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A Jewish diplomat tells his story in PBS documentary about the Iran hostage crisis
(New York Jewish Week) — After a “traditional, religious” Jewish childhood in Brooklyn where he attended yeshiva, Barry Rosen fell in love with Iran.
Rosen was 22 when he joined the Peace Corps and set out on a two-year stint in Iran in 1967. There, Rosen felt deeply connected to the people and culture of the country — he loved the food, the clothing, the language, and the sights, sounds and smells.
“I was told by members of the Peace Corps that Jewish kids did very well in Iran,” Rosen says at the beginning of “Taken Hostage: The Making of an American Enemy,” a new two-part documentary on PBS that explores America’s role in the Iranian Hostage Crisis of 1979. “I felt to a certain degree that there was a warmth there that I could see in my own family. There was a sense of kinship that I felt for Iranians.”
Twelve years after first arriving in Iran, however, Rosen, would become one of the 52 hostages attached to the American embassy in Tehran who were held by Iranian college students for 14 terrifying, pivotal months. When he returned as a press attaché for the US Embassy in 1979, the country he loved was on its way to becoming the oppressive religious republic it is today.
That year, its citizens staged a revolution and overthrew the corrupt, American-backed shah, Mohammed Reza Pahlavi, to make way for Ayatollah Khomeini, the Muslim cleric and “supreme leader.”
In November, 1979, students took control of the American embassy and demanded the shah return from exile to be tried for his crimes. Pahlavi, who had always maintained strong relations with the United States, was in New York for cancer treatment.
Barry and Barbara Rosen have spent the last four decades reliving the trauma of their experience while also advocating for hostages worldwide. (Frankie Alduino)
“It’s a story of perseverance,” Rosen told the New York Jewish Week in a Zoom interview from his apartment in Morningside Heights. “You look back and you say, ‘oh my God was that me? Was that us?’ It was so long ago but also the pain of it is very self-evident and it is still near in many ways.”
As a hostage in Iran, Rosen faced mock executions, days in complete darkness — what he calls “modern state-sponsored terrorism.”
Meanwhile, in Brooklyn, his wife Barbara Rosen found herself at the center of media attention as she advocated for her husband’s release. She and their two young children, Alexander and Ariana, woke up every morning to an onslaught of press ready to exploit her every move, though she had no information about Barry or the situation in Iran.
“It is part of my DNA. I feel personally responsible [to tell my story],” Barry said, sitting beside Barbara. “I was the first member of this honorary group of hostages taken by Iran and I feel that we owe every hostage something so that they can escape that horror.”
“Taken Hostage” tracks America’s connection with the politically volatile Iran, beginning with a 1953 coup d’etat to depose Iran’s Prime Minister Mohammad Mosaddegh, organized in part by the CIA. The shah consolidated power, modernized the country and maintained strong relationships with the West, especially the administration of President Jimmy Carter, but maintained a fearsome and dictatorial reputation among the citizens of Iran.
The documentary traces the story of the revolution and the establishment of power by Khomeini, who undid the Westernization of the previous decades and declared the country the Islamic Republic of Iran.
Along with Rosen, the documentary features Gary Sick, who was a member of the National Security Council at the time and discusses what it was like to navigate the hostage crisis from inside the White House. Foreign correspondents Hilary Brown and Carole Jerome describe risking their lives to report on the crisis from Tehran.
Rosen was one of three Jewish hostages, and though Barbara did not publicize his Judaism out of fear for his safety, American synagogues and Jewish organizations managed to send him mail.
After a year in captivity, Rosen appeared to the public via broadcast and wished his family a Happy Hanukkah. “I really wanted to make sure the American Jewish community knew that I was safe,” he said.
The hostages were released on the day of President Ronald Reagan’s inauguration on Jan, 20, 1981. The settlement unfroze nearly $8 billion of Iranian assets, terminated lawsuits Iran faced in America, and forced a pledge by the United States that the country would never again intervene in Iran’s internal affairs.
Barbara and Barry Rosen at a welcome parade in New York City. (Courtesy Barry Rosen)
Returning stateside was complicated for Rosen, who suffered from PTSD and had to separate his love for Iran from the experience of what had happened to him.
What was waiting for Rosen was “a huge outpouring of love and support from everyday people in the United States,” he said. “I think that was the most joyful part of it. There’s no doubt about it that everybody in the United States thought they knew me. At least in New York, it seemed as if American New Yorkers looked at me as a New Yorker who went through the pain. So I think that was a tremendously helpful and healing thing.”
Both Rosens were disappointed with the behavior of the United States. “It was an embarrassment of the foreign policy establishment. They wanted to wipe it out immediately,” Barry recalled. “They never held Iran accountable for what it did.”
“There was so much that each of the people needed to do to heal, and then after a year, there was never any follow up on any kind of medical or psychological investigation,” Barbara said. “We were both very disappointed in our own government and the way we were treated.”
Barry went on to a career in research and education — he conducted a fellowship at Columbia University doing research on Iranian novelists, served as the assistant to the president of Brooklyn College, and eventually was named the executive director of external affairs at Teachers College at Columbia.
The Rosens, who now have four grandchildren, wrote a book about that period in their lives.
“Personally, I don’t like going back and thinking about it or reflecting on this. It wasn’t a very happy time. It was a difficult time in my life,” Barbara told the New York Jewish Week.
But the documentary, the Rosens said, manages to tell the story of the crisis while reminding viewers how deeply personal it was for those involved. It’s a lesson the Rosens have taken with them as they watched and experienced similar crises over the last few decades, from the war in Ukraine to unrest in Iran over the death in September of a woman who was detained for breaking the hijab law.
“All history is a personal event. Each thing that happens is happening to people,” Barbara said. “It was a story of people being plucked out of their normal jobs, their diplomatic life, the security of just feeling that you’re safe. All of a sudden, you’ve lost all of that. You’re tied up in a chair for a month and not allowed to speak to somebody. Families here had no idea what’s happening to their loved ones in Iran.”
“It’s easier for human beings to think about the abstract issue rather than the personal issue. Get into personal issues, people start to walk away, they feel uncomfortable,” Barry added.
Despite everything, Barry still feels an attachment to the culture and people of Iran that he experienced in his early twenties, calling himself a “child of divorce” between the United States and its former ally, a relationship that he said he doesn’t see improving in his lifetime.
He also continues to tell his story because of his lifelong work with hostage victims around the world. Currently, there are three American hostages and more than a dozen international hostages in Iran. Barry works with Amnesty International, Hostage USA and Hostage Aid Worldwide to advocate for their release.
“I want to make certain that the American government and the American people stand by all those who were taken by Iran and all governments that take hostages, whether it’s China, Russia, Venezuela — but for me, especially Iran,” he said. “I say this because I really feel the need to make this an important issue. The American public needs to understand this very well. People’s lives are being taken away.”
“Taken Hostage,” an “American Experience” documentary, will air on PBS in two parts on Nov. 14 and 15. The film is also available to stream on pbs.org.
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The post A Jewish diplomat tells his story in PBS documentary about the Iran hostage crisis appeared first on Jewish Telegraphic Agency.
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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.”