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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.
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Australia PM Albanese ‘Profoundly Sorry’ for Failing to Prevent Bondi Beach Attack
Australian Prime Minister Anthony Albanese speaks at the Sydney Opera House during a National Day of Mourning for the victims of the Dec. 14, 2025, mass shooting at a Jewish Hanukkah celebration at Bondi Beach, in Sydney, Australia, Jan. 22, 2026. Photo: REUTERS/Jeremy Piper
Australian Prime Minister Anthony Albanese said on Thursday he was “profoundly sorry” for his failure to prevent the Bondi Beach mass shooting, as the country observed a day of mourning for the victims of the attack.
Police say a father and son opened fire at an event celebrating the Jewish festival of Hanukkah on Dec. 14, killing 15 people in Australia‘s worst mass shooting in decades.
They say the two men were inspired by Islamic State to carry out the attack, which the government has called an act of terrorism against Jewish people.
Flags were flown at half-mast across the country ahead of a memorial event at Sydney’s iconic Opera House, where Albanese apologized to the relatives of the victims in the audience.
“You came to celebrate a festival of light and freedom and you left with the violence of hatred. I am deeply and profoundly sorry that we could not protect your loved ones from this evil,” Albanese said to sustained applause in his speech at the event.
Last month, the prime minister said he was “sorry for what the Jewish community and our nation as a whole has experienced” – an apology that some relatives said was insufficient.
A minute’s silence, including on the country’s main television channels, was held across the nation just after 7 pm in Sydney (0800 GMT) as the memorial event began.
Event attendees lit candles and heard speeches from other lawmakers, as well as Jewish prayers and video tributes.
Buildings across the country, including cricket stadiums in Melbourne and Perth, were also illuminated, while play was paused during the Australian Open tennis tournament to observe the minute’s silence.
The Bondi attack shocked the nation and led to calls for tougher action on antisemitism and gun control, with critics of Albanese saying he had not done enough to crack down on a spate of attacks on the Jewish community in recent years.
The government disputes this, and has already passed legislation tightening background checks for gun licenses, as well as separate legislation that would lower the threshold for prosecuting hate speech offenses.
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US Pitches ‘New Gaza’ Development Plan
A drone view shows Palestinians walking past the rubble, following Israeli forces’ withdrawal from the area, amid a ceasefire between Israel and Hamas in Gaza, in Gaza City, Oct. 11, 2025. Photo: REUTERS/Dawoud Abu Alkas
The United States on Thursday announced plans for a “New Gaza” rebuilt from scratch to include residential towers, data centers, and seaside resorts, part of President Donald Trump’s push to advance an Israel-Hamas ceasefire shaken by repeated violations.
Trump has parlayed the ceasefire into a broader “Board of Peace” initiative aimed at resolving conflicts globally.
After hosting a signing ceremony for the board in Davos, Switzerland, on Thursday, Trump invited his son-in-law Jared Kushner to present development plans for Gaza, its densely populated cities and towns now in ruins from two years of war.
“In the beginning, we were toying with [building] a free zone, and then [having] a Hamas zone,” Kushner told an audience in Davos of Trump’s early plans to rebuild Gaza, where nearly the entire 2 million population is internally displaced.
“And then we said, you know what? Let’s just plan for catastrophic success.”
‘MASTER PLAN‘
Kushner presented the audience with a slideshow depicting a “master plan” for what he termed a “New Gaza,” displayed on a color-coded map with areas reserved for residential development, data centers, and industrial parks.
The slides included an image of a Mediterranean coastline packed with glittering towers akin to those in Dubai or Singapore. They suggested redevelopment would begin in Rafah in the south, an area under complete Israeli military control.
But they did not address key issues such as property rights or compensation for Palestinians who lost their homes, businesses, and livelihoods during the war. Nor did they address where displaced Palestinians might live during the rebuilding.
Kushner did not say who would fund the redevelopment, which would first require clearing an estimated 68 million tons of rubble and war debris.
A conference will be held in Washington in the coming weeks “where we’ll announce a lot of the contributions that will be made … from the private sector,” Kushner said, without elaborating.
The slides shown by Kushner were nearly identical to slides leaked to the Wall Street Journal in December. The newspaper reported then that the US had offered to “anchor” 20% of the redevelopment project, without going into detail.
Trump has floated the idea of transforming Gaza, ruled for years by the Palestinian terrorist group Hamas, into the “Riviera of the Middle East,” an idea that has drawn criticism from Palestinians.
