows it. He just doesn’t care.

The BBC’s Complicity

That The Settlers aired on the BBC — a publicly funded broadcaster once seen as a gold standard of global journalism — says plenty. Not just about Louis Theroux’s agenda, but about the institutional direction of the BBC itself. This wasn’t a rogue filmmaker sneaking bias past the editors. This was bias built into the foundation — signed off, packaged, and broadcast under the banner of credibility.

There is, of course, no problem with scrutinizing Israeli policy, and no issue with questioning the settlement enterprise or highlighting the tensions in the West Bank. But journalism — real journalism — demands context. It demands precision. It demands at least a passing familiarity with the full scope of the story.

Theroux offers none of that. He arrives with a predetermined script and casts his roles accordingly: Hero. Villain. Victim. Oppressor. And when reality refuses to cooperate? It’s left out.

Louis Theroux didn’t return to Israel to understand it. He returned to flatten it. To reduce its complexity to a morality play — and to ensure everyone knows the antagonist is.

The Settlers isn’t a documentary. It’s a hit piece. And the BBC handed him the camera — then applauded the performance.

The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.

The post The BBC Documentary That Paints Every Israeli as an Extremist first appeared on Algemeiner.com.

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Indian Army Kills Islamist Terrorist Linked to 2002 Murder of Jewish-American Journalist Daniel Pearl

Jewish-American Wall Street Journal journalist Daniel Pearl was kidnapped and murdered by Islamist terrorists in Pakistan in 2002. Photo: Screenshot

The Indian government announced on Thursday that its military forces had killed “Pakistan’s most wanted terrorist,” who was connected to the 2002 murder of Jewish-American Wall Street Journal journalist Daniel Pearl.

On Wednesday, India launched “Operation Sindoor,” which the ruling Bharatiya Janata Party (BJP) claims is targeted at dismantling “terrorist infrastructure” in Pakistan and Pakistan-administered Kashmir.

The operation came after Pakistani terrorists killed 26 Hindu tourists in Kashmir last month amid escalating tensions between the two countries.

In a post on X, the BJP confirmed that during this week’s operation, the Indian army killed Islamist terrorist Abdul Rauf Azhar, who was involved in numerous terrorism plots, including the 1999 hijacking of an Indian Airlines flight, the 2001 terror attack on the Indian Parliament, and the 2016 Pathankot Air Force base attack.

Azhar’s involvement in the 1999 hijacking led to the release of Ahmed Omar Saeed Sheikh, a British-born al-Qaeda member with close ties to Pakistan’s intelligence services, who later was involved in the kidnapping and subsequent murder of 38-year-old Pearl, who was covering the war on terror as a journalist when he was abducted.

In a statement on X, Pearl’s father, Judea, addressed initial reports regarding Azhar’s death and his connection to his son’s murder.

“I want to clarify: Azhar was a Pakistani extremist and leader of the terrorist organization Jaish-e-Mohammed. While his group was not directly involved in the plot to abduct Danny, it was indirectly responsible. Azhar orchestrated the hijacking that led to the release of Omar Sheikh — the man who lured Danny into captivity,” he said.

In 2002, the Jewish-American journalist was abducted and killed by a group of Islamist terrorists connected to Azhar’s militant network, which had ties to al-Qaeda and Jaish-e-Mohammed, a terror group aiming to separate Kashmir from India and incorporate it into Pakistan.

On Jan. 27, 2002, an email was sent to several Pakistani and US media organizations, which included several photos, stating that Pearl was being held in “inhumane” conditions to protest the US treatment of Taliban and al Qaeda prisoners in Cuba. Photo: Screenshot

Originally stationed in New Delhi as the South Asia bureau chief for The Wall Street Journal, Pearl later moved to Pakistan to investigate terrorism following the Sept. 11, 2001, terrorist attacks in New York City.

After kidnapping Pearl at a restaurant in Karachi, southern Pakistan, the Islamist terrorists, who identified themselves as the National Movement for the Restoration of Pakistani Sovereignty, accused him of being an Israeli spy and sent the United States a list of demands for his release.

However, Washington did not meet their demands, and Pearl was ultimately executed after being held captive for five weeks.

His wife, Mariane Pearl, gave birth to a baby boy, Adam D. Pearl, in Paris later that year. On the Daniel Pearl Foundation website, she said, “Adam’s birth rekindles the joy, love, and humanity that Danny radiated wherever he went.”

The post Indian Army Kills Islamist Terrorist Linked to 2002 Murder of Jewish-American Journalist Daniel Pearl first appeared on Algemeiner.com.

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Jewish Jewelry Shop Owners Brutally Assaulted in Tunisia Days Before Annual Pilgrimage

A Jewish jewelry shop owner in Djerba, Tunisia, was brutally attacked by a man wielding a machete. Photo: Screenshot

A Jewish jewelry shop owner in Djerba, Tunisia, was brutally attacked by a man wielding a machete just days before the Tunisian island was set to host its annual Jewish pilgrimage, which is expected to draw thousands of visitors.

On Wednesday morning, two Jewish men — owners of a jewelry shop in the center of the island, located off Tunisia’s southeast coast — were physically assaulted by a man carrying a large knife.

Although the attack was halted when one of them screamed — alerting members of the local Jewish community who subdued the assailant — one of them was left severely injured.

According to local media reports, the attacker had surveyed the island the day before, visiting several stores to identify those owned by Jews. Local police arrested him shortly following the assault.

After the attack, one of the owners was admitted to the hospital with severe injuries. The 50-year-old Jewish man had his fingers severed during the assault and underwent surgery to reattach them.

Israeli Foreign Minister Gideon Saar condemned the attack and expressed his wishes for a swift recovery to the victims.

“This attack comes two years after the previous deadly assault that claimed Jewish lives and the lives of security personnel during the Lag BaOmer celebration,” the top Israeli diplomat wrote in a post on X.

“I call on the Tunisian authorities to take all necessary measures to protect the Jewish community,” Saar continued.

Djerba is home to the majority of Tunisia’s Jewish community, numbering about 2,000 people, and is also where the renowned El Ghriba Synagogue, one of North Africa’s oldest synagogues, is located.

The attack comes just a week before Jewish pilgrims are expected to arrive on the island for the Lag B’Omer holiday, when thousands gather annually for three days of festivities. The annual pilgrimage to El Ghriba Synagogue, scheduled for May 15 and 16 this year, draws visitors from around the world.

The synagogue has been targeted in multiple terrorist attacks over the years, including in 1985, 2002, and 2023.

Two years ago, a shooting at the synagogue claimed the lives of two Jewish cousins and three police officers. Aviel Hadad, a 30-year-old Israeli goldsmith, and Ben Hadad, a 42-year-old Frenchman who had traveled to join the festivities, were among the victims.

The post Jewish Jewelry Shop Owners Brutally Assaulted in Tunisia Days Before Annual Pilgrimage first appeared on Algemeiner.com.

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