Features
Dan Petrenko brings a youthful enthusiasm to his role as the new WJT artistic director
By BERNIE BELLAN At the age of 24, Dan Petrenko became the youngest artistic director of any of the member theaters of the Canadian Professional Association of Canadian Theaters (PACT) when he was hired this past November as the new artistic director of Winnipeg Jewish Theatre.
Dan was actually in London, England, having just moved there two and a half months previously, when he was contacted by a recruiter for the WJT, who asked him whether he might like to meet with the WJT board (via Zoom) to discuss the possibility of his becoming the new WJT artistic director.
The WJT’s previous artistic director, Ari Weinberg, announced in June 2022 that, after seven seasons as WJT artistic director, he would be moving on to a new position in Ontario.
Now in its 35th season the WJT has had only five artistic directors prior to Dan Petrenko: Bev Aronovitch, Kayla Gordon, Mariam Bernstein, Michael Nathanson, and Ari Weinberg. The WJT is the only professional theatre company in Canada dedicated to developing and producing new Jewish works.
Recently, we sat down with Dan Petrenko to discuss the path he took to his present position.
Dan was born in Israel, the son of Jewish parents who had moved from their hometown of Odessa in Ukraine.
A formative influence in his life, he says, was his grandmother, who had been a pianist in Ukraine. She had aspirations early in her life to study in a music conservatory, but the antisemitism that was pervasive in the Soviet Union prevented her from achieving that ambition. Instead, she had to travel all the way to Siberia in order to obtain training to become a pianist.
In 1991, Dan’s parents made two momentous decisions, he says: They got married and they moved to Israel, settling in Givaataim.
As Dan describes it, “For the first time in their lives, my parents felt they could be Jewish.”
Life in Israel was good for the Petrenkos, but things changed for the worse in 2006 when Israel became engaged in a major conflict in Lebanon.
Dan and his sister were enrolled in a kindergarten in Givaataim when, one day after dropping Dan and his sister off, his parents heard on the radio that a bus had exploded right next to their children’s kindergarten.
“They didn’t want to leave Israel,” Dan observes, but, like other Israelis who wanted to find someplace safer in which to raise their children, his parents decided to leave, eventually moving to Toronto.
Arriving to Toronto, however, had a paradoxical effect on the Petrenko family, Dan explains.
“In Israel you didn’t have to be Jewish; everyone was.” But coming to Toronto, with its polyglot ethnic mix, awakened a desire in the Petrenkos to embrace their Jewish heritage.
“It was in Toronto that we celebrated our first Passover seder,” Dan says. “We also started going to synagogue for the first time.”
As well, the Petrenkos started keeping kosher and observing Shabbat, something Dan says he adheres to.
Still, when I asked Dan whether he went to Jewish school in Toronto, he says he didn’t.
His first real immersion in a Jewish milieu in Canada, he explains, came when he went to a Jewish summer sleep-over camp near Toronto, called J Academy.
“It was specifically for kids from Russian-speaking Jewish backgrounds,” he explains.
In time Dan went on from being a camper at J Academy to becoming a counsellor, and eventually a senior staff member.
It was also during his high school years that Dan says he began playwriting and directing. In fact, when he was still in high school, Dan wrote a play called “Train for Two,” which was based on his own family’s experience in the Holocaust. Later, he was able to mount a successful production of that play when he was only 17 and had started his own youth theatre company called JDY Theatre.
I asked Dan from where he derived his artistic sensibility?
He answers that, as a young boy, his grandmother had taken him to the opera and to ballet, so developing an interest in theatre was a natural progression.
Even through his years at the University of Toronto, where he double majored in Theatre and International Relations, Dan remained the artistic director of JDY Theatre.
By the time the Covid epidemic began in 2020, however, Dan had moved on to become artistic director of another theatre company: Olive Branch Theatre, which is described as “a non-profit professional company dedicated to providing opportunities for new-generation artists.”
In 2022 Dan returned to university to obtain his masters degree in Theatre. That same year he directed a production of “A Night on Jewish Broadway” in the newly renovated Leah Posluns Theatre in the Bathurst Jewish Community Centre.
This past fall, Dan decided to move to London to pursue opportunities in the West End theatre district.
While in London, he received that unexpected request from a recruiter for the WJT.
It turns out that Dan already had an extensive knowledge of the WJT, as he explains: “I had written a paper on the WJT while I was in university.”
His meeting with the WJT board via Zoom must have been an impressive one for, as Dan says, “I was offered the job the same day.” (He also says he has no idea how many other people might have been considered for the job as WJT artistic director.)
By the same token, the immediate positive reception Dan received from the WJT board was reciprocated. “After meeting with the board,” he says, “I felt this was an organization I wanted to be a part of…So far I feel I’ve hit the jackpot.”
