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Weinstein approached me ‘Jew to Jew’: Jodi Kantor opens up on the ‘She Said’ movie’s Jewish moments
(JTA) — When the New York Times journalist Jodi Kantor was reporting the 2017 Harvey Weinstein sexual assault story that earned her a Pulitzer prize, the powerful Hollywood producer and his team tried to influence her by using something they had in common: They are both Jewish.
“Weinstein put [Jewishness] on the table and seemed to expect that I was going to have some sort of tribal loyalty to him,” Kantor told the Jewish Telegraphic Agency on a video call from the New York Times newsroom. “And that was just not going to be the case.”
Now, that exchange has been immortalized in “She Said,” a new film adaptation of the nonfiction book of the same name by Kantor and her collaborator Megan Twohey that details their investigation into Weinstein’s conduct, which helped launch the #MeToo movement.
The film, directed by Maria Schrader with stars Zoe Kazan as Kantor and Carey Mulligan as Twohey, is an understated thriller that has drawn comparisons to “All the President’s Men” — and multiple subtle but powerful Jewish-themed subplots reveal the way Kantor’s Jewishness arose during and at times intersected with the investigation.
In one scene, the Kantor character notes that a Jewish member of Weinstein’s team tried to appeal to her “Jew to Jew.” In another, Kantor shares a moving moment with Weinstein’s longtime accountant, the child of Holocaust survivors, as they discuss the importance of speaking up about wrongdoing.
Kantor, 47, grew up between New York and New Jersey, the first grandchild of Holocaust survivors — born “almost 30 years to the day after my grandparents were liberated,” she notes. She calls her grandmother Hana Kantor, a 99-year-old Holocaust survivor, her “lodestar.” Kantor — who doesn’t often speak publicly about her personal life, including her Jewish background, which involved some education in Jewish schools — led a segment for CBS in May 2021 on her grandmother and their relationship. Before her journalism career, she spent a year in Israel on a Dorot Fellowship, working with Israeli and Palestinian organizations. She’s now a “proud member” of a Reform synagogue in Brooklyn.
Kantor spoke with JTA about the film’s Jewish threads, the portrayal of the New York Times newsroom and what Zoe Kazan’s performance captures about journalism.
This interview has been edited and condensed for clarity and length.
JTA: How did you feel having Zoe Kazan, who is not Jewish, play you? Kazan has played some notably Jewish characters before, for example in the HBO miniseries “The Plot Against America.”
JK: I feel Zoe’s performance is so sensitive and so layered. What I really appreciate about her performance is that she captures so many of the emotions I was feeling under the surface in the investigation. You know, when you’re a reporter and especially a reporter handling that sensitive a story, it’s your responsibility to present a really smooth professional exterior to the world. At the end of the investigation, I had the job of reading Harvey Weinstein some of the allegations and really confronting him. And in dealing with the victims, I wanted to be a rock for them and it was my job to get them to believe in the investigation. And so on the one hand, you have that smooth, professional exterior, but then below that, of course you’re feeling all the feelings. You’re feeling the power of the material, you’re feeling the urgency of getting the story, you’re feeling the fear that Weinstein could hurt somebody else. You’re feeling the loss that these women are expressing, including over their careers. And so I think Zoe’s performance just communicates that so beautifully.
What Zoe says about the character is that there are elements of me, there are elements of herself, and then there are elements of pure invention because she’s an artist, and that’s what she does.
