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A 1990s Israeli play is the feminist production NY needs right now
(New York Jewish Week) — When Anat Gov’s play “HaChaverot Hachi Tovot” (“Best Friends”) premiered in 1999, it was an anomaly among Israeli works of theater. In fact, Gov wrote it with anomalous intentions: In an interview before it opened, she called the piece a form of “compensation for the fact that there are no good roles for women.”
To remedy this, Gov wrote a play with no male roles — a 100-minute romp down memory lane which calls into question the very nature of friendship and whether or not the love between BFFs can stand the test of time.
At the time, the play was a smash, winning the Israel National Theater Award for best comedy of the year, and playing over 700 times during its initial run at the acclaimed Cameri Theatre in Tel Aviv. “Best Friends” was then rewritten as a TV miniseries for HOT, a popular Israeli TV network, and re-staged in 2013, after Gov’s death the previous year.
Today, the play is enjoying a new imagining here in New York: Through April 2, it’s being performed at the Rattlestick Theater in Manhattan, in alternating performances in both Hebrew and English, by the team at the Israeli Artists Project, a non-profit that presents Israeli theater, music and art in the greater New York area.
“Best Friends” is ostensibly about friendship but touches on broad themes of jealousy, fertility struggles, betrayal and much more. And yet, intentionally or not, its deep dive into the force and fury of the female experience comes at a time when the cause of women’s rights is seeing setbacks in Israel and the United States.
“There are so many facets to our work,” says Yoni Venridger, founder and producing artistic director of IAP. “But to put it simply, we want to be a home where people of any affiliation can come together, enjoy our common culture, and put politics aside. In a way, everything we do is inherently political. We are, after all, representing a country. That said, we’re interested in doing Israeli things, being Israeli people, without automatically politicizing our events.”
The play, which is both hilarious and heartbreaking, centers on three women — Leli, Sophie and Tirtza — who are at a breaking point in their lifelong friendship. In the opening scene, Leli calls her two ex-besties to gather; it’s a matter of life or death, she says, refusing to say which one it is. Despite an extended period of silence between the three and heightened tensions between Sophie and Tirtza, in particular, they come together, and begin to unpack every single piece of emotional baggage they have.
As is the case in actual lifelong friendships, there’s a lot to unpack here: high school crushes, first loves, heartbreak, professional successes and woes, births, marriages — no stone is left unturned. Shouting ensues, and laughter, and some awkward silences.
“We need more plays that give central roles to women,” said Vendriger. “It’s not necessarily about writing plays without any male roles, either. What’s critical is writing more lead roles for women, more well-rounded, rich roles for women.”
“Best Friends” is an extreme version of this, of course, by omitting all men from the cast, and it easily passes the Bechdel Test — that is to say, it includes at least two named female characters who discuss something other than a man — with flying colors. Leli, Sophie and Tirtza certainly talk about men, love and heartbreak, but the primary focus is on how they’ve let themselves, and each other, down.
One of the most effective choices Gov made was to have the drama play out in two decades simultaneously. There are two casts: a young version of the women, in the 1960s, and a middle-aged version, in the 1990s. Beyond the illustrative power of showing friendship instead of telling about it, Gov creates a fascinating dynamic between the two sets of women. At times, the two casts interact, holding one another, reminding one another of their various strengths and shortcomings. Who among us hasn’t wished to warn or encourage our younger selves, or that our younger selves could remind us of who we once were?
This revisited version of Gov’s classic was slated to run in New York in May 2020 — but the pandemic, of course, made that impossible. Instead, it arrives in time for Women’s History Month 2023. “The timing kind of just worked out for us,” explained Vendriger.
