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A new Jewish play imagines a New York were everyone gets along

(New York Jewish Week) — Lou Bettinger, a stubborn but discerning businessman, has run a dingy luggage shop on the Lower East Side for 60 years when the new play “Bettinger’s Luggage” begins.

“I know everything about luggage,” Lou (Richard MacDonald) says, as he give an interview promoting his family’s store on a fictitious news program. “Luggage is my middle name.”

Set on Delancey Street in 1974, “Bettinger’s Luggage” follows Jewish patriarch Lou Bettinger and his hapless son, George (Connor Chase Stewart), who eschews taking over the family business in favor of pursuing his dreams of stand-up comedy. The father and son spar about the future while their neighbors flirt and fall in love, reminisce about their lives before they came to the U.S., and come together to heal when tragedy strikes.

With its liberal use of Yiddishisms, combined with fast-paced, pithy dialogue stuffed full of 1970s pop culture references, “Bettinger’s Luggage,” now running at Midtown’s AMT Theater taps into a powerful nostalgia of a bygone New York.

But unlike the real-life 1970s, which saw a New York City besieged by “white flight,” economic woes and violence, “Bettinger’s Luggage” envisions a New York without racial or ethnic strife. “I needed to write something that showed that people really can get along,” playwright Albert Tapper said of his semi-fictional Lower East Side, which places the Jewish-owned luggage store next to a Greek restaurant and a hardware store owned by an Irish immigrant.

A veteran producer, composer and playwright, Tapper’s version of the Lower East Side has characters unite in a shared New York identity without compromising what makes them unique. Lisa (Katherine Schaber) shares pastries from her family’s Italian bakery with the Bettingers while Lou attempts to teach her Yiddish. Meanwhile Lou, fearing that his son, George, won’t succeed in comedy confides in Lisa that he doesn’t want his son to be “a balagula, a schlemiel” — Yiddish for a person of low standing and a fool.

“Oh, a stunad,” she replies, using the Italian word for an idiot or stupid person, eliciting laughter from the audience.

“The idea of my writing this was to be able to have a neighborhood filled with people of all different nationalities and ethnicities and [show] how well they get along,” Tapper, who is in his 80s, said. Even when Lou calls his luggage shop worker Angel (Sean Church-Gonzalez) a “dumb shaygetz,” or non-Jewish man, he does so in jest — and fights off a racist patron who threatens the store.

Tapper’s inspiration for the play, directed by Steven Ditmyer, is based on his late real-life friend George Bettinger, a comedian and the son of a luggage store owner. The genial image of a bygone Lower East Side business community got the wheels turning in Tapper’s head, and he ran away with his own vision of a family-owned luggage store.

Many of the neighborhood denizens in the play, however, were inspired by Tapper’s own family and his upbringing in Worcester, Massachusetts. Tapper would “merge George’s father with my father” throughout the writing process, he said, creating a world that is both familiar to Jewish New Yorkers and unique to Tapper’s milieu.

The comedic nature of the play strikes a comforting chord for Jewish New Yorkers and differs from other Jewish theatrical fare of the past year. Unlike recent Broadway hits “Parade” and “Leopoldstadt” — which are both focused on historical stories of violence and antisemitism — “Bettinger’s Luggage” uses a father and son’s day-to-day life to begin a conversation about discrimination and cross-cultural communication.

“I’ve written seven or eight shows — none of them have dealt with antisemitism,” Tapper told the New York Jewish Week.

At the same time, however, Tapper admits that antisemitism — where it comes from, how to combat it, or why it has increased so much in the United States — keeps him up at night. “It’s just my life’s quest, and I know that sounds dramatic,” Tapper said. “But my life’s quest is to find out why people hate the Jews.”

That driving question has led Tapper, who splits his time between Midtown Manhattan and Boca Raton, Florida, back to his alma mater of Boston University, where he co-wrote the musical “National Pastime” with Tony Sportiello when he was 20. After finding success as a playwright and producer of film and television, including the documentary “Broadway: The Golden Age,” he’s endowed scholarships for lower-income students. His goal is to increase the diversity of the student population at B.U., which the Elie Wiesel Center for Jewish Studies estimates is about 25 percent Jewish.

Tapper is also working with Clark University’s Strassler Center for Holocaust and Genocide Studies, where he has endowed a graduate scholarship, and with Brandeis University. “I told [university president Ronald D. Leibowitz], who’s a personal friend of mine, that I would like to contribute money to the school if they would put a course on antisemitism in their curriculum,” he said. He hopes that the scholarly research will be able to pinpoint why “people have hated the Jews for 3,000 years.”