I think the screenplay gets at a small but significant line of Jewish sub-drama that ran through the investigation. It went like this: Harvey Weinstein and his representatives were constantly trying to approach me as a Jew. And they’ve done this more recently, as well. There have been times when Harvey Weinstein was trying to approach me “Jew to Jew,” like almost in a tone of “you and I are the same, we understand each other.” We found dossiers later that they had compiled on me and it was clear that they knew that I was the grandchild of Holocaust survivors, and they tried to sort of deploy that. So speaking of keeping things under the surface, I privately thought that was offensive, that he was citing that. But your job as a reporter is to be completely professional. And I wasn’t looking to get into a fight with Weinstein. I just wanted to find out the truth and I actually wanted to be fair to the guy. Anyway, even as he was approaching me “Jew to Jew” in private, he was hiring Black Cube — sort of Israeli private intelligence agents — to try to dupe me. And they actually sent an agent to me, and she posed as a women’s rights advocate. And she was intimating that they were going to pay me a lot of money to appear at a conference in London. Luckily I shooed her away.
To some degree I can’t explain why private Israeli intelligence agents were hired to try to dupe the Hebrew speaking, yeshiva-educated, granddaughter of Holocaust survivors. But it’s not my job to explain that! It’s their job to explain why they did that.
Then the theme reappeared with Irwin Reiter, Weinstein’s accountant of 30 years, who kind of became the Deep Throat of the investigation. I quickly figured out that Irwin and I were from the same small world. He was the child of survivors, and had also spent his summers at bungalow colonies in the Catskills just down the road from mine. I don’t bring up the Holocaust a lot. It’s a sacred matter for me, and I didn’t do it lightly. But once I discovered that we did in fact have this really powerful connection in our backgrounds, I did gently sound it with him – I felt that was sincere and real. Because he was making such a critical decision: Weinstein’s accountant of 30 years is still working for the guy by day and he’s meeting with me at night. And I felt like I did need to go to that place with him, saying, “Okay, Irwin, we both know that there are people who talk and there are people who don’t. And we both grew up around that mix of people and what do we think is the difference? And also if you know if you have the chance to act and intervene in a bad situation, are you going to take it?”
We didn’t talk a lot about it, because I raised it and he didn’t want to fully engage. But I always felt like that was under the surface of our conversations, and he made a very brave decision to help us.
That was a very powerful scene in the film, and it felt like a turning point in the movie that kind of got at the ethical core of what was motivating your character. Was that a scene that was important to you personally to include in the film?
What Megan and I want people to know overall is that a small number of brave sources can make an extraordinary difference. When you really look at the number of people who gave us the essential information about Weinstein, it’s a small conference room’s worth of people. Most of them are incredibly brave women, some of whom are depicted, I think, quite beautifully in the film. But there was also Irwin, Weinstein’s accountant of all these years, among them. It’s Megan and my job to build people’s confidence in telling the truth. And as we become custodians of this story for the long term, one of the things we really want people to know is that a tiny group of brave sources, sometimes one source, can make a massive difference. Look at the impact that these people had all around the world.
Did you feel the film captured the New York Times newsroom? There’s a kind of great reverence to the toughness and professionalism in the newspaper business that really came through.
Megan and I are so grateful for the sincerity and professionalism with which the journalism is displayed. There are a lot of on screen depictions of journalists in which we’re depicted as manipulative or doing things for the wrong reasons or sleeping with our sources!
We [as journalists] feel incredible drama in what we do every day. And we’re so grateful to the filmmakers for finding it and sharing it with people. And I know the New York Times can look intimidating or remote as an institution. I hope people really consider this an invitation into the building and into our meetings, and into our way of working and our value system.
And we’re also proud that it’s a vision of a really female New York Times, which was not traditionally the case at this institution for a long time. This is a book and a movie about women as narrators.
“Harvey Weinstein and his representatives were constantly trying to approach me as a Jew,” Kantor said. (The New York Times)
There have been comparisons made between this movie and “All the President’s Men.” One of the striking differences is that those journalists are two male bachelors running around D.C. And this film has scenes of motherhood, of the Shabbat table, of making lunches. What was it like seeing your personal lives reflected on screen?
It’s really true that the Weinstein investigation was kind of born in the crucible of motherhood and Megan and my attempt to combine work with parenting. On the one hand, it’s the most everyday thing in the world, but on the other hand, you don’t see it actually portrayed on screen that much. We’re really honored by the way that throughout the film you see motherhood and work mixing, I think in a way that is so natural despite our obviously pretty stressful circumstances.