We also have a story by Myron Love about WJT’s upcoming production of “Summer of Semitism,” but we wanted to ask Dan about the play. Since he was hired after the 2022-23 playbill had been announced, Dan won’t be at the helm of the play. (It will be directed by Winnipeg’s Krista Jackson, a former associate artistic director at the Manitoba Theatre Centre.)
The play was written by Ori Black, a young Torontonian. “It’s been in development for six years,” Dan explains.
“It’s a play about belonging – or not belonging,” he continues. “Is it only in a time of crisis that we think we’re part of the Jewish community?”
The play is set in an overnight summer camp (Camp Mazel), where four friends who grew up together and who are now tasked with running the camp, find they have to deal with an unexpected challenge having to do with antisemitism. (We won’t reveal the exact nature of what that challenge is.)
Tension develops among the four camp leaders stemming from the fact that one of them isn’t Jewish.
As Dan puts it: “They’re all brothers, but the question is: ‘Who belongs…who really fits in in a time of crisis?”
The show is intended to provoke a wider discussion of antisemitism and how we respond to it. Dan notes that following two of the shows – on April 30 and May 4, audience members will be invited to participate in a talk-back session.
Tickets for “The Summer of Semitism” can be obtained from the WJT, either online at https://www.wjt.ca or by calling 204-477-7478.
Features
“Lessons from the Holocaust for Today”
By HENRY SREBRNIK On April 12, I spoke at our annual Yom Hashoah memorial ceremony in Charlottetown. The last time I did so was in April 1976, in Montreal. It was, for Canadian Jews, a completely different time. Montreal was still the first city of Canadian Jewry, with Toronto a distant second. Israel seemed a secure country, having won a hard-fought victory three years earlier in the Yom Kippur War.
There were clouds gathering, true – after all the UN General Assembly had passed the “Zionism is a form of racism” the previous December, and a powerful Communist bloc led by the Soviet Union was still a formidable enemy.
Today, Jewish life has become far more precarious. Two things are essential for an anti-democratic political movement to succeed: ideological justification by academics and intellectuals, and control of the streets by violent mobs. Since Oct. 7, 2023, when Hamas invaded Israel, we have seen both.
At McGill University in Montreal, a March 21 referendum by the Law Students’ Association (LSA) supported amending the group’s constitution to boycott Israeli academic bodies, though it was deemed illegitimate by the university’s president. Similar actions are taking place across Canada. Indeed, at Vanier College, a Montreal CEGEP, it abruptly cancelled its Holocaust commemoration on March 25 because it didn’t think it could keep guests and the college community safe.
Unfortunately, we know a terrible precedent for this union of the intellectuals and the mob. Nazi ideology, too, was not formulated by street thugs. Historian Max Weinreich published his book Hitler’s Professors in 1946, noting that German scholarship provided the ideas and techniques that led to and justified unparalleled slaughter. All too many Nazi war criminals were holders of PhDs.
As historian Niall Ferguson reminds us, in an article published in the New York Free Press of Dec. 11, 2023, “Anyone who has a naive belief in the power of higher education to instill morality has not studied the history of German universities in the Third Reich.” The “final solution of the Jewish question” began, he has written, with words — “to be precise, it began as lectures and monographs and scholarly articles.”
The American writer Vivian Gornick, reviewing a book, “Turning a Blind Eye, A memoir of daily accommodation to fascism,” by the German historian Joachim Fest, about Hitler’s Germany in the 1930s (before the Holocaust), quotes this passage:
“Everyone sees that life for the Jews is gradually shutting down. Take their neighbor and good friend, Dr. Meyer: one day he can no longer subscribe to newspapers and magazines; another, he has to hand in his bicycle and typewriter; another, he can no longer keep a pet or buy flowers. Then all the Jews simply start disappearing from the neighborhood.” The Nazi march to power literally begins with shutting Jews out of public life while using academia as the heavy hand of indoctrination.
Is this slowly happening to Jews in Canada today, as they are pushed out of or refused admittance to cultural events, colleges, universities, and graduate schools, academic university positions, publishing, music, theatre, and so on? In “Canada’s Polite Pogrom,” By Jesse Brown, Atlantic, March 24, 2026, he writes: “Is a national tolerance for zealotry purging Jews from public life?” Jewish life in Canada may have “forever changed,” he argues. “I can no longer take for granted that people like me are represented in Canada’s hospitals, schools, newsrooms, and legislatures.”
We may see the quiet withdrawal of Jews from Canadian society “without any glass or bones being broken,” simply because the evidence that they are no longer welcome has become overwhelming. Another writer calls it the social and academic “shtetelization” of Western Jewry.
We even face obstruction from the Canadian government. In just the last two years, eight explicitly Jewish non-profit charities, including the Jewish National Fund, have been stripped of their ability to collect tax-deductible donations by the Canada Revenue Agency — often amid pressure campaigns from anti-Israel activists. The delisting was also celebrated by the Professional Institute of the Public Service of Canada (PIPSC), the union representing CRA workers.