From left, Maia Karo, Adi Kozlovsky and Karin Hershkovitz Kochavi play a trio of BFFs in “Best Friends.” (Courtesy)
In Israel, a right-wing government is under siege by rivers of enraged citizens — primarily because of Prime Minister Benjamin Netanyahu’s proposed judicial overhaul, now on pause. But there is pushback among liberal Israelis for other reasons as well. Recently, Betzalel Smotrich, a far-right member of Knesset and the current minister of finance, made sure that Israel would not sign the UN’s International Violence Against Women Act. Prior to this, Smotrich had called himself a “proud homophobe;” he organized a “bestiality parade” as a counter-parade to the Jerusalem Pride march in 2006.
In the United States, women’s rights are also threatened — including by the dismantling of Roe v. Wade, ensuring their right to an abortion.
Against this backdrop, the 1990s of “Best Friends” look downright progressive. To Vendriger, however, this play is about the timeless nature of friendship.
“Gov managed to write in a way that makes her work continuously relevant, regardless of the passage of time,” he said. “It’s the humanity of it. There are connections, power struggles, interpersonal attractions — that stuff will never change. Despite the fact that it’s originally from the ’90s, the meditation on the power and fragility of friendship, on the fact that we need to maintain and work on friendships, it all feels immediate and very appropriate for the present day.”
In fact, the IAP team made no changes to the original text.
The play works today, in 2023, because it leans on universal, wide-reaching themes. At the same time, there is a palpable Israeliness to the whole thing, whether it’s the prickly slang or the fact that one character, whose son is serving in the first Lebanon War, is jealous that her friend’s son has asthma, and therefore gets to stay home.
“‘Best Friends’ integrates the complexity of humanity, friendship and Israeli society, and brings them into the realm of humor,” said director Hamutal Posklinsky-Shehory. “It’s funny, but it’s also dramatic and very witty. [In this iteration] the whole staff is female. All the actresses are — six onstage and two understudies — plus the assistant director, play manager, lighting designer, and costume designer. I feel this is very appropriate for the age that we’re living in and really underlines the space we need to give for female identifying artists.”
When Posklinsky-Shehory isn’t directing, she’s a drama therapist at NYC Peace of Mind, a group psychotherapy practice that brings together drama therapists to support and enrich one another’s creative treatment approaches. Her work, she said, informed her directorial choices. “The relationships presented between the three friends are not the healthiest ones,” she said, “and we went through a process, truly trying to figure out and understand the motivations and [emotional landscapes] of the characters.”
To this end, the cast used therapeutic techniques alongside theatrical practices in order to deepen their connections and understanding. “We incorporated some writing activities, with the actors writing to their characters. Another time, we sought connections and differences between our actors and the characters that they play, as a group. In this way, we developed trust and deepened our bond with one another,” she said.
This is, in a sense, the bottom line of the play: the bonds that tie, and how they can unravel under the strains of a lifetime. “As humans, we’re complex,” said Posklinsky-Shehory. “Even in a play that’s all fantastic and sweet and nostalgic, there’s still the complexity and darkness [of life]. I’d like people to leave with an understanding that what we feel is perfect and complex, and that’s OK. We need to accept those parts of ourselves and our society.”
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Jewish authors get a lifeline
Susan Blumberg-Kason, a Jewish author whose work explores Jewish history and identity, was deep into a book about Golda Meir’s Milwaukee childhood when her literary agent abruptly dropped her early last year.
The agent offered only a vague explanation, saying, “We can no longer champion your career.”
Blumberg-Kason was surprised at the 180-degree turn by an agent who had been with her for years. But she soon discovered three other Jewish writers in her online community also had been suddenly dropped by their agents with little explanation other than the same phrase she heard: “We can no longer champion your career.”
It didn’t feel like coincidence.
“It wasn’t just that she dropped me,” Blumberg-Kason said. “It was that suddenly several of us were hearing the exact same sentence. It felt coordinated. It felt like something had shifted under our feet.”
It turns out many other Jewish writers have had similar experiences over the past two years, since the beginning of the Oct. 7 war and the boom in anti-Israel and antisemitic ferment that followed. In writers’ groups and forums, Jewish authors describe a sense that their work is being railroaded because they are Jewish. They’ve lost agents, publishers and book events. Some report that editors have cooled the moment Jewish themes appeared in their work.