I started out alone on the Weinstein investigation, and I called Megan because movie stars were telling me their secrets but they were very reluctant to go on the record. So I had gone some way in persuading and engaging them, but I was looking to make the absolute strongest case for them. So I called Megan. We had both done years of reporting on women and children. Mine involved the workplace more and hers involved sex crimes more, which is part of why everything melded together so well eventually. I wanted to talk to her about what she had said to female victims in the past. But when I reached her, I could hear that something was wrong. And she had just had a baby, and I had had postpartum depression myself. So we talked about it and I gave her the name of my doctor, who I had seen. Then she got treatment. And she not only gave very good advice on that [initial] phone call, but she joined me in the investigation.
I think the theme is responsibility. Our relationship was forged in a sense of shared responsibility, primarily for the work – once we began to understand the truths about Weinstein, we couldn’t allow ourselves to fail. But also Megan was learning to shoulder the responsibility of being a parent, and I had two kids. And so we started this joint dialogue that was mostly about work, but also about motherhood. And I think throughout the film and throughout the real investigation, we felt those themes melding. It’s totally true that my daughter Tali was asking me about what I was doing. It’s very hard to keep secrets from your kid in a New York City apartment, even though I didn’t tell her everything. And Megan and I would go from discussing really critical matters with the investigation to talking about her daughter’s evolving nap schedule. It really felt like we had to get the story and get home to the kids.
And also, we were reporting on our own cohort. A lot of Weinstein victims were and are women in their 40s. And so even though we were very professional with this and we tried to be very professional with the sources, there was an aspect of looking in the mirror. For example, with Laura Madden, who was so brave about going on the record, it was conversations with her own teenage daughters that helped her make her decision.
We didn’t write about this in our book because it was hard to mix the motherhood stuff with this sort of serious reporter-detective story and all the important facts. And we didn’t want to talk about ourselves too much in the book. But the filmmakers captured something that I think is very true. It feels particular to us but also universal. When Zoe [Kazan] is pushing a stroller and taking a phone call at the same time, I suspect lots of people will identify with that. And what I also really like is the grace and dignity with which that’s portrayed.
It must have been surreal, seeing a Hollywood movie about your investigation of Hollywood.
I think part of the power of the film is that it returns the Weinstein investigation to the producer’s medium, but on vastly different terms, with the women in charge. Megan and I are particularly moved by the portrayals of Zelda Perkins, Laura Madden and Rowena Chiu — these former Weinstein assistants are in many ways at the core of the story. They’re everyday people who made the incredibly brave decision to help us, in spite of everything from breast cancer to legal barriers.
Working with the filmmakers was really interesting. They were really committed to the integrity of the story, and they asked a ton of questions, both large and small. Ranging from the really big things about the investigation to these tiny details. Like in the scene where we go to Gwyneth Paltrow’s house and Megan and I discover we’re practically wearing the same dress — those were the actual white dresses that we wore that day. We had to send them in an envelope to the costume department, and they copied the dresses in Zoe and Carey’s sizes and that’s what they’re wearing. There was a strand of extreme fidelity, but they needed some artistic license because it’s a movie. And the movie plays out in the key of emotion.
—
The post Weinstein approached me ‘Jew to Jew’: Jodi Kantor opens up on the ‘She Said’ movie’s Jewish moments appeared first on Jewish Telegraphic Agency.
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Iran Soccer Federation President Uncertain on Country’s Participation in FIFA World Cup After US-Israel Strikes
Soccer Football – FIFA World Cup – Trophy arrives in Mexico – Felipe Angeles International Airport, Zumpango, Mexico – February 27, 2026 General view of the FIFA World Cup trophy. Photo: REUTERS/Luis Cortes
It remains unclear if Iran’s national soccer team will participate in the 2026 FIFA World Cup this summer following Saturday’s surprise attacks by the US and Israel on the Islamic Republic, Iran Football Federation President Mehdi Taj admitted over the weekend.