RAFAH CROSSING
Kushner’s presentation in Davos followed remarks by Ali Shaath, the Palestinian technocrat leader backed by Washington to administer the enclave under Trump’s 20-point plan for Gaza.
A key unfulfilled element of the ceasefire has been the reopening of Gaza’s key Rafah border crossing with Egypt for the entry and exit of Palestinians. Shaath, speaking by video link, announced the Rafah crossing would open next week.
“Opening Rafah signals that Gaza is no longer closed to the future and to the war,” Shaath said.
Israel, which controls the Gaza side of the crossing, has rejected reopening it until Hamas fulfills its ceasefire obligation of returning the remains of the last hostage held in the territory.
After Shaath’s announcement, an Israeli political source said a special effort was being made to return Ran Gvili’s remains and that Israel would discuss reopening the crossing starting next week.
The next phase of Trump’s Gaza plan would see Hamas disarm and international peacekeepers deploy in the crowded, coastal enclave as Israeli troops withdraw further. The first phase left Israel in control of well over half of Gaza, with Hamas holding a sliver of territory along the coast.
Israel has continued to carry out air and artillery strikes in Gaza, often accusing Hamas terrorists of preparing attacks on its troops or encroaching into areas it controls.
Israel launched its air and ground war in Gaza after a Hamas-led cross-border attack on Oct. 7, 2023, that killed 1,200 people. Palestinian terrorists also kidnapped 251 hostages during the massacre.
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Israel Selects Noam Bettan to Compete in 2026 Eurovision Song Contest
Noam Bettan, Israel’s representative for the Eurovision Song Contest 2026, poses in this undated handout photo. Photo: Courtesy of Kan, Timor Elmalach/Handout via REUTERS
Noam Bettan will represent Israel in the 70th Eurovision Song Contest in Vienna, Austria, in May, after winning the Israeli singing competition “Hakochav Haba” (“The Next Star”) this week.
This year will mark the first time since 2022 that Israel will be sending a male contestant to the Eurovision contest. For the last few years, Israel has been represented in the Eurovision competition by women: Yuval Raphael in 2025, Eden Golan in 2024, and Noa Kirel in 2023.
Bettan will participate in the first semifinal of the 2026 Eurovision Song Contest in Vienna on May 12. There will be a second semifinal on May 14 and based on the results of the audience and jury vote, the top 10 countries from both semifinals will advance to compete in the grand final on May 16.
Bettan, 27, was raised in Ra’anana, Israel, to French parents who immigrated to Israel with their two older sons. Bettan, who was also born in Israel, is fluent in French. He released his debut album in 2023, “Above the Water,” and a number of his songs have become hit singles in Israel including “Madame,” which he used as his audition song for “Next Star” this year. He has performed across Israel with his band. In 2018, he competed on the Israeli singing talent show “Aviv or Eyal,” where he finished in third place.
The finale of this year’s “Rising Star” aired on Israeli television on Tuesday night and the four finalists included Bettan, Gal De Paz, Shira Zloof, and Alona Erez. In the final they performed covers of songs, with Bettan performing a Hebrew track, before the top three advanced to the superfinal, where Bettan performed a rendition of the French song “Dernière danse.” The song that Bettan will sing in the 2026 Eurovision will be selected internally by a committee convened by Israel’s public broadcaster Kan, which organizes Israel’s participation in the Eurovision. The song is expected to be announced in March.
Bettan previously auditioned for “Next Star” as a teenager, but failed to make it on to the show. After being crowned the winner on Tuesday night, he thanked the Israeli public for selecting him to represent his country in the Eurovision.
“I will give it my all, I’ll do everything I can to represent our country. It’s such a huge f–king privilege,” he said.
Israel has participated in the Eurovision 46 times and won the contest four times, most recently in 2018 with Netta Barzilai and her song “Toy,” which gave Israel the opportunity to host the contest in Tel Aviv in 2019.
In December, members of the European Broadcasting Union, which organizes the Eurovision, voted that Israel will be allowed to compete in the contest this year despite demands from several countries to ban the Jewish state because of its military actions in the Gaza Strip during the Israel-Hamas war. Following the EBU’s announcement, Spain, Ireland, Iceland, the Netherlands, and Slovenia announced their decision to pull out of this year’s Eurovision in protest. Other countries are facing increasing pressure to withdraw from the song contest because of Israel’s involvement, and two past Eurovision winners have returned their trophies to the EBU in protest of Israel’s participation this year.