In May 2024, anti-Israel boycotters propagated a shared spreadsheet called “Is your fav author a Zionist?” that went viral, “outing” Jewish writers for any kind of connection to Israel.
Author Elissa Wald felt the anti-Jewish sentiment so strongly that she created the Never Alone Book Club for Jewish authors to give one another support. The group now has 3,500 members, a Facebook community and a Substack, and it hosts Jewish book events and shares resources for writers who no longer feel safe in mainstream literary spaces.
The challenging climate prompted UJA-Federation of New York to begin funding projects aimed at helping Jewish authors, awarding a total of $300,000 in grants to six organizations working in different areas of the literary ecosystem.
“Supporting Jewish writers is an important part of UJA’s overall strategy to confront rising antisemitism,” said Eric S. Goldstein, CEO of UJA-Federation of New York. “Efforts to marginalize Jewish voices in culture and the arts must be met by even greater efforts to ensure they’re heard.”
The organizations receiving UJA grants are helping Jewish writers with everything from publishing logistics and visibility to offering emotional support.
“Jewish writers were being dropped, disinvited, and sidelined — and many were questioning whether they could continue writing Jewish stories,” said Rina Cohen, who manages strategy across UJA’s Combating Antisemitism portfolio. “By supporting them with tools and resources, UJA is sending a clear message: You deserve to create freely, and we’ll stand behind you as you do.”
The Jewish Book Council used funding from UJA for a unique program to kick off the 100th anniversary of Jewish Book Month: The council designed and distributed 100 Jewish Book Kits to libraries and public spaces across New York City that offer a curated selection of Jewish literature, visual displays, QR codes and author highlights. The aim is to give librarians and community centers an accessible way to showcase Jewish books, helping make Jewish writing visible in the very spaces where many writers feared their work was being erased.
“Jewish books need visibility,” said Jewish Book Council CEO Naomi Firestone-Teeter. “We said: Let’s bring more Jewish books out into the world — into more readers’ hands — and build community around them. That’s what the kits do. They let people see Jewish books where they live their lives.”
It’s not always clear that a Jewish writer’s professional setback stems from antisemitism. Publishing is a brutal industry, and even successful writers experience abrupt and opaque rejection.
But many Jewish writers say that what they’re experiencing suggests something nefarious. They’ve felt their Jewishness was treated as suspect in classrooms, critique groups or conferences. They’ve felt pressure from editors to strip Jewish elements from their work.
When the Jewish Book Council opened a portal inviting Jewish writers to share incidents affecting their creative or professional lives, over 400 authors wrote in.
“Some of what we see is subtle and hard to pinpoint, and some of it is very direct: events canceled, students pushed out of MFA programs for being ‘Zionists,’ bookstores refusing to stock books,” Firestone-Teeter said. “Things are not okay. This is not just the normal difficulty of publishing.”
In addition to the Jewish Book Council, UJA’s other five grants went to Artists Against Antisemitism, PJ Library, the Jewish Theological Seminary, the Jewish Life Foundation and 70 Faces Media (the parent organization of the Jewish Telegraphic Agency).
In October, 70 Faces Media held a one-day Jewish Authors’ Summit, offering writers practical tools, digital strategy training and community-building to navigate this increasingly hostile publishing environment.
PJ library will hold a Jewish children’s book festival for authors and families at New York’s 92nd St. Y on Jan. 11, 2026. In just the first few days, an unprecedented 3,500 registrants signed up.
The Jewish Theological Seminary held a literary festival in September that brought together 450 writers, students and community members for masterclasses, public panels and craft development.
The Jewish Life Foundation is creating a TV and podcast series, “The People of the Book with Josh Radnor,” that will spotlight Jewish authors and conversations about Jewish identity and culture.