“What is certain is that after this attack, we cannot be expected to look forward to the World Cup with hope,” Taj told the sports portal Varzesh3, according to the Associated Press.
Iran is set to compete in Group G at the World Cup and is scheduled to face New Zealand on June 15 and Belgium on June 21, both in Los Angeles, before going head-to-head against Egypt on June 26 in Seattle.
The World Cup will be held across the US, Canada, and Mexico from June 11 to July 19.
Soccer fans from Iran are already barred from entering the United States for the World Cup as part of a travel ban that the Trump administration announced in June.
FIFA has not commented on Iran’s participation in this summer’s World Cup. Speaking on Saturday at the International Football Association Board’s annual general meeting in Cardiff, Wales, FIFA Secretary General Mattias Grafstrom reportedly said: “We had a meeting today and it is premature to comment in detail, but we will monitor developments around all issues around the world.”
The US and Israel launched joint airstrikes against Iran on Saturday that led to the killing of Iranian Supreme Leader Ayatollah Ali Khamenei and several other high-ranking Iranian officials.
Iran has retaliated with strikes against Israel as well as US military bases and civilian areas across the Middle East, including in the United Arab Emirates, Qatar, and Bahrain. Israel is also carrying out strikes in Lebanon and the Israel Defense Forces announced that it has eliminated Hussein Makled, the head of Hezbollah’s intelligence headquarters.
On Sunday, the Qatar football federation announced that it was suspending all competitions, tournaments and matches “until further notice” following the US-Israel strikes on Iran. It added that “new dates for the resumption of competitions will be announced in due course.”
It remains unclear what will happen to the “Finalissima” match between Spain and Argentina, a friendly game that was scheduled to take place March 27 in Doha with potential well-known players including Lionel Messi and Lamine Yamal.
The Asian Football Confederation has similarly postponed continental club championship playoffs set to take place in the Middle East this week, and the AFC Champions League Elite games will be rescheduled.
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Iran’s Supreme Leader Is Dead. Now What?
A demonstrator lights a cigarette with fire from a burning picture of Iran’s Supreme Leader Ayatollah Ali Khamenei outside the Iranian embassy during a rally in support of nationwide protests in Iran, in London, Britain, Jan. 12, 2026. Photo: REUTERS/Toby Melville
The strike that killed Iran’s supreme leader over the weekend has split opinion over whether it speeds a regime collapse, keeps the Islamic Republic intact under a new figurehead, or produces a tougher, security-run version of the same system.
Israeli officials are projecting confidence that the war is not stopping at the killing of Ali Khamenei and several dozen regime leaders under him. “[US President Donald] Trump intends to go all the way with this move,” one senior official told The Jerusalem Post on Monday. “He wants to replace the regime, and he has no intention of taking his foot off the gas.”
US officials familiar with intelligence assessments have voiced a more cautious view, pointing to serious skepticism that even if Iranians took to the streets, the country’s battered opposition would not have the power to topple the regime.
Publicly, Trump and Israeli Prime Minister Benjamin Netanyahu have framed the war as a moment of political opportunity. “I call upon all Iranian patriots who yearn for freedom to seize this moment and take back your country,” Trump said in a video posted on Truth Social. Netanyahu struck a similar note, saying Israel would create the conditions for “the brave Iranian people to liberate themselves from the chains of tyranny.”
Raz Zimmt, an Iran expert at the Institute for National Security Studies in Tel Aviv, said that the success of the US-Israeli strikes so far would not guarantee the end of the regime.
“You cannot topple a regime through aerial strikes alone,” he said during a briefing with reporters on Sunday, adding that “millions of Iranians” were needed to do that.
