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A new symbol at some Passover seders: an empty seat for Evan Gershkovich, Jewish journalist jailed in Russia
(JTA) — Shayndi Raice, a Wall Street Journal reporter based in Israel, is hoping that Jews around the world dedicate a portion of their Passover seder this week to one of her colleagues, currently detained in a Russian prison.
“This Passover, please consider setting a place at your Seder table for @evangershkovich,” Raice tweeted on Sunday. “As you celebrate freedom, join us in demanding freedom for Evan.”
The call — echoing a tactic used in the 20th-century campaign for the freedom of Soviet Jews — grew louder on Monday as it was shared by prominent personalities from tech journalist Kara Swisher to the former chief rabbi of Moscow to Rabbi Angela Buchdahl of New York City’s Central Synagogue, who said she would be leaving an empty chair at her own seder in honor of Gershkovich, a Moscow correspondent for the Wall Street Journal.
Gershkovich, 31, has been charged with espionage, in a move that human rights organizations are decrying and the Biden administration is fighting. He was arrested Wednesday while he was dining at a restaurant in the city of Yekaterinburg, about 800 miles east of Moscow in the Ural Mountains.
The Wall Street Journal has denied the allegations against Gershkovich, who pleaded not guilty during a court appearance last week, according to Russian state and international media. He reportedly has not been able to speak to an attorney representing him while he is held in the notorious Lefortovo Prison, whose past inmates include the famous Soviet Jewish dissident Natan Sharansky.
Gershkovich is the first American journalist since the Cold War to face spying charges in Russia, which carry a sentence of up to 20 years in prison. People charged with espionage are almost always convicted in Russia, according to the New York Times.
“Let him go,” President Joe Biden said Friday about his message to Russian authorities in Gershkovich’s case, using a phrase that itself is redolent of the Passover story and the Soviet Jewry movement.
The arrest has propelled Gershkovich to the front lines of deepening tensions between the United States and Russia. It has also drawn attention to Gershkovich’s background as the child of Jews who fled the Soviet Union — and renewed questions about whether people like him can be safe in Russia today.
“He cares a lot about his identity as a Jew, and especially his identity as the son of Soviet Jewish immigrants,” his college roommate Jeremy Berke told the Jewish Telegraphic Agency. “I think that was a large part of why he wanted to go back to Russia.”
Gershkovich was born in New York City to Jewish immigrants from the former Soviet Union who left in the late 1970s, when the Communist state briefly opened the gates to emigration for some of its Jewish citizens.
His father is from Odessa — today in Ukraine — and his mother is from St. Petersburg, Time Magazine reported. According to an account published by the Wall Street Journal, the only outlet to which his family has spoken, his mother fled Russia using Israeli documents with her mother, a Ukrainian Holocaust survivor, after hearing rumors that Jews were going to be deported to Siberia.
Gershkovich grew up speaking Russian at home in New Jersey, where he graduated from Princeton High School before heading to Bowdoin College in Maine. After college, he got a job first at the New York Times before moving to Moscow in 2017 to report for the Moscow Times, an English-language news organization that has been a launching pad for multiple high-profile Russia reporters. His reporting there included coverage of Hanukkah celebrations in Moscow. He was hired by the Wall Street Journal in 2021.
His mother told the Journal that Gershkovich had become more interested in his Jewish identity while in Russia, taking her to a synagogue that she had been warned as a child never to enter. “That’s when Evan started to understand us better,” she said.
“Part of his mission was to not only explain Russia to a Western audience, but to really kind of pierce the bubble and tell the stories of Russians themselves, which was something he was able to do, because he’s fluent in Russian,” Berke told JTA.
He said his friend sought to tell “stories that weren’t necessarily just the purely kind of economic stories that you saw coming out of the country, but that were really about what the people were doing — you know, people in synagogues, people in nightclubs, like all aspects of Russian society.”
Like many foreign journalists, Gershkovich left Russia in February 2022, after Russia invaded neighboring Ukraine and turned overnight into a pariah state that intensified its crackdowns on dissenters. But he returned later in the year on the longstanding assumption that foreigners would be insulated from the harsh treatment that Russian journalists can face.
