Uncategorized
A Rube Goldberg machine comes to life — literally — in a new dance piece
(New York Jewish Week) — Are we humans all parts of a meticulously crafted machine? Or are we independent beings, chaotically disrupting one another’s trajectories through time and space? Is there a difference between intentional and unintentional impact? Does it matter whether our movements are prompted by internal or external forces?
These are just some of the questions that surfaced as I watched footage of “Rube G. — the Consequence of Action,” a new work by acclaimed New York-based choreographer and dancer Jody Oberfelder. The piece — at once whimsical and thoughtful — explores the mechanical motions inherent in a classic “Rube Goldberg machine” (a chain-reaction contraption that typically involves levers swinging, cogs twirling, bits and bobs knocking each other on predetermined courses) as expressed through the human form.
Over four years in the making, the piece will make its debut March 4 at the Agnes Varis Performing Arts Center in Lower Manhattan. It will be performed for three consecutive weekends, culminating in a gala event on March 19.
The genesis of this 50-minute piece began four years ago, when musician Frank London of The Klezmatics was organizing an event celebrating 15 Jewish thinkers and creators — from philosopher Hannah Arendt to composer Morton Feldman — at the New York Public Library. Oberfelder, a director, choreographer and filmmaker dedicated to site-specific works that “expand how one experiences dance,” was invited to create a piece inspired by the work of Rube Goldberg (1883-1970), the Jewish cartoonist who drew his eponymous machines starting with Collier’s Weekly magazine in 1929. According to the Rube Goldberg Institute for Innovation and Creativity, these machines “solve simple problems in the most ridiculously inefficient way possible.” A classic example is the “Self Operating Napkin,” which wipes an eater’s face by using a combination of strings, counterweights and even a scythe.
Oberfelder was intrigued and, initially, a bit surprised by the assignment. “[Frank] said, ‘God, you’re Rube Goldberg! This is perfect for you!’ But it wasn’t until I started going deeply into research that I realized [he was right],” Oberfelder told the New York Jewish Week.
Oberfeld has had a long and illustrious career: She’s danced with and for the likes of composer Meredith Monk and choreographer Sally Silvers, and has traveled the world as a performer, guest choreographer and lecturer, from the University of Hawaii to London’s Victoria and Albert Museum. Still, this new prompt captivated her. “I realized we’ve been living the Rube Goldberg life all along,” she said, referencing the ways in which people are all tied together, an intricate array of human cogs. Soon, she was hooked on the ideas behind Goldberg’s fanciful genius.
An iconic Rube Goldberg cartoon, the “Self Operating Napkin,” was featured on a U.S. postal stamp honoring the cartoonist. (Rube Goldberg Inc.)
The resulting piece for the NYPL event was, according to Oberfelder, “a four-minute blast” that explores this idea. “We were running through the audience,” she told me, remembering that first dive into the world of order and chaos that is Goldberg’s philosophy. “[It seems like] a whole lot of something for nothing. But it is something — the joy of the moment to moment, while a marble is rolling down a slide, knowing that it [was there] and it worked.”
After that initial performance, Oberfelder wanted to explore more but, of course, the pandemic soon swept away any performance plans. Inventive as ever, she took the ideas she’d workshopped for London and created a second iteration: a film that combined over 300 clips of dancers responding to prompts like “spin” and “pop up.” Dancers and laypeople the world over, despite the social isolation, came together into a global Rube Goldberg machine.
Eventually, as COVID-19 restrictions lifted and the world began to open up, she took her new understanding of the themes and translated the film into a site-specific work that showed at Roulette, a Brooklyn theater, in 2021. That work was really the proto version of this newest take. It had the playfulness, the fun, the tumbling, the twirling. It wasn’t quite there, though. Not yet.
The piece explores big questions, including, as Oberfeld said: “What would a Rube Goldberg machine look like if it was performed by humans?” (Courtesy)
With “Rube G. — the Consequence of Action,” Oberfelder digs even deeper into her big idea — that everything we do is both influenced by others and influences others in both predictable and unforeseeable ways. To her, this idea has a philosophical connection to Judaism: “Everything here on earth happens and [it’s our lot] to live it to the fullest,” she said, adding that “the way in which we help each other along” is part of a Jewish ethos.
In the current iteration, four performers (including, briefly, Oberfelder herself) move in the space with a curious mix of clumsy and graceful motions. They are the machine — pushing, pulling, whirling in tandem — but their gestures seem, at times, independently determined. Are we all simply reacting to the actions of our peers? I wondered, as I watched one dancer dribble another one across the space like a basketball. Or do we have a choice in the matter?