But after weeks of suppression during last month’s anti-government protests, he said, the Iranian public is “very much traumatized,” and it is hard to imagine mass demonstrations resuming while “missiles and jets are above their heads.” Even if crowds return, he said, a protest movement is still unlikely to succeed as long as the security forces preserve cohesion and the determination to fight.
“The majority of the Iranian people are not organized, have no leaders,” he said, adding that many potential leaders are “in jails and prisons all over Iran.” The security elite, he argued, has every reason to hold the line because many of its members believe that if the regime collapses it will not only destroy their interests but “might actually kill them as well.”
The Islamic Republic “probably enjoys the support of perhaps between 15 to 20 percent” of the population, Zimmt said, adding that that minority is still large enough in a country of roughly 90 million people to sustain a committed base, fill institutions, and provide manpower for coercion.
Zimmt called Khamenei’s death “the end of an era,” describing him as “the last Iranian revolutionary” and, in recent years, a bottleneck blocking real change.
The larger question, in Zimmt’s view, is whether Iran now moves toward constitutional change – of the kind seen after the death of Khamenei’s predecessor, Ayatollah Ruhollah Khomeini, in 1989 – and a different governing model, that might pave the way for some kind of political transition.
“Perhaps not a regime change as all of us would like to see but perhaps some kind of a change from within the regime,” he said.
Zimmt said that after the 12-day war with Israel and the US in June, pragmatic voices in Iran argued the regime should adjust strategic objectives and prioritize domestic problems over regional commitments.
“But at the end of the day, Khamenei made a decision to change almost nothing,” he said.
According to The New York Times, Khamenei made a short list of figures he viewed as acceptable successors in the wake of the June war. It included Ali Asghar Hejazi, his long-serving chief of staff and who Israel said it killed in Saturday’s strike; Gholam-Hossein Mohseni-Eje’i, the head of Iran’s judiciary; and Hassan Khomeini, a grandson of the Islamic Republic’s founder, Ayatollah Ruhollah Khomeini. The younger Khomeini is seen as more moderate than Khameinei’s own son and potential successor, Mojtaba.
Zimmt said that while Mojtaba has support in the security establishment, “a hereditary succession would only deepen the [regime’s] crisis of legitimacy,” because the Islamic Republic was founded against dynastic succession.
Alireza Arafi, a senior cleric who was named to Iran’s interim leadership council after Khamenei’s death, is also in the mix.
But the identity of Iran’s next supreme leader may matter less, Zimmt argued, than who controls power around him.
He singled out the Islamic Revolutionary Guard Corps (IRGC) as “a very, very influential player” not just in security and the military sphere but also in politics and the economy. In that environment, Zimmt suggested, the succession could preserve the appearance of continuity with another senior cleric far weaker than Khamenei as the public face while the IRGC and other security circles are the driving force.
Former Israeli Ambassador to Germany Jeremy Issacharoff, whose work has focused on strategic policy and arms control, cautioned it was too early to know how events would unfold and said Tehran’s next leadership could yet prove “even more fanatical” than the Khamenei-led one but expressed hope the events of the past few days could reshape the region’s long-term trajectory.
“This is an opportunity for Iran, it’s an opportunity for the region, and above all, it’s a major opportunity for Israel,” Issacharoff told The Algemeiner.
He added that, in the near term, he expects the military campaign to keep targeting the pillars of Iranian state power, including missile and nuclear infrastructure, as well as core internal-security nodes such as IRGC headquarters, the affiliated Basij milita, and the Interior Ministry.
“At the end of it we could see a very different type of relationship with Iran, with the Iranian people,” he said.
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At this Dallas synagogue, Purim comes with fog machines, zip lines and Broadway flair
(JTA) — Excited chatter and the rattling of noisemakers echoed throughout the halls of Congregation Shearith Israel as 900 people streamed into its Purim spiel Sunday morning.
But as similar festivities commenced at synagogues around the world, the congregants of the historic Conservative shul in Dallas knew they were in for something far more ambitious than the average holiday festivities.