Artists Against Antisemitism created a full-day gathering for 140 authors, the Jewish Writers Mifgash, that included pitch sessions with literary agents, professional development workshops, mentorship matching and mental health support. Project Shema, a training and support organization focused on contemporary antisemitism, led a session at the conference on how to recognize antisemitism in creative spaces.
Elizabeth Berkowitz, one of the event’s organizers, said several authors came away with promising leads.
“Agents were asking, ‘Can you send me the full? I want to see more,’” Berkowitz said. “We definitely had some shidduchs made — real follow-ups between writers and agents who were actively seeking Jewish authors.”
Zeeva Bukai, a longtime editor who said she’d experienced open hostility in a professional editing group, said just being around others experiencing the same challenges was a welcome relief.
“I realized it’s not just me experiencing this; other are too,” she said. “That validation was just as important as the tools we learned to deal with it.”
That’s the point, said the Jewish Book Council’s CEO.
“We want authors to know we’ve got you on the other side,” Firestone-Teeter said. “Your job is to keep writing. Our job is to deal with the industry issues and build a community that celebrates you and your work. Jewish writers need to feel confident writing the books only they can write.”
The post Jewish authors get a lifeline appeared first on The Forward.
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Iceland joins 4 other countries in boycotting Eurovision over Israel’s participation
(JTA) — The public broadcaster of Iceland announced on Wednesday that it will not participate in this year’s Eurovision Song Contest after Israel’s participation was confirmed by the European Broadcasting Union last week.
The decision drew support from prominent Icelandic artists, including the singer Björk and the former Eurovision representative Paul Oscar, as well as a supportive rally outside of the broadcaster’s Reykjavik headquarters.
The decision by the Icelandic public broadcaster Ríkisútvarpið, or RÚV, makes it the fifth country to bow out of the competition, following similar calls made by the public broadcasters of Ireland, Spain, the Netherlands and Slovenia. RÚV first signaled it would boycott competition with Israel in September.
The boycott decisions came after the EBU, which organizes the competition, dismissed calls for a vote on Israel’s participation last week. Instead, the EBU approved a new set of rules prohibiting voter interference from governments and third parties following allegations that Israel interfered in last year’s competition.
In a press release Wednesday, RÚV said its board had requested that the EBU remove Israel from the song competition, saying that such a move had the support of the Icelandic public.
“Given the public debate in this country and the reactions to the decision of the EBU that was taken last week it is clear that neither joy nor peace will prevail regarding the participation of RÚV in Eurovision,” it said in a press release. “It is therefore the conclusion of RÚV to notify the EBU today that RÚV will not take part in Eurovision next year.”
Iceland came in 25th out of 37 countries in the 2025 competition, where Israeli listeners noted that its song sounded remarkably similar to an Israeli pop hit. The Icelandic contestants denied knowing about the Israeli song before writing their own.
RÚV’s boycott decision came hours before the final deadline to withdraw from this year’s Eurovision, which is slated to take place in May in Vienna.
“We respect the decision of all broadcasters who have chosen not to participate in next year’s Eurovision Song Contest and hope to welcome them back soon,” said Eurovision director Martin Green in a statement, according to the BBC.
The post Iceland joins 4 other countries in boycotting Eurovision over Israel’s participation appeared first on The Forward.
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IDF Warns of Growing West Bank Threat, Presence of Iranian Weapons Amid Major Counterterror Operations
Israeli soldiers walk during an operation in Tubas, in the West Bank, Nov. 26, 2025. Photo: REUTERS/Mohamad Torokman
The Israel Defense Forces (IDF) is sounding the alarm over a growing terrorist threat from the West Bank, warning that Iranian-backed arms smuggling could spark an Oct. 7-style attack.
Concerns over the presence of significant Iranian-supplied firepower in the hands of Palestinian terrorists in the West Bank has prompted Israeli intelligence and security forces to intensify operations across the territory.