While the dancers on stage explore the relationship one human has with another, a wild card, in the form of improvised audience participation, is added to the mix. Viewers who attend a performance of “Rube G. — the Consequence of Action,” may, at times, be called to interact with and define the direction of the piece. This element of the unknown will be folded into a meticulously planned piece which, like a Goldberg Machine, has a zillion moving parts that all seem random but somehow fall perfectly into place.
“During COVID, I got to a point where I was really analyzing the nature of performance and what I missed about it,” Oberfelder said. “What I felt was lacking was the effervescence of people coming together with different ideas to present something new…. I’ve tried to create an environment where we’re all here.” To Oberfelder, “all of us” includes the audience — and maybe people everywhere, too.
“It’s sort of like singing in the shower,” she added. “It’s nice, and it’s a great release. But actually, I would like these vibrations to go past my bathroom walls.” To that end, she’s brought her work to a simple space (“it’s just a big white box studio with very simple lighting”) and is welcoming audience members into the dance. As a result, each performance will be one-of-a-kind.
“What would a Rube Goldberg machine look like if it was performed by humans?” Oberfelder wondered aloud when we spoke, mulling over the various possible iterations. Now is our chance to find out.
“Rube G. — the Consequence of Action,” will be performed at The Agnes Varis Performing Arts Center, inside the Gibney Dance Center, at 280 Broadway on March 4-5, March 11-12 and March 18 at 7:30 p.m. A gala performance will be held on March 19 at 6:30 p.m. and will include post-performance food, drinks and a live auction. For tickets (from $15) and info, click here.
—
The post A Rube Goldberg machine comes to life — literally — in a new dance piece appeared first on Jewish Telegraphic Agency.
Uncategorized
Meet the only Jewish president of a Catholic university
Synagogue president and Catholic university president aren’t typically jobs one holds concurrently.
But in 2023, Greg Weiner became president of both Assumption University, a Catholic college in Worcester, Mass., and Congregation Beth Israel, a Conservative synagogue in the area.
Weiner’s inauguration in March of that year made him the first and only Jewish president of a Catholic university — one with the motto “Until Christ be formed in you.”
To him, the combination just made sense.
“I never had any hesitation at all about whether being a Jewish president would work — quite the opposite,” Weiner told the Forward. “The divide in society between people who do and don’t treat religion seriously is much wider than between particular religions.”
Shortly after Weiner’s inauguration, college presidents found themselves in the national spotlight as pro-Palestinian protesters built tent encampments on college campuses across the country in the aftermath of Oct. 7
During that time, Weiner became a figurehead for an unconventional idea: that Jewish students who felt unwelcome at secular universities ought to consider attending Catholic institutions like Assumption instead.
Now, Weiner continues to make the case that Catholic schools have much to offer Jewish students.
“The challenge for Jewish families, Jewish parents, Jewish students, is we have to ask ourselves: Do we value education, or do we simply value the prestige that’s associated with certain universities?” Weiner said. “Because, in a lot of cases, those seem to be inversely correlated.”
How Weiner became president
To state the obvious: Appointing a non-Catholic to head a Catholic university was not a risk-free choice.
How would students, faculty and trustees react? Would the university, founded in 1904 by the Catholic Augustinian order known as the Assumptionists, be accused of turning away from its Catholic history, character and mission?
Historically, Catholic universities were exclusively led by priests from the Catholic order that founded the school. Universities like Notre Dame have continued that tradition; every president since its founding in 1842 has been a priest of the Congregation of Holy Cross.
But as Catholic universities have increasingly sought to attract students of all faiths — and as the number of priests available to lead universities has declined — more laypeople have taken the helm. For instance, Loyola University in Chicago named the first laywoman instead of a priest as president in 2016. The Jesuit Fordham University did the same in 2022, breaking with its 200-year tradition.
“I wouldn’t entirely downplay some tensions here, as much as the motto of our university is ‘Until Christ be formed in you,’” said the Rev. Dennis Gallagher, an Assumptionist priest who serves as Vice President for Mission at Assumption University. “Clearly, he’s not going to give personal credence to that particular expression.”
But Gallagher said he was won over by how Weiner articulated the value of a Catholic liberal education, which emphasizes inquiry and debate — values that also happen to be very Jewish.