Tapper is giving back to the theater community as well. When he and Sportiello, his frequent artistic collaborator since the 2008 musical “Sessions,” struggled to find an appropriate space to workshop “Bettinger’s Luggage,” they reasoned that raising the funds to buy a new theater space would both ensure their success and allow them to pay it forward for other artists. Sportiello now serves as the artistic director of Midtown’s AMT Theater, and Tapper as the venue’s main producer. “There’s not that many of them,” Tapper said of Off- and Off-Off-Broadway theaters. “And the demand for theaters is enormous. So I said, ‘Well, let’s build our own theater.’”

Plenty of emerging artists create their own theater ensembles, but affording and securing a physical performance space is a different ball game. Tapper recognizes this and is proud that the theater is now rented out to other artists through the end of 2024. Now, said Tapper, “We can do our shows, and we can rent it out to others who are doing other works. We have the combination and it serves us well.”

Like the Bettingers and the other characters who populate their Lower East Side storefront, Tapper knows that people thrive best in community — whether a community of artists, of Jews, or both. When that sense of community is breached, we may feel that we face our struggles alone.

Another reason that Tapper felt compelled to write “Bettinger’s Luggage” in this moment is because of the loss of the real George Bettinger, who died by suicide five years ago. “I spent a great deal of time with him when he lived in New York, and he would tell me his life story with sadness and humor,” Tapper said. “I felt it was everybody’s story, so I put pen to paper.”

“Bettinger’s Luggage” is at AMT Theater, 354 West 45th St., through Oct. 25. Details and tickets here. 

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The post A new Jewish play imagines a New York were everyone gets along appeared first on Jewish Telegraphic Agency.

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The BBC Documentary That Paints Every Israeli as an Extremist

The Jewish community of Beit El in Judea and Samaria. Photo: Yaakov via Wikimedia Commons.

Louis Theroux first visited the West Bank in 2011 to film a documentary titled Louis and the Ultra-Zionists, part of his long-running series for the BBC. Back then, he at least seemed to possess a trace of journalistic curiosity. Even the title signaled a degree of editorial caution — framing his subjects as a small, ideological fringe rather than representative of Israeli society as a whole.

At the time, Theroux made an effort to clarify that he was profiling a narrow segment of Israelis. He showed legally purchased Jewish homes (sold by Arab landowners, no less) and acknowledged the regular — and at times deadly — terror attacks faced by Israeli civilians living in the area, often requiring military protection. There was condescension, certainly. But there was also context.

Fast-forward to 2024, and the curiosity is gone — though the bemused, slightly smug expression remains. His new BBC documentary, Louis and the Settlers, drops even the soft qualifiers. No “ultra.” No nuance. Just “settlers.” And with that, Theroux makes it clear: half a million Israelis living in the West Bank are one and the same — extremists who, we’re told, want every last Palestinian removed from the land.

This time, the documentary doesn’t begin with questions. It begins with conclusions. And Theroux uses a brief, unrepresentative snapshot of life in the West Bank to draw sweeping indictments of the entire Israeli state.

The message is unmistakable: Israel is the problem. Settlers are the villains. And Palestinians are passive, blameless victims of a colonial project.

Within the opening minutes, Theroux plants his ideological flag. He refers to the West Bank as “Palestinian territory” and describes every Israeli community within it as illegal under international law — a sharp departure from his more qualified approach 14 years earlier.

And while his personal views seep in throughout the film, they become crystal clear during one exchange at a checkpoint, where an Israeli soldier casually refers to their location as “Israel.” Theroux shoots back: “We’re not in Israel, are we?”

And just like that, the BBC and Louis Theroux have redrawn Israel’s borders. No Knesset debate needed.

Erasing History to Blame the Massacre

The timing of this return trip is no accident. The film comes in the shadow of the October 7 Hamas massacres — the day 1,200 Israelis were slaughtered, families were burned alive in their homes, and children were dragged into Gaza. And yet, Theroux barely mentions it.

The few passing references to October 7 serve not to inform the audience — but to imply that Israel may be exploiting its own dead to justify further expansion. It’s not an investigation. It’s an accusation. And it allows him to skip over thousands of years of Jewish history in order to frame the current war in Gaza as a convenient cover story for Israeli “aggression.”

Take Hebron, for example. Theroux tells viewers that “in 1968, the year after [the West Bank] was occupied by Israel, a community of Jewish settlers moved in illegally. They now number some 700.” He fails to mention that in 1895 — decades before the modern state of Israel existed — Hebron had a Jewish population of 1,429.