We now witness continuous large “pro-Palestinian” rallies through our cities, invasions of shopping malls and thoroughfares, including intimidating behaviour against Jewish passersby. Today, police stand and watch mobs chant for Israel’s destruction, call for the genocide of its people, harass visibly Jewish citizens, and drive antisemitic intimidation deep into urban life. They now believe their job is to enforce the law only if it does not risk upsetting violent constituencies. This makes Jews expendable, because defending them risks confrontation.
And these events are not just “political protests.” At an al-Quds rally in Toronto March 14, protesters held signs that showed rats crawling out of a Star of David, depicting a Jewish man as a goblin-like creature emerging from a cave, and showing a Jewish man as a hook-nosed caricature.
Three Jewish synagogues in Toronto were hit with gunfire in one week in March. After every such incident, we hear that “antisemitism has no place in Canada.” But if that were true, synagogues would not require concrete barriers. Jewish schools would not need armed security. Community institutions would not conduct threat assessments before hosting events. Yet big city mayors like Toronto’s Olivia Chow don’t seem, to put it diplomatically, be losing much sleep over what’s going on in their cities.
The attacks on Jews, including physical assaults and social media campaigns, are part of a purposive campaign designed to make Jews think twice about gathering with other Jews, entering a synagogue, going to kosher restaurants, putting a mezuzah on the doorpost of their apartments or dorm rooms, or wearing a Jewish star around their necks. In fact people have been attacked on the street for speaking Hebrew.
If each Jewish holiday will now be seen by antisemites as an opportunity for terror, then the prognosis for diaspora Jewry is bleak. Unless things change, Jewish life in the diaspora will become more sealed off from the larger society.
We may be returning to a time that we thought was long behind us. And we are less prepared for it than our forebearers were, because they were used to living in a semi-segregated world, and expected less from the larger society. As large swaths of the Jewish community are beginning to retreat inward, the greater long-term fear is the collapse of Jewish life here altogether.
Henry Srebrnik is a professor of political science at the University of Prince Edward Island.
Features
Streaming the Diaspora: Jewish Stories in the Digital Age
The digital era has transformed how cultural narratives are created, shared, and preserved. For Jewish communities around the world, streaming platforms have become powerful tools for storytelling — enabling voices from different countries, traditions, and generations to connect in ways that were once impossible. What used to rely on local gatherings, printed texts, or regional broadcasts is now accessible globally, instantly, and interactively.
Streaming has allowed Jewish stories to transcend geography. Whether it’s historical documentaries, modern dramas, or personal testimonies, audiences can now explore a wide spectrum of perspectives — from Ashkenazi and Sephardic traditions to contemporary Israeli culture and diaspora experiences in North America, Europe, and beyond. This shift reflects not only technological progress but also a deeper need for identity, continuity, and shared memory.
A New Era of Cultural Storytelling
Streaming platforms have opened doors for creators who might previously have struggled to find mainstream distribution. Independent filmmakers, historians, and content creators now have the ability to reach global audiences without relying on traditional gatekeepers.
This has led to:
- more diverse representation of Jewish identities
- storytelling that blends history with modern perspectives
- greater visibility for lesser-known traditions and communities
As media scholar Henry Jenkins noted,
“Digital culture allows stories to travel, evolve, and find new audiences beyond their original context.”
Jewish storytelling, rooted in centuries of oral and written tradition, naturally adapts to this model — evolving while maintaining its core themes of resilience, identity, and community.
The Role of Streaming in Preserving Memory
One of the most significant contributions of streaming platforms is the preservation of historical memory. Documentaries about the Holocaust, migration stories, and cultural archives are now widely accessible, allowing younger generations to engage with history in a more immediate and emotional way.
Streaming enables:
- access to survivor testimonies and historical footage
- educational content for global audiences
- preservation of languages like Yiddish and Ladino
This accessibility helps ensure that stories are not lost, but instead reinterpreted and shared across generations.
Bridging Generations Through Digital Media
Another important aspect of streaming is its ability to connect different age groups. Older generations may bring lived experiences, while younger viewers engage through modern formats such as series, podcasts, and short-form video content.
This creates a dynamic exchange:
- elders share traditions and personal histories
- creators reinterpret these stories for modern audiences
- viewers engage, discuss, and reshape narratives in digital spaces
The result is a living, evolving cultural dialogue rather than a static archive.
Entertainment, Identity, and Digital Habits
In today’s digital ecosystem, cultural content exists alongside many forms of online entertainment. Users often move fluidly between watching series, engaging with interactive platforms, and exploring different types of digital experiences.