A Purim spiel, Yiddish for “play,” is the comedic retelling of the Book of Esther for the holiday of Purim. At many synagogues, the production features a costume parade, Jewish parodies of popular songs and the annual megillah reading.
For the past eight years, however, the Purim performance at Shearith Israel has taken the form of a high-octane theatrical performance, featuring intricate set designs, original music, and a yearly stunt that has included its rabbi riding into the sanctuary on horseback and ziplining onto the stage.
This year, the performance featured confetti canons and a mechanical rig that lowered a child onto the stage behind a giant disco ball.
The congregation’s annual performance did not always resemble the elaborate, effects-laden production it is today. The spectacular is the brainchild of one of the synagogue’s senior rabbis, Adam Roffman, whose second act in the clergy followed an earlier stint in a musical theater in New York City.
“The Purim spiel is a love letter to the community,” Roffman said. “I work on this for, you know, close to 200 hours … it’s tedious, it’s difficult, but ultimately, what gets me over the hump of like, okay, it’s 11 o’clock at night, and I’ve been staring in front of my computer for the last five hours making a video, is I love these people.”
Melissa Goldberg, a congregant whose husband’s family had been members of Congregation Shearith Israel for five generations, said the spiel had become her family’s “favorite time of year.”
“I love it because it gives Rabbi Roffman a chance to create, to flex his creative muscles, so we don’t lose him to Broadway, because he can have his moment every year,” said Goldberg.
Roffman grew up in Baltimore attending a Jewish day school where he said he “idolized and worshiped” his rabbis before he was “bit by the bug” of musical theater in high school.
After graduating from Amherst College, Roffman studied musical theater at Circle in the Square Theater School in New York City and began his stint as an actor and director.
But a few years into the scene, Roffman said that he began to question whether the profession suited him.
“In my mid 20s, I found myself kind of realizing, like, it didn’t matter how much talent I had as an actor, the industry was not for me,” said Roffman. “When you’re an actor, you’re the president of Adam Roffman Inc, you have to fight for yourself all the time, and that just isn’t my personality, and what I was missing, I think, was sort of connection and community.”
So Roffman reengaged in the Jewish community, saying he became “addicted in the same way that I was when I started acting in high school.” His rediscovered passion soon inspired him to seek rabbinic ordination from the Jewish Theological Seminary in New York City.
After coming to Dallas to join Congregation Shearith Israel’s clergy with his wife, Rabbi Shira Wallach, in 2013, Roffman said the pair soon discovered that the local Jewish community had “tremendous institutional loyalty” and a unique commitment to Jewish life.
“They’re very cognizant of the fact that they are the minority here in the Bible Belt,” said Roffman. “This is a Christian place, and that gives them even more incentive to commit to their Judaism and to commit to being here, being present here.”
Roffman said he spent his first few years adjusting to the role before beginning to think about how to get back on the stage — even though, for him, the parallels between the two professions were endless.
“I think a lot about the overlap between Jewish practice and theater,” said Roffman. “I think of the prayer book as a script. It’s one of the oldest scripts written, I think, in human history, because it is a book of words written by somebody else that you have to open up and personalize and process.”
During his time at Shearith Israel, Roffman has performed two self-written autobiographical one-man-shows at local theaters, including “On Sunday the Rabbi Sang Sondheim” in 2017 and “Songs the Rabbi Shouldn’t Sing,” which he took a sabbatical to write in 2023.
In 2019, Roffman told his fellow rabbis that he would be taking over preparations for the Purim spiel.
It began fairly simple, with Roffman pulling off a Broadway-themed performance that featured him and Wallach singing songs from “Phantom of the Opera” as they rolled into the sanctuary in a canoe surrounded by fog.
Things escalated from there, with Roffman incorporating a “stunt” every year to outdo the last, including standing atop a cherrypicker for a “Lion King”-inspired spiel, riding into the sanctuary on a horse and ziplining above congregants’ heads for last year’s “Wicked” theme.