An Assumption education asks humanity’s’ “enduring questions,” and attracts the kind of students who “haven’t determined that they know the answers to those things before they arrive,” Gallagher said.
Weiner, who draws parallels between Talmudic debate and Assumption’s inquiry-driven approach to education, was well-positioned to promote those ideals, Gallagher said.
Weiner was also not an outsider at Assumption. After a career in Democratic politics that included working as press secretary for then-Nebraska Sen. Bob Kerrey and getting his PhD in government at Georgetown University, Weiner joined the faculty at Assumption in 2011 as a political science professor. He quickly rose the ranks, becoming provost and vice president for academic affairs in 2019. After former Assumption President Francesco Cesareo announced his retirement in 2022, Weiner became interim leader.
Gallagher said he didn’t think trustees were seriously considering Weiner for the job of president at the time. But when Weiner excelled in the interim role, the choice became clear.
“I remember saying, ‘I think what we’re looking for is right here with us,’” Gallagher said. “Somebody that can both understand and communicate what a Catholic — albeit not being Catholic himself — what a Catholic liberal education is about.”
In the end, Weiner’s appointment drew far more celebration than controversy, with the university actively embracing his Jewish identity. A rabbi bestowed a special blessing upon Weiner at his inauguration.
A Jewish haven?
Weiner, who grew up as a member of the lone Jewish family in the small town of Luling, Texas, is comfortable with being the only Jew in the room.
When a childhood friend expressed concern that Weiner was going to hell, he took it as “a very ham-handed way of expressing genuine caring,” he said. “I was born without the gene that tells you to get offended quickly.”
That same instinct carried into his career. At first, Weiner said, he didn’t publicly lean into his Judaism as part of the presidency. But in the aftermath of the attacks of Oct. 7, he felt “a particular responsibility to speak out.”
In December 2023, Weiner made a splash with a Wall Street Journal op-ed suggesting Jewish students feeling alienated from Ivy League campuses ought to consider Catholic schools like Assumption.
At the time, other Catholic schools were also explicitly courting Jewish students amid turmoil over Israel and antisemitism on college campuses across the country.
Still, it was an unconventional pitch: Assumption has no Hillel or Chabad on campus, and students are required to take Catholic theology courses where they learn about Christian morality, sacraments and other church doctrine.
But whatever Assumption lacked in Jewish religious life, Weiner said it has made up for in campus culture. Assumption had no student encampments protesting Israel after Oct. 7, in part, Weiner said, because Assumption students are more interested in arguing over ideas in a philosophy class than organizing a protest.
Weiner, who has written four books on political theory and previously worked as a political aide for several Democratic politicians, said students on campus hold a range of views about Israel. But Assumption is not a place filled with student activists.
“Too many campuses have encouraged moral certainty, intellectual certainty, when Socrates says, ‘Philosophy begins with a confession of ignorance,’” Weiner said. “Education requires a certain amount of humility.”
Eli Beberman told the Forward he initially chose Assumption in 2018 because it was close to home and had a strong secondary education program. He expected being Jewish at a Catholic school might require some adjustment. He never imagined the university’s president would become Jewish his senior year.
“Seeing upper level leadership at Assumption also be Jewish was a really cool experience for me,” Beberman said.
Assumption was a place where interfaith friendships thrived, Beberman said. Though there was no Hillel on campus, Beberman was able to pray in an interfaith space with a Torah. He also celebrated Jewish holidays with non-Jewish friends, hosting Shabbat dinners and a Hanukkah party in the dorms, where his parents brought over their “famous brisket.”
“I was able to practice my religion how I wanted to, and I felt very comfortable on campus being a non-Catholic student,” Beberman said.
Jewish faculty members, too, said Weiner’s presidency changed how they saw the university.
Samantha Goldman, a Jewish associate professor of special education at Assumption, said she didn’t seek out a job at a Catholic institution. But once she got there, she was surprised at how natural the environment felt.
“Having a Jewish president of a Catholic institution really communicates this sense of welcoming and inclusivity that might not otherwise be apparent,” she said.
Others were drawn specifically to the culture Weiner fostered. In 2024, Mary Jane Rein left her job as executive director of the Strassler Center for Holocaust and Genocide Studies at Clark University. She said Clark had failed to properly support her after students protested a talk she helped organize featuring an Israeli reservist. That inspired her to come to Assumption, where she launched the Center for Civic Friendship, which helps students engage in civil discourse across ideological divides.
