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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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Israel and the Impossible Standard of Moral Perfection
Jewish visitors gesture as Israeli security forces secure the area at the compound that houses Al-Aqsa Mosque, known to Muslims as Noble Sanctuary and to Jews as Temple Mount, in Jerusalem’s Old City, Photo: May 5, 2022. REUTERS/Ammar Awad
There is a standard applied to Israel that no other nation is expected to meet. It is not a standard of law, nor of morality as commonly understood. It is something far more rigid and far less honest. It demands perfection in the face of existential threats, and even then, it delivers condemnation.
As the conflict with Iran intensifies, Israel finds itself navigating a reality few countries have ever faced.
Iran has made its intentions unmistakably clear for decades. The destruction of Israel is not rhetoric for domestic consumption. It is official Iranian policy. It is repeated openly, consistently, and without apology.
When Iran strikes, it does not distinguish between civilian and military targets. In fact, it purposefully targets civilians. And it doesn’t only target Jews. Rockets do not ask who is religious or secular, Jewish or Muslim, Israeli or Arab. They fall where they are aimed, and often where they are not, with one purpose in mind: to kill, to terrorize, and to destabilize.
Israel, in contrast, is forced to think not only about survival, but about responsibility. This includes responsibility toward all of its citizens: Jewish, Muslim, Christian, Druze. The diversity of Israeli society is often overlooked, but in moments of crisis, it becomes impossible to ignore. Protection must extend to everyone, without exception.
That is why restrictions on public gatherings were imposed. Not as a political statement, but as a practical necessity. In wartime, large crowds are not just gatherings. They are potential mass casualty events waiting for a single missile.
Yet when Israel extended these restrictions during Ramadan, including closing access to major religious sites, the response was immediate outrage. The accusation was predictable: Religious discrimination. Oppression. A supposed targeting of Muslim worshippers.
The reality was different. The restrictions applied across the board. Muslims were not permitted at the Al-Aqsa Mosque. Christians were not permitted at the Church of the Holy Sepulchre. Jews were not permitted at the Western Wall or the Mount of Olives. This was not selective enforcement. It was a universal policy driven by security concerns.
But nuance rarely survives in the modern information environment.
Within hours, a simplified narrative took hold. Israel was once again cast as the aggressor, the oppressor, the state that denies religious freedom. The broader context disappeared. The ongoing threat, the indiscriminate nature of incoming attacks, the responsibility to prevent mass casualties, all of it was pushed aside.
Then, almost as if to underline the point, a rocket landed near Jerusalem’s Old City that very same day. It was a stark reminder of what was at stake. Had thousands gathered as they normally would, the consequences could have been devastating.
And yet, even that reality does not shift the narrative.
This is the dilemma Israel faces repeatedly. If it acts to prevent harm, it is accused of repression. If it refrains and harm occurs, it is blamed for negligence. There is no decision that escapes criticism, because the criticism is not rooted in the decision itself. It is rooted in a predetermined judgment against a state run by Jews.
Another example illustrates this pattern with uncomfortable clarity. A toddler was found approaching the Israeli border alone. In any other context, this would be seen for what it is. A child placed in danger, likely as part of a calculated attempt to provoke a reaction.
Israeli soldiers responded not with force, but with care. They ensured the child’s safety, provided food and water, and transferred him to the Red Cross. Evidence showed the child was unharmed at the time of transfer.
Yet the story that followed claimed abuse. Allegations of injuries surfaced, contradicting the available evidence. The facts did not matter. The narrative had already taken shape.
This is not simply misinformation. It is a pattern of interpretation that assumes guilt regardless of evidence.
As Easter approaches, restrictions on religious gatherings once again draw criticism. Clergy voice frustration. Observers condemn the limitations. But the fundamental question remains unanswered: What is the acceptable level of risk? How many lives can be gambled in the name of normalcy?
Israel does not have the luxury of abstract debates. Its decisions carry immediate consequences measured in human lives. That reality forces choices that are imperfect, often unpopular, and always scrutinized.
The tragedy is not only in the conflict itself, but in the inability of much of the world to acknowledge its complexity. Until that changes, Israel will continue to face an impossible standard, one where even its efforts to prevent tragedy are reframed as acts of injustice.
Sabine Sterk is the CEO of Time To Stand Up For Israel.
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Europe’s Left-Wing Is at a Crossroads — And Its Voters Are Walking Away
Anti-Israel demonstrators release smoke in the colors of the Palestinian flag as they protest to condemn the Israeli forces’ interception of some of the vessels of the Global Sumud Flotilla aiming to reach Gaza and break Israel’s naval blockade, in Barcelona, Spain, Oct. 2, 2025. Photo: REUTERS/Nacho Doce
For decades, Europe’s left‑wing parties were the natural home of working‑class families, social reformers, and supporters of egalitarian economics.
Today, however, these parties face a deep identity crisis; many voters no longer know what they represent. Their decline is neither sudden nor mysterious. It stems from their failure to outline a coherent economic alternative, their reluctance to address public concerns over cultural change, and a foreign‑policy shift that alienates moderates and minority communities alike.
Economically, the left has slipped into disarray. Some parties now embrace neoliberal ideas they once opposed, while others offer vague promises disconnected from real policy. With inflation rising, industries shifting, and inequality widening, many working‑class voters feel abandoned. Rather than addressing these issues, left‑wing leaders often focus on internal ideological debates that resonate mainly in urban strongholds.
