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A ‘historic’ day in Israel ends with a political compromise — and big questions about the future
(JTA) — Like hundreds of thousands of her fellow Israelis, Kelly Breakstone Roth’s instinct on Sunday was to take to the streets.
The only wrinkle: She and her family have been in Brooklyn for the last two years, part of the diaspora of hundreds of thousands of Israelis living abroad. They couldn’t just walk out the door of their apartment and join the sweeping nationwide protest that ignited after Prime Minister Benjamin Netanyahu fired his defense minister, who had called for a pause on proposed changes to Israel’s judiciary.
So they bought one-way plane tickets, set to take off at 2 a.m. on Monday and land in Israel that evening. “It was a very spontaneous decision,” Breakstone Roth, an entrepreneur, told the Jewish Telegraphic Agency on Sunday evening, as she ran errands to prepare her family of five for a trip of indeterminate length. “But the sensation that we have to be there has been building up for quite a bit now.”
She likened the experience to that of Israeli military reservists who receive an emergency call-up notice, known in Israeli jargon as a “tzav shmoneh,” Hebrew for “order eight.”
“This is a tzav shmoneh moment for anybody who wants there to be a Jewish and democratic state,” she said.
By the time Breakstone Roth landed in Tel Aviv Monday evening, conditions in Israel had shifted dramatically. Late-night protests on Sunday that shut down a main highway and riveted Jews the world over had been dispersed, but protesters convened again on Monday in Jerusalem, where the parliament was waiting to hear whether it would vote on a key piece of the judiciary legislation. The country’s labor unions had called a general strike, and everything from universities to McDonald’s franchises to some departures at the Tel Aviv airport had shut down.
The Breakstone Roth family poses with protest signs in New York City’s John F. Kennedy International Airport en route to Israel, March 27, 2023. (Courtesy of Kelly Breakstone Roth)
Meanwhile, Netanyahu had spent Sunday night negotiating with his coalition partners, trying to keep their government together despite a mounting sense that proceeding immediately with its signature legislation could plunge Israel into unprecedented turmoil — possibly even civil war. By the evening, even the justice minister who threatened to quit if Netanyahu delayed the vote said he would respect a decision to pause — one that Netanyahu made official only as night fell.
Netanyahu did not say what he had promised his partners to sign off on the pause, but a far-right minister said he had exacted permission to launch a civilian police corps.
Earlier, breaking his public silence, the prime minister had tweeted, “I call on all the demonstrators in Jerusalem, on the right and the left, to behave responsibly and not to act violently. We are brotherly people.”
Big questions loomed: What would happen when right-wing supporters of the judiciary reform — including a notoriously racist and combative group of fans from the Beitar Jerusalem soccer club — heeded a call to take to the streets, too? Would a delay satisfy protesters who have spent a dozen weeks articulating deep-seated grievances that, in many cases, go far beyond the particular reforms? Would Netanyahu and his coalition offer any meaningful concessions before resuming the legislative process in the future? What would be the cost of the promises he offered his most extreme partners in exchange for their acquiescence?
The answers to those questions will help determine what kind of country Israel will be after this crisis ends, whenever that is. But on Sunday night and Monday, the protesters and those watching them could be forgiven for taking a moment to bask in the sense that history was being made.
Thousands of Israeli right-wing protesters rally in support of the Israeli government’s judicial overhaul bills outside of the Israeli parliament, the Knesset, in Jerusalem, March 27, 2023. (Gili Yaari/Flash90)
“What we witness in Israel is a historical revolution in the style of French, Russian, Iranian revolutions and the collapse of the Soviet Union,” tweeted Yossi Melman, a journalist who has covered military affairs for multiple Israeli newspapers.
“A historic night. Each of us will remember where we were tonight,” tweeted the journalist and political analyst Anshel Pfeffer. “And whoever was not in the streets will say that they were.”
The head of the country’s labor union, the Histadrut, also used the word “historic” to describe the general strike he was supporting.
Ahmad Tibi, an Arab lawmaker, tweeted in language drenched in history. He posted in Hebrew transliteration a slogan associated with the 2011 Arab Spring: “The people want to bring down the regime.”
It’s not at all clear that the Israelis who protested on Sunday and Monday will ultimately be satisfied. Revolutions don’t always succeed, as the Arab Spring and countless other examples in history make clear. Many of the social and demographic forces that brought Israel to this moment haven’t changed. Netanyahu has survived political crisis after political crisis before.
In addition, while a substantial majority of Israelis oppose the specific judicial reform legislation that is on the table now, many still say they believe some changes are merited. Israel’s far right, in particular, still views a disempowered Supreme Court as essential to achieving its vision of expanded Jewish settlement and control in the West Bank.
Supporters of the judicial overhaul were framing the stakes as historic, too, but casting the demonstrations as a threat to democracy. It is “inconceivable that the minority will force its opinion with violence and the creation of anarchy in the streets,” declared 17 leading religious Zionist rabbis in a joint statement calling on the government to push forward with the legislation on Monday.
Yet for Monday, at least, the politically diverse anti-government coalition that has solidified over the last three months could exult in the power of the people. And at a time when some liberal Israelis are so alarmed by the country’s political direction that they are packing up and moving away, the Breakstone Roths were coming home.
“This is a critical time in Israel’s history,” Breakstone Roth said before boarding. “In terms of our daughters, we felt it was really important for them to know that we’re doing everything that we possibly can to try to make an impact.”
She said she hoped to hear upon landing that Netanyahu was pulling the legislation, if only temporarily — then turned to realpolitik. “Hopefully If he does say it, he intends it, and … we’ll be able to say that the demonstrations were a success,” she said. “And if he’s just fooling, trying to do some sort of maneuver, then it’s going to be ignited once again.”
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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”