“To my surprise as both a scholar and a Jew,” Rein wrote in the Wall Street Journal, “I feel a warmer welcome and more commonality of purpose at a Catholic institution than at Clark, a secular one.”
That same year, Weiner was reappointed for a five-year term through May 2030 in an announcement trustees said reflected “deep confidence in his leadership.”
To Weiner, the success of his presidency is evidence that Judaism and Catholicism are not as far apart as they may seem.
“Obviously, [there are] some foundational theological differences,” Weiner said. “But with respect to the educational commitments, I think they’re quite compatible.”
The post Meet the only Jewish president of a Catholic university appeared first on The Forward.
Uncategorized
The secret Jewish history of the ‘Rocky Horror Picture Show’
“Rocky Horror,” which opened in London cinemas on this day in 1975 is the cultural phenomenon that simply refuses to die. Rather, since its first incarnation as a 1973 London stage musical, “The Rocky Horror Picture Show” has been continuously reborn on the silver screen, in subsequent Broadway stage productions, and, in 2016, as a direct-to-TV film, starring Laverne Cox of “Orange Is the New Black” fame as the transgender Dr. Frank-N-Furter, the mad-scientist role originated by Tim Curry.
In all its incarnations, however, “Rocky Horror” has always been more than just a performance. Its appeal has been widely driven as a participatory event. Film critic Roger Ebert summarized it best writing about the original 1975 film: “‘The Rocky Horror Picture Show’ is not so much a movie as more of a long-running social phenomenon,” because “the fans put on a better show than anything on the screen.” What Ebert refers to is the interactive tradition that has grown up around “Rocky Horror,” whereby fans attend midnight showings primed for a party as much as a screening: reciting the lines out loud along with the characters and interspersing them with “callouts” — responses that have been accepted into the Rocky Horror canon much as the Talmud is commentary on the Mishnah that has in and of itself become part of the sacred text. In the case of “Rocky Horror,” this also includes activities, such as throwing rice or confetti in the air when the married couple in the film leaves the church; squirting water pistols during a rainstorm; and tossing rolls of toilet paper when one character says “Great Scott!”
In one of the most overtly Jewish moments in and outside of the film, a speech by Dr. Frank-N-Furter hailing the creation of the Golem-like creature of the title, Rocky Horror, is met by chaotic noisemaking on the part of the partygoers onscreen and off. In the original film, some of the crowd generates noise with ratchets – a percussion instrument that looks suspiciously like a gragger, as if Dr. Frank had said “Haman.” There are other Purim-like touches in the film, such that temple congregations have made “Rocky Horror” into part of their annual ritual, such as a “Rockin’ Hora Purimshpiel” in which several of the musical numbers are rewritten as Purim songs.
Other Judaized versions of “Rocky Horror” that have appeared over the years include “Hebrew Horror,” which was staged in Los Angeles in 2007, and the “Rocky Hora Chanukah Song” by the Jewish punk-rock parody group, the Shlomones (sort of a redundancy, since several members of the Ramones were in fact Jewish, as was their outlook in numerous ways, including their song, “Bonzo Goes to Bitburg.”
The original London stage version was produced by British-Jewish theatrical impresario Michael White, who was born to Eastern European Jewish-immigrant parents in Glasgow, Scotland. White’s credits had already included the boundary-shattering “Oh! Calcutta!” — the first all-nude revue in commercial theater — and he went on to co-produce the “Rocky Horror” film as well as “Monty Python and the Holy Grail.”
The original musical and film were decades before their time in celebrating the sexual fluidity of the LGBT world – indeed, there wasn’t such a term as LGBT, much less a socio-political acceptance of it, for years to come. The new TV film version is in no small part an effort to seize this cultural moment when LGBT, and particularly transgender issues, are now part of mainstream political and cultural discussion, especially what with the casting of openly trans actress Laverne Cox.
The original did, however, have a political consciousness beyond its seemingly outrageous effort to provoke. Dr. Frank-n-Furter’s lab coat in the movie was inspired by a Nazi concentration camp inmate uniform and was adorned by the pink triangle that the Nazis used to label what we now call LGBT inmates. And in the film at least, there were implications that Frank’s rival, Dr. Scott was a Nazi.
The 2016 version was again produced by music industry legend Lou Adler, who was responsible for turning the stage musical into the original film starring Tim Curry, Susan Sarandon, Barry Bostwick and Meat Loaf. In that version, Eddie was played by American Idol star Adam Lambert, the role played by Meat Loaf in the original Broadway cast and film. Lambert, who starred as Joshua in “The Ten Commandments: The Musical,” has achieved fame as a solo artist and as the replacement for the late frontman Freddie Mercury in the rock band Queen. Lambert’s Jewish mother, Leila, was a dental hygienist.