“By detaining the American journalist Evan Gershkovich, Russia has crossed the Rubicon and sent a clear message to foreign correspondents that they will not be spared from the ongoing purge of the independent media in the country.” said the Committee to Protect Journalists. “Authorities must immediately and unconditionally release Gershkovich, drop all charges against him, and let the media work freely and without fear of reprisal.”
Gershkovich had most recently reported on Russia’s declining economic position and was reportedly in Yekaterinburg reporting on the Wagner Group, a Russian mercenary force, and Nizhny Tagil, a factory town where Russian tanks are made.
Wagner’s owner, Yevgeny Prigozhin, joked about Gershkovich and other journalists being found in a mass grave or a torture chamber when reached by the Daily Beast last week. Prigozhin said he had not known about Gershkovich’s arrest at that time.
Julia Ioffe, a fellow Russian-American Jew and journalist, said after Gershkovich’s arrest that the Kremlin takes criticism from people of their background differently than from other journalists.
“Although he was born in the U.S., his parents were immigrants from the Soviet Union, Jewish immigrants,” Ioffe told CNN. “There is a sense in Moscow, especially in the foreign ministry and in the Kremlin, that people of this background — my background — they are particularly sensitive to … our criticism. They feel that it is a different kind of betrayal.”
WSJ’s Evan Gershkovich, detained in Russia for espionage, is about the age @juliaioffe and I were when we met as Moscow reporters. We spoke today about what Gershkovich is facing, particularly as a reporter whose family fled the Soviet Union and how Russia is ‘banking’ hostages. pic.twitter.com/gsUbZz2N0q
— Alex Marquardt (@MarquardtA) March 30, 2023
The former chief rabbi of Moscow who fled Russia shortly after the invasion of Ukraine last year suggested that Russia had targeted Gershkovich because of his identity.
“He just happened to be Jewish, right?” Rabbi Pinchas Goldschmidt sarcastically tweeted last week.
Goldschmidt has emerged as a prominent critic of the Russian government after leaving the country last year, saying that as a prominent rabbi he faced pressure to support Putin’s war.
“When we look back over Russian history, whenever the political system was in danger you saw the government trying to redirect the anger and discontent of the masses towards the Jewish community,” he told the Guardian in an interview late last year.
Gershkovich is not the first American to be arrested in Russia amid rising tensions between the countries. Last year, the basketball star Britney Griner was sentenced to nine years in a Russian prison on drug charges, then traded to the United States in exchange for the release of Victor Bout, a Russian convicted of dealing arms.
In a social media post this weekend, Griner called on the United States to “continue to use every tool possible to bring Evan and all wrongfully detained Americans home.”
The Wall Street Journal has made Gershkovich’s reporting free and produced a video highlighting his importance as a journalist. Meanwhile, Gershkovich’s Jewish supporters are putting their own spin on the campaigns to raise awareness of Gershkovich’s plight and lobby for his release.
“Dear friends, if you are in shul this weekend, please say an extra tefillah for the release of @evangershkovich, a @WSJ reporter and son of Soviet Jewish immigrants, who was detained this week by the Russian government,” tweeted Chavie Lieber, a Wall Street Journal reporter, last week. (Lieber was a JTA reporter in 2012 and 2013.)
On Monday, Raice’s call for a place at Passover seders for Gershkovich was being shared widely.
“A worthy endeavour. However, Evan is not the only political prisoner in Russia and Byelorussia. Thousands of people are being held in prisons in Russia and Byelorussia, among them Alexei Navalny, Vladimir Kara Murza, Ilya Yashin and others, many, who are of Jewish descent,” Goldschmidt, the former Moscow chief rabbi, tweeted. “We should remember all of them, when we celebrate freedom at the Seder table Wednesday evening!”
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The post A new symbol at some Passover seders: an empty seat for Evan Gershkovich, Jewish journalist jailed in Russia 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.”