According to a new report from Israel’s Channel 14, a senior IDF official warned that the West Bank presents a growing threat to Israeli communities, with the potential to spark an attack similar to the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023.
“We have to start from the clear fact that weapons in Judea and Samaria [Israel’s preferred name for the West Bank] could upset the current stalemate,” the IDF official told Channel 14.
However, while the military has prioritized preparing for large-scale scenarios, such as an Oct. 7-style attack, the senior IDF official also warned that more attention needs to be paid to “smaller” threats — like a situation in which a small group of terrorists infiltrates a settlement home and kills an entire family — an event he described as “highly probable.”
“We shouldn’t see this scenario only as an attack on dozens of communities. A single deadly strike is enough — we must also prepare for lethal, localized attacks,” the IDF official said. “Our responsibility is to protect both individuals and the broader community.”
He warned that terrorists in the West Bank are believed to possess arms capable of breaking Israeli defenses, including what he called “standard Iranian weapons.” However, he also noted that security forces are actively working to intercept these arms and dismantle any terrorist cell in the area.
On Tuesday, the IDF uncovered a major terrorist infrastructure in the Tulkarem area in the northern West Bank, including three rockets at various stages of assembly, explosive devices, operational equipment, and materials for making bombs.
According to Joe Truzman, a senior research analyst at the Foundation for Defense of Democracies (FDD), a Washington, DC-based think tank, Israeli officials should be closely monitoring the West Bank as the Palestinian terrorist group Hamas regroups and rearms in the Gaza Strip after two years of war.
“Hamas and its allied factions understand that igniting violence in the territory would divert Israel’s attention during a critical time of rebuilding the group’s infrastructure in Gaza,” Truzman said last month.
“The release of convicted terrorists to the West Bank under the ceasefire agreement may be a factor in the resurgence of organized violence in the territory,” he continued.
At the time, the IDF completed a three-day, multi-branch military exercise in the West Bank called “Lion’s Roar,” designed to enhance operational coordination and joint capabilities in the region, with scenarios shaped by lessons learned from the Oct. 7 atrocities.
More than 180 Israeli Air Force aircraft supported ground troops during training for over 40 scenarios, including attacks on outposts, simultaneous terrorist infiltrations into multiple communities, urban combat, mass-casualty rescue and medical evacuation, multi-casualty response, intelligence integration, and real-time command and control.
“We have many lessons to implement from this exercise and from Oct. 7,” the IDF spokesperson said in a statement at the time.
“The IDF will continue to conduct regular exercises to ensure high readiness, strengthen cooperation among all troops, and maintain the security of residents in the area and of all Israeli civilians,” the statement read.
According to a survey released earlier this year by the Jerusalem Center for Security and Foreign Affairs, 70 percent of all respondents — and 81 percent of Jewish respondents — expressed fear of an Oct. 7-style attack coming from the West Bank. In contrast, 53 percent of Arab respondents said they were not worried about such an attack.
“The stipulations of the ceasefire in Gaza, mainly the requirement for Hamas to fully disarm in future phases, should also be applied to the terrorist organization’s operatives in the West Bank,” Aaron Goren, research analyst at FDD, said at the time.
“Otherwise, Israel may face a threat from Hamas, which, unlike in Gaza, where it is relatively contained, is dispersed amongst Israeli communities in the West Bank,” he continued.
Earlier this year, the IDF arrested a Hamas and Fatah terror cell from Ramallah that was planning a bombing attack on a bus in Jerusalem, with investigators saying the group intended to remotely detonate an explosive device smuggled into Israel.
As of February, Israeli security forces had foiled nearly 1,000 terrorist plots over the past year, with senior military officials increasingly worried that the volatile situation in the West Bank could lead to a large-scale attack similar to the Oct. 7 onslaught against Israeli settlements and communities near the security barrier.
In response to these concerns, the IDF has established a special command to address potential threats in the West Bank and launched a nearly unprecedented counterterror operation in the northern part of the territory.