Jews have lived in Hebron since antiquity — it’s where, according to Jewish tradition, Abraham purchased the Cave of the Patriarchs. Modern records date the community back centuries, despite discrimination under Ottoman rule and bans on Jewish prayer at holy sites. In 1929, Arab rioters carried out a massacre, wiping out Hebron’s Jewish population. Dozens were murdered; the rest were expelled. Under Jordanian rule from 1948 to 1967, Jews were banned from the city entirely. When they returned after the Six-Day War — not as colonists, but as a displaced community coming home — Theroux picks up the story there and calls it “illegal.”

On the Six-Day War itself, Theroux offers no context. No mention of the Arab armies preparing to destroy Israel. No mention of Israel’s preemptive strike against an existential threat.

According to The Settlers, Israel simply “occupied” — full stop.

Palestinian Terrorism? Not Even a Footnote.

Theroux visits Evyatar, a small Jewish community near the Palestinian town of Beita, and uses it as a stand-in for the entire West Bank. Beita is depicted as a symbol of peaceful resistance: a proud, ancient Palestinian village standing firm against violent settlers backed by IDF soldiers.

It’s a neat story. Too neat. Because missing from the story are years of organized, violent riots from Beita — complete with Molotov cocktails, burning Stars of David, and Nazi swastikas. All carefully omitted to preserve the narrative: Palestinians peaceful, settlers aggressive. Facts that don’t fit? Left on the cutting room floor.

Meanwhile, Israeli nationalism is treated as something sinister and unsettling — a moral aberration to be examined. The notion that Jews might want sovereignty or security is met with thinly veiled suspicion. Yet Hamas’ goal of a Jew-free Palestine, explicitly laid out in its charter, is never mentioned. Nor is the Palestinian Authority’s “pay-for-slay” policy, which literally incentivizes terrorism by rewarding those who murder Israelis — including women and children.

These aren’t fringe details. They’re central to understanding the region. And Theroux knows it. He just doesn’t care.

The BBC’s Complicity

That The Settlers aired on the BBC — a publicly funded broadcaster once seen as a gold standard of global journalism — says plenty. Not just about Louis Theroux’s agenda, but about the institutional direction of the BBC itself. This wasn’t a rogue filmmaker sneaking bias past the editors. This was bias built into the foundation — signed off, packaged, and broadcast under the banner of credibility.

There is, of course, no problem with scrutinizing Israeli policy, and no issue with questioning the settlement enterprise or highlighting the tensions in the West Bank. But journalism — real journalism — demands context. It demands precision. It demands at least a passing familiarity with the full scope of the story.

Theroux offers none of that. He arrives with a predetermined script and casts his roles accordingly: Hero. Villain. Victim. Oppressor. And when reality refuses to cooperate? It’s left out.

Louis Theroux didn’t return to Israel to understand it. He returned to flatten it. To reduce its complexity to a morality play — and to ensure everyone knows the antagonist is.

The Settlers isn’t a documentary. It’s a hit piece. And the BBC handed him the camera — then applauded the performance.

The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.

The post The BBC Documentary That Paints Every Israeli as an Extremist first appeared on Algemeiner.com.

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Indian Army Kills Islamist Terrorist Linked to 2002 Murder of Jewish-American Journalist Daniel Pearl

Jewish-American Wall Street Journal journalist Daniel Pearl was kidnapped and murdered by Islamist terrorists in Pakistan in 2002. Photo: Screenshot

The Indian government announced on Thursday that its military forces had killed “Pakistan’s most wanted terrorist,” who was connected to the 2002 murder of Jewish-American Wall Street Journal journalist Daniel Pearl.

On Wednesday, India launched “Operation Sindoor,” which the ruling Bharatiya Janata Party (BJP) claims is targeted at dismantling “terrorist infrastructure” in Pakistan and Pakistan-administered Kashmir.

The operation came after Pakistani terrorists killed 26 Hindu tourists in Kashmir last month amid escalating tensions between the two countries.

In a post on X, the BJP confirmed that during this week’s operation, the Indian army killed Islamist terrorist Abdul Rauf Azhar, who was involved in numerous terrorism plots, including the 1999 hijacking of an Indian Airlines flight, the 2001 terror attack on the Indian Parliament, and the 2016 Pathankot Air Force base attack.

