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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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Tensions in Israel loom large in these Oscar-nominated shorts
Despite a ceasefire between Israel and Hamas, two Oscar-nominated short films show that the deep division that the war sowed in Israeli society will take a long time to mend.
Butcher’s Stain, a nominee for Best Live Action Short Film, is the debut of Israeli director Meyer Levinson-Blount, who based it on an experience he had working at a supermarket. Samir, a Palestinian employee at an Israeli grocery store, is accused of tearing down hostage flyers in the breakroom. A single dad who can’t afford to lose his job, he sets out to find the real culprit, only to find himself betrayed by his Israeli friends.
The 36-minute documentary Children No More: “Were and Are Gone,” directed by Israeli filmmaker Hilla Medalia, follows a group of Israeli activists who silently protest the war by going to public spaces and holding photos of Palestinian children killed by the Israel Defense Forces. At the beach and on the street, they are yelled at and physically threatened by passersby who call their acknowledgement of Palestinian death an endorsement of Hamas.
Neither movie particularly stands out in its style or structure as something revolutionary. However they both capture how difficult — and sometimes impossible — it has been to have civil discourse since Oct. 7. People are quick to make assumptions about others’ motivations for sympathizing with either or both sides. Friendships fall apart. Blanket statements alienate people from one another.
The shorts also demonstrate how emotionally charged images have been during the conflict. Both the Israeli hostage posters and the Palestinian flyers showcase the victims’ humanity, hoping viewers will empathize with the subjects regardless of their politics.
But protesters across the world have called the hostage posters Zionist propaganda and tearing them down has been likened by some to a form of anti-colonial resistance. In Children No More, some Israelis respond to the faces of dead Palestinians with the middle finger. In Butcher’s Stain, Samir is accused of supporting terrorism because he posted about children dying in Gaza on social media. To recognize the humanity of someone you may not agree with has become a politically incorrect act.
Reactions to the shorts have further demonstrated the polarizing climate they capture. Israeli culture minister Miki Zohar lambasted both films as being “against Israel,” saying they “amplify our enemies’ narratives.” When I watched Butcher’s Stain at the IFC Theater in New York, the woman two seats down from me became visibly agitated, her knee bouncing up and down as she scoffed disapprovingly before loudly whispering to her partner that the “fucking film” was “antisemitic” for portraying the Israeli employees as bigoted.
There were similar reactions when the Israeli-Palestinian documentary No Other Land won best documentary last year. The film about Israeli forces destroying the Palestinian village of Masafer Yatta was accused of being anti-Israel propaganda. Conservative commentator John Podheretz congratulated “Hamas for its Oscar win” on social media.
Clearly, the Academy was not swayed by last year’s critics to back away from films about Palestinian suffering. In fact, Butcher’s Stain’s selection feels pointed, as it’s the only political drama among the five live action short competitors this year (compared to last year’s lineup that included films about poaching, immigration, child labor, and the Bosnian War). Another Oscar nominee is The Voice of Hind Rajab, a dramatization of Palestinian emergency workers efforts to save the titular five-year old, up for best international feature.
Regardless of whether or not the shorts take home trophies on March 15, they leave audiences with pressing questions about the future now that there is a ceasefire: Can people with different views — in Israel and elsewhere — learn to talk to each other again? Will images of human suffering always be seen as political propaganda? And will Israeli society ever be able to move on?
The post Tensions in Israel loom large in these Oscar-nominated shorts appeared first on The Forward.
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Toronto synagogue hit by gunfire hours after Purim event
(JTA) — A Toronto synagogue was hit by gunfire late on Monday night, just hours after a Purim celebration was held there.
No injuries were reported in the shooting, according to police, which targeted Reform synagogue Temple Emanu-El at around 10:49 p.m. The event, which was billed as a “sing-along shpiel” and costume contest, had run until 9 p.m.
But Rabbi Debra Landsberg told reporters that she couldn’t sleep much Monday night: She was still inside the building when the shooting occurred, and could hear the gunshots.
“I’m a bit shaken up,” she said. “It is devastating that there are those in this society that want to shatter what we have here.”
Police did not confirm how many shell casings were found outside the building, but the synagogue wrote on Instagram that “20 shots were fired at our synagogue.”
“We are working closely with law enforcement and security partners,” the post read. “We remain united and resilient. Our building is damaged; our congregation is not. Chag sameach, everyone.”
The incident is being investigated by Toronto police’s hate crime unit, as well as the gun and gang task force; the suspect is currently unknown.
Police have upped their presence in Toronto’s Jewish neighborhoods since the war in Iran broke out on Saturday, as well as around houses of worship and other Jewish institutions, deputy chief Robert Johnson said in a press conference on Tuesday. Iranian agents have a record of targeting Jewish sites with gunshots and other disturbances, and Jewish security officials have urged vigilance since the war began.
When asked if there was any connection between the Temple Emanu-El attack and the war in Iran, Johnson said making that connection “would be speculation at this point.”