“We try and do something that nobody’s really ever seen before in a synagogue,” said Roffman. “But there’s a primary goal, really, which is that the people see their rabbis, all four of us on stage, really putting it out there and doing crazy stuff to show that we’re people too, and also to really build a connection between us and the people who are here.”
The buildup to the Purim spiel is a monthslong affair, with Roffman beginning to work on his concept in December. In the weeks leading up to the extravaganza, he said his colleagues rotate him out of leading Shabbat so he can focus his efforts on crafting the performance.
“Starting in January, I start to work on lyrics, and then four weeks out, basically what I do is I do lifecycle events, I teach on Shabbat, and that’s it,” said Roffman. “I’m spending another 40 or 50 hours a week just on Purim.”
Roffman said the performance was largely unconstrained by a budget, noting that “it could cost $20,000, and then it could be a lot more than that, and people would be OK with that.” He and others declined to say what was being spent on this year’s production.
“The people here are just extremely committed to Judaism and Jewish life and Jewish continuity, so the fact that this Purim show costs what it does, and people don’t blink an eye,” said Roffman.
During this year’s spiel, the congregation screamed and applauded as Queen Esther descended onto the stage in a giant disco ball suspended on a mechanical lift, a fog cannon blasting as she made her entrance.
Later in the performance, the clergy danced to Roffman’s parody of the Village People’s “Y.M.C.A.,” complete with the lyric “It’s fun to pray to the yud hey vav hey,” a reference to the Hebrew name for God. Audience members lifted coordinated signs to spell out the letters in unison.
Rabbi Ari Sunshine, Roffman and Wallach’s co-senior rabbi, said the attendance to the spiel had more than doubled since the first year Roffman took over.
“We like to joke ‘we take our Purim fun seriously’ because we think that this is a great opportunity,” said Sunshine. “We know it’s one that people look forward to, we know it’s a great community-building experience.”
The spiel is not the only place where the synagogue has seen a surge in participation. Over the past five years, Shearith Israel’s religious school has gone from 60 students to 250.
“When we first came, the shul was kind of in a little bit of a downturn in terms of energy and membership,” said Wallach. “One of the things that was really important to Adam and me when we came is that we changed the culture so that it was really warm and embracing.”
Debbie Mack, who has belonged to Congregation Shearith Israel for 48 years, said the synagogue “wasn’t always as lively and as fun and youthful” as it feels today.
“Our children don’t live here, our grandchildren are not here, but we love coming to see all that the synagogue is now, and remember the difference between how it was and the way it is,” said Mack.
But even amid the spectacle, the story’s darker themes were not lost on congregants.
For Shiva Delrahim Beck, a Persian congregant who has attended the Shearith Israel Purim spiel for 12 years, this year had a special significance in the wake of joint U.S.-Israeli attacks on Iran.
“For us, the story of Purim and the way that they did it at the spiel really brought to life the significance of Purim and modern day Purim, as it happened yesterday,” said Delrahim Beck. “So this was great for my family, and I could not be happier to be here.”
During the opening prayers for the performance, Wallach, Roffman’s wife and co-senior rabbi, drew parallels between the story of Purim and the burgeoning conflict in Iran.
“In that same way, our heroes of today are risking their lives so that we can continue to do what we are doing here, showing our love for and pride in Judaism and the Jewish people in Israel and all over the world,” said Wallach.
This year was not the first time that the spiel intersected with heavier themes. Last year, when the spiel’s theme was “Wicked,” Roffman played a montage of images of the Israeli hostages coming out of Gaza as the congregation’s cantor sang “Somewhere Over the Rainbow.”
“I think it really moved people,” said Roffman. “They weren’t expecting it, because they were there to laugh, but, you know, that’s the thing about theater. It sort of hits you in places that you don’t expect.”
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