For instance, while streaming culturally rich content, users may also explore entertainment platforms featuring zoome slots, where interactivity, design, and engagement play a central role. Although the purposes differ, both environments reflect how digital platforms are designed to capture attention, create immersion, and keep users engaged through evolving content.
This coexistence highlights a broader reality: modern digital life blends education, culture, and entertainment into a single, continuous experience.
Challenges of Representation in the Digital Space
While streaming has expanded opportunities, it also raises important questions about representation and authenticity. Not all stories are told equally, and some narratives may be simplified or commercialized for broader appeal.
Key challenges include:
- balancing authenticity with accessibility
- avoiding stereotypes or oversimplification
- ensuring diverse voices are included
Creators and platforms must navigate these issues carefully to maintain cultural integrity while reaching wider audiences.
The Globalization of Jewish Narratives
Streaming platforms have also contributed to the globalization of Jewish stories. A viewer in Canada can watch an Israeli drama, a French documentary, or an American series — all within the same platform. This interconnectedness allows for a richer understanding of how Jewish identity varies across regions while still sharing common roots.
This global reach encourages:
- cross-cultural dialogue
- broader empathy and understanding
- new interpretations of identity in a modern context
Streaming vs Traditional Media
| Aspect | Streaming Platforms | Traditional Media |
| Accessibility | Global, on-demand | Limited by region and schedule |
| Diversity of content | High | Often restricted |
| Viewer interaction | Possible (comments, sharing) | Minimal |
| Content longevity | Long-term availability | Time-limited broadcasts |
| Entry for creators | Lower barrier | High barrier |
This comparison shows why streaming has become such a powerful medium for cultural storytelling.
Final Thoughts
The digital age has reshaped how Jewish stories are told, preserved, and experienced. Streaming platforms have turned local narratives into global conversations, allowing voices from across the diaspora to connect in meaningful ways.
By combining accessibility, diversity, and interactivity, streaming has created a new space where tradition meets innovation. As audiences continue to explore these stories alongside other forms of digital engagement, the importance of thoughtful, authentic storytelling becomes even more significant.
In this evolving landscape, Jewish narratives are not just being preserved — they are being reimagined, shared, and lived in real time across the digital world.
Features
U.S. Senate candidate from Michigan calls Israeli government ‘evil’ like Hamas
Abdul El-Sayed, doubled down on his criticism of the Netanyahu government and defended campaigning with controversial streamer Hasan Piker
By Jacob Kornbluh (Posted April 19, 2026) “This story was originally published in the Forward Click here to get the Forward’s free email newsletters delivered to your inbox.”
FoAbdul El-Sayed, a U.S. Senate candidate from Michigan, said in an interview aired Sunday that the Israeli government is as “evil” as Hamas, sharpening his criticism of Israel in the closely-watched Democratic primary.
“Killing tens of thousands of people makes you pretty damn evil,” El-Sayed told CNN congressional reporter Manu Raja on the network’s Inside Politics program. “It’s not how evil is this one versus that one — Hamas: Evil, Israeli government: Evil. We can say both.”
El-Sayed, 41, is a physician and the son of Egyptian immigrants. He is seeking to channel the energy of the 2024 Uncommitted movement, which protested the Biden administration’s support for Israel in the war against Hamas in Gaza. He is also hoping to build on the surprise success of the New York City mayoral campaign of Zohran Mamdani in taking on the Democratic establishment.
He is locked in a dead heat with state Sen. Mallory McMorrow and Rep. Haley Stevens. The primary is set for Aug. 4.
Earlier this month, El-Sayed faced backlash for appearing alongside streamer Hasan Piker, who has been accused of antisemitic rhetoric — including saying that Hamas “is a thousand times better” than Israel. McMorrow, who is married to a Jewish man, and Stevens, who is closely aligned with AIPAC, have both criticized El-Sayed.
In the CNN interview, El-Sayed defended his decision to campaign with Piker, framing it as an effort to reach voters who feel alienated from traditional politics. “My understanding of America is, it’s a place where we have freedom of speech,” he said.
The Michigan Senate race is shaping up as one of the starkest tests of the Democratic coalition and how the party navigates policy towards Israel in Congress amid the wars in Gaza and Iran. The state is home to the largest concentration of Arab Americans in the United States.
Last week, 40 Senate Democrats voted to block $295 million for the transfer of bulldozers, used by the Israeli military to demolish homes in the West Bank and Gaza; 36 of them also supported a measure to block the sale of 1,000-pound bombs to the Jewish state. It shattered a previous high of 27 Democrats who backed a similar pair of resolutions of disapproval to block some weapons transfers last year.
Sen. Elissa Slotkin of Michigan, who is Jewish, was among those who voted for the measures. In remarks as they announced their votes, Democrats highlighted their opposition to the Israeli government’s policies in the occupied West Bank, the humanitarian situation in Gaza and the war with Iran.