Seth Rogovoy is a contributing editor to the Forward.
The post The secret Jewish history of the ‘Rocky Horror Picture Show’ appeared first on The Forward.
Uncategorized
Sister of pro-Israel stalwart Lindsey Graham secures GOP Senate nomination
(JTA) — South Carolina Sen. Darline Graham defeated U.S. House Rep. Ralph Norman in a special primary runoff on Tuesday, putting her in a dominant position to win the Senate seat left vacant with the death in July of her older brother, the pro-Israel stalwart Lindsey Graham.
The Associated Press called the race two hours after polls closed at 9:01pm. By the time 99% of votes were tallied, Darline Graham had secured 52.3% of the votes to Norman’s 47.7%.
“Tonight is a great victory, but it’s not the finish line,” Graham told her supporters on Tuesday night. “In fact, it is the starting line for an even bigger fight, which lies ahead.”
If Darline Graham goes on to win November’s general election against Democrat Annie Andrews, she will have big shoes to fill. Her brother served 23 years in the Senate and eight in the U.S. House. He traveled to Israel about a dozen times between Hamas’s Oct. 7, 2023 attack on the Jewish state and his death at age 71.
Heading into the primaries, analysts expressed no doubt that Darline Graham would be pro-Israel. But matching Lindsey Graham’s level of foreign policy activity, they warned, would be a formidable task. Meanwhile, her campaign to date has largely avoided discussion of international affairs. Instead, she has focused on domestic concerns like reducing spending, securing borders and promoting Trump-backed policies.
During a debate aired on C-SPAN last week, Graham struggled to respond to a foreign policy question about Taiwan and the South China Sea, ultimately admitting that she’s “not that informed on national security.”
“I’m not a polished politician up here,” she said. “National security is not my thing, not my area of expertise.”
Later addressing issues of affordability, Graham linked the domestic economic situation to the war in Iran and said she trusts President Donald Trump “to get the Strait of Hormuz open.” She also voiced her preference for financial sanctions over putting troops on the ground.
Asked about the country’s relationship with Israel, Graham described the Jewish state as “one of our strongest allies.” Recognizing her brother’s close relationship with Prime Minister Benjamin Netanyahu, she added that during a recent meeting with the Israeli premier, she vowed to “continue supporting Israel in any way” she can.
“We have to stand with Israel,” Graham said.
At their previous face-off, Graham had secured 33% of the vote, while Norman came in second place, at 25%, against eight fellow Republicans. But South Carolina requires primary winners to earn a majority of votes in order to avoid a two-candidate runoff. In the November general election, Graham will contend with Democrat Annie Andrews, a pediatrician who is unlikely to prevail in the solidly Republican state.
Tuesday’s runoff marked the third time in two months that South Carolina Republicans came to the polls to select a Senate candidate. Lindsey Graham, won the first primary in June but died suddenly the next month from an aortic dissection.
A few days later, South Carolina Gov. Henry McMaster, a Republican, appointed Darline Graham to finish her brother’s term. Though she only had minimal policy experience, including a leadership role at the South Carolina Commission for the Blind, she earned President Donald Trump’s endorsement and declared her candidacy in the full race.
Trump celebrated Graham’s nomination in a Tuesday night Truth Social post, writing that “Darline Graham rides Trump endorsement to win GOP nomination for brother’s South Carolina seat.”
Graham thanked Trump profusely during her Tuesday night acceptance speech, recognizing the president as one of her brother’s “closest friends” and crediting him for helping her secure a victory.
Norman, meanwhile, thanked his supporters on Tuesday night for their “prayer crusade of a campaign,” stressing that he “did not prepare a concession speech.” He accused “outside PACs” of spending $8 million opposing him and blamed the Democrats for this situation, adding that “they got what they wanted.”
He recognized Trump’s role in the race as a supporter of Graham, noting that he “never understood why he got involved” but that it is the president’s prerogative to do so. Nonetheless, Norman pledged that there “won’t be any tears” and that he planned to back Graham.
“I’m not supporting a Democrat, so I will support her, Darline, as best I can,” he added. “We’ll live to fight another day.”
This article originally appeared on JTA.org.
The post Sister of pro-Israel stalwart Lindsey Graham secures GOP Senate nomination appeared first on The Forward.