The shooting is the latest in a string of crimes targeting Jewish institutions and residents in Toronto. A Jewish girls’ elementary school was hit by gunfire three times in 2024 alone. This past December, mezuzahs were ripped from residents’ doorposts in multiple buildings, including a seniors’ residence. A month prior, police said a suspect had “damaged the outer glass windows” of Kehilath Shaarei Torah, a synagogue near Temple Emanu-El. (Police visited that synagogue while investigating the Temple Emanu-El shooting, which prompted false reports that both synagogues were attacked on Monday night.)
“This is the fourth time a Jewish institution has been targeted for gunfire in Toronto over the past two years, in addition to countless threats and acts of vandalism,” said Adam Minsky, president of UJA Federation of Greater Toronto, in a statement. “Every day, families across our community carry deep concerns for the safety of their children. But we are resilient and refuse to be intimidated. We will continue to proudly celebrate Jewish life.”
Noah Shack, CEO of the Centre for Israel and Jewish Affairs, said in a statement that incidents like this will “inevitably lead to much worse.”
“As we witnessed in Australia, when incitement goes unchecked and synagogues are threatened, we can expect to see mass violence and tragedies that could have been prevented,” Shack wrote.
So far this year, anti-Jewish hate crimes have made up 63% of all reported hate crimes in Toronto, according to Johnson, continuing a trend of increased antisemitic crimes since Oct. 7, 2023.
“These numbers are not abstract. They represent real people and real harm,” Johnson said. “Our commitment is clear: We are doing everything within our authority to protect Toronto’s Jewish community.”
Toronto Mayor Olivia Chow called the shooting “an unacceptable act of antisemitism and intimidation.”
She also alluded to the timing of the shooting, which came days after war broke out between Israel and the United States and Iran.
“As we have seen repeatedly, incidents increase across our city as international events unfold. I want to be clear: it is never acceptable to target faith communities or cultural groups,” Chow wrote.
Shack said the shooting took place “at a time when Iran’s Islamic regime poses a heightened threat to Jewish and Persian communities worldwide,” and urged authorities to “redouble measures to safeguard our country and all Canadians.”
Just one night before the Temple Emanu-El shooting, another shooting occurred at around 2:30 a.m. in Toronto. Nobody was injured, but police said there was “damage” to businesses in the area, including Old Avenue Restaurant, a restaurant owned by pro-Israel activist Esther Bakinka. The hate crime unit “is aware” of the investigation, according to police, but not leading it. Bakinka wrote on Facebook that the restaurant’s upcoming Purim celebration would be canceled due to “extenuating circumstances.”
Deputy mayor Mike Colle called Bakinka “a courageous fighter for protection of our Jewish Community,” and called for the creation of a joint task force to combat antisemitic violence, “especially now with the Middle East on fire.”
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Trump rejects idea that Israel drew US into war with Iran: ‘If anything, I might have forced Israel’s hand’
(JTA) — President Donald Trump rejected claims that Israel had pulled the United States into the war with Iran on Tuesday, instead suggesting that he had “forced their hands.”
Trump’s comments came after Secretary of State Marco Rubio told reporters on Monday that the United States entered the conflict because officials “knew that there was going to be an Israeli action” and expected to become embroiled as a result. Rubio’s comments ignited questions about whether Trump was taking his cues from the Israelis.
“Based on the way the negotiation was going, I think they were going to attack first and I didn’t want that to happen,” Trump told reporters at the White House on Tuesday during a press conference with German Chancellor Friedrich Merz. “So, if anything, I might have forced Israel’s hand, but Israel was ready and we were ready.”
The president’s claims appeared to contradict reports from the Pentagon to Congress on Sunday that there was no intelligence suggesting Iran planned to attack U.S. forces first.
“If we didn’t do what we’re doing right now, you would have had a nuclear war and they would have taken out many countries because you know what? They’re sick people,” Trump told reporters on Tuesday. “They’re mentally ill sick people. They’re angry, they’re crazy, they’re sick.”
While Trump and Israeli Prime Minister Benjamin Netanyahu have denied suggestions that Israel steered the U.S. into the conflict, which has rapidly escalated tensions across the region, critics across the political spectrum have continued to question the extent to which the United States’ actions were influenced by Israel.
During the president’s meeting with Merz, the German leader told reporters that the two countries had a shared desire to get rid of the “terrible regime in Iran,” with Trump adding that Germany had allowed U.S. forces land in “certain areas,” though the U.S. was not asking Germany to provide troops.
The meeting followed a joint statement on Sunday by France, Germany and the United Kingdom in which the three countries vowed to “take steps to defend our interests and those of our allies in the region.”
While Republican lawmakers largely backed the joint U.S.-Israeli strikes on Iran Saturday morning, rising American casualties and suggestions by Trump that he had not ruled out sending troops into Iran have spurred concern from some about the potential for a drawn-out conflict.
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