A similar pattern appears on immigration and cultural identity — central issues in European politics. The left often responds to public concerns not with solutions but with dismissal, treating working‑class worries as reactionary instead of substantive. In countries where leftist parties have merged with centrists, their message has blurred even more, creating space for right‑wing populists eager to fuse economic frustration with cultural fears.
Foreign policy has intensified these divides. After the latest Middle East conflict, parts of the European left adopted an uncompromising pro‑Palestinian stance, often aimed at courting Muslim voters. Legitimate criticism of Israeli policy is one thing, but rhetoric that blames Israelis collectively or echoes historic antisemitic themes is another.
France’s La France Insoumise (LFI), for example, has repeatedly refused to classify Hamas as a terrorist group, fueling what observers describe as a toxic climate. Similar tensions appear in Sweden, where Jewish students report rising hostility, and in Spain, where pro‑Palestinian rallies receive political backing without clear rejection of antisemitic elements.
Even smaller nations face similar issues. In Croatia, descendants of Jewish families whose property was seized under fascist and later communist regimes still encounter heavy bureaucratic barriers when seeking restitution. As Deutsche Welle reporting shows, heirs in Zagreb — governed by the green‑left coalition Možemo! — spend years navigating courts and administrative obstacles, with many properties still unrecovered despite clear historical proof of ownership. These unresolved legal complexities fuel mistrust and reveal how institutional inertia persists.
The left’s challenge is not simply to recover lost voters, but to regain a sense of political purpose. It must craft a credible economic message, engage cultural concerns without contempt, and articulate a foreign policy grounded in principle rather than posturing.
Europe needs parties capable of balancing social justice with social cohesion — and clarity with empathy. Whether the left can meet that challenge will shape the continent’s politics for years to come.
Dr. Vladimir Krulj is a political economist with Franco‑Serbian roots, educated at HEC Paris, King’s College London, and France’s elite École nationale d’administration (ENA). A Fellow at the Institute of Economic Affairs in London, he is known for his unapologetically pro‑market views and his critiques of Europe’s failing economic orthodoxies. He also teaches at ESCP Business School and the University of Tours in France.
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When Democracies Lose the Narrative, They Lose More Than Words
A view of a residential building damaged by a strike, amid the US-Israeli conflict with Iran, in Tehran, Iran, March 23, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
Israel is fighting a war, and being judged in real time by people who are not carrying its risks, don’t face its decisions, and aren’t responsible for its outcomes. The judgment against Israel is not forming slowly. It is forming immediately, and it is shaping what Israel is allowed to do next.
This is where the real shift happens. Public opinion is not a side effect of war. It is becoming one of its constraints.
In the months and years following October 7, 2023, Israel’s internal reality became visible to anyone willing to look. Families of hostages have spoken publicly. Military strategy has been debated in real time.The political leadership has been questioned openly. These are not cracks in the system. They are the system functioning under pressure.
Outside of Israel, those same signals are being interpreted through a different lens. They are not seen as accountability. They are seen as division, not as strength.
At the same time, Israel’s enemies project a consistent message. Their narrative is simple, repeated, and controlled. It travels easily. It feels clear. It leaves little room for visible disagreement.
When public opinion turns, it begins to influence political pressure. Allies become more cautious. Support becomes conditional. The space to act narrows.
This is how a democracy can begin to lose ground outside the battlefield while still fighting effectively within it.
In today’s information environment, visibility does not guarantee understanding. Information is selected, framed, and repeated in ways that shape perception, often reflecting how perception gets manipulated.
At the same time, controlled messaging from the other side removes internal friction from public view. What reaches the outside world is a simplified version of events: Israel as the aggressor, and anyone that tries to attack or threaten it as the heroic underdog.
People are drawn to clarity. A message that is repeated without variation feels reliable. Over time, repetition shapes belief and narrows the range of what people are willing to consider. This pattern reflects how groupthink leads to collective blindness. Once a simplified narrative settles, it becomes resistant to correction, even when it leaves out essential context.
Israel faces an additional layer of scrutiny. As a democracy, it operates within a framework of law and declared ethical standards. Its actions are measured against those standards in real time. Civilian harm is debated openly. Operational decisions are questioned publicly. This is necessary for accountability. It also places the full weight of war in public view, including the reality of acceptable damage in conflict
These discussions are often detached from the conditions in which those decisions are made. They are evaluated without the same exposure to risk, uncertainty, and consequence. The result is a gap between how decisions are made and how they are judged.
That gap is where public opinion shifts.
From a distance, consistency feels stronger than complexity. A controlled narrative feels more stable than an open one. Over time, this creates a reversal in perception. The side that exposes its internal responsibility begins to look uncertain. The side that conceals its internal dynamics begins to look resolved.
When clarity is valued more than accuracy, and repetition carries more weight than context, the advantage moves toward those who control the message, not those who expose the truth.
Israel is not only fighting to defend itself. It is operating within a system that rewards simplicity and penalizes transparency. Ignoring that reality allows others to define the terms of judgment before the outcome is even known.
Public opinion follows what is repeated and understood. Recognizing how that understanding is formed is no longer optional. It is part of the fight itself.
Do something amazing,
Tsahi Shemesh is an Israeli-American IDF veteran and the founder of Krav Maga Experts in NYC. A father and educator, he writes about Jewish identity, resilience, moral courage, and the ethics of strength in a time of rising antisemitism.