Azhar’s involvement in the 1999 hijacking led to the release of Ahmed Omar Saeed Sheikh, a British-born al-Qaeda member with close ties to Pakistan’s intelligence services, who later was involved in the kidnapping and subsequent murder of 38-year-old Pearl, who was covering the war on terror as a journalist when he was abducted.

In a statement on X, Pearl’s father, Judea, addressed initial reports regarding Azhar’s death and his connection to his son’s murder.

“I want to clarify: Azhar was a Pakistani extremist and leader of the terrorist organization Jaish-e-Mohammed. While his group was not directly involved in the plot to abduct Danny, it was indirectly responsible. Azhar orchestrated the hijacking that led to the release of Omar Sheikh — the man who lured Danny into captivity,” he said.

In 2002, the Jewish-American journalist was abducted and killed by a group of Islamist terrorists connected to Azhar’s militant network, which had ties to al-Qaeda and Jaish-e-Mohammed, a terror group aiming to separate Kashmir from India and incorporate it into Pakistan.

On Jan. 27, 2002, an email was sent to several Pakistani and US media organizations, which included several photos, stating that Pearl was being held in “inhumane” conditions to protest the US treatment of Taliban and al Qaeda prisoners in Cuba. Photo: Screenshot

Originally stationed in New Delhi as the South Asia bureau chief for The Wall Street Journal, Pearl later moved to Pakistan to investigate terrorism following the Sept. 11, 2001, terrorist attacks in New York City.

After kidnapping Pearl at a restaurant in Karachi, southern Pakistan, the Islamist terrorists, who identified themselves as the National Movement for the Restoration of Pakistani Sovereignty, accused him of being an Israeli spy and sent the United States a list of demands for his release.

However, Washington did not meet their demands, and Pearl was ultimately executed after being held captive for five weeks.

His wife, Mariane Pearl, gave birth to a baby boy, Adam D. Pearl, in Paris later that year. On the Daniel Pearl Foundation website, she said, “Adam’s birth rekindles the joy, love, and humanity that Danny radiated wherever he went.”

The post Indian Army Kills Islamist Terrorist Linked to 2002 Murder of Jewish-American Journalist Daniel Pearl first appeared on Algemeiner.com.

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Jewish Jewelry Shop Owners Brutally Assaulted in Tunisia Days Before Annual Pilgrimage

A Jewish jewelry shop owner in Djerba, Tunisia, was brutally attacked by a man wielding a machete. Photo: Screenshot

A Jewish jewelry shop owner in Djerba, Tunisia, was brutally attacked by a man wielding a machete just days before the Tunisian island was set to host its annual Jewish pilgrimage, which is expected to draw thousands of visitors.

On Wednesday morning, two Jewish men — owners of a jewelry shop in the center of the island, located off Tunisia’s southeast coast — were physically assaulted by a man carrying a large knife.

Although the attack was halted when one of them screamed — alerting members of the local Jewish community who subdued the assailant — one of them was left severely injured.

According to local media reports, the attacker had surveyed the island the day before, visiting several stores to identify those owned by Jews. Local police arrested him shortly following the assault.

After the attack, one of the owners was admitted to the hospital with severe injuries. The 50-year-old Jewish man had his fingers severed during the assault and underwent surgery to reattach them.

Israeli Foreign Minister Gideon Saar condemned the attack and expressed his wishes for a swift recovery to the victims.

“This attack comes two years after the previous deadly assault that claimed Jewish lives and the lives of security personnel during the Lag BaOmer celebration,” the top Israeli diplomat wrote in a post on X.

“I call on the Tunisian authorities to take all necessary measures to protect the Jewish community,” Saar continued.

Djerba is home to the majority of Tunisia’s Jewish community, numbering about 2,000 people, and is also where the renowned El Ghriba Synagogue, one of North Africa’s oldest synagogues, is located.

The attack comes just a week before Jewish pilgrims are expected to arrive on the island for the Lag B’Omer holiday, when thousands gather annually for three days of festivities. The annual pilgrimage to El Ghriba Synagogue, scheduled for May 15 and 16 this year, draws visitors from around the world.

The synagogue has been targeted in multiple terrorist attacks over the years, including in 1985, 2002, and 2023.

Two years ago, a shooting at the synagogue claimed the lives of two Jewish cousins and three police officers. Aviel Hadad, a 30-year-old Israeli goldsmith, and Ben Hadad, a 42-year-old Frenchman who had traveled to join the festivities, were among the victims.

The post Jewish Jewelry Shop Owners Brutally Assaulted in Tunisia Days Before Annual Pilgrimage first appeared on Algemeiner.com.

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