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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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Netanyahu Applauds Eurovision Runner-Up Noam Bettan: ‘Everyone Is Very Proud of You’
Noam Bettan, representing Israel, performs “Michelle” during the dress rehearsal 2 of the Grand Final of the 2026 Eurovision Song Contest, in Vienna, Austria, May 15, 2026. Photo: REUTERS/Lisa Leutner
Israeli Prime Minister Benjamin Netanyahu congratulated Israeli singer Noam Bettan on finishing in second place in this year’s Eurovision Song Contest on Saturday, despite boos and anti-Israel protests in the audience and boycotts from several countries due to Israel’s participation.
“Noam, what an amazing victory, what an achievement, and how much pride, strength, confidence, and artistry,” Netanyahu told the 28-year-old singer during a phone call. “You are on a path to greatness. In any case, you have the gratitude of the entire nation. Everyone is very, very proud of you.”
The prime minister also applauded the singer for standing “tall against those hollow verbal potshots.”
“You did it exactly as it should be done,” Netanyahu told Bettan. “You did a wonderful job. And I saw that the audience, as usual, was more supportive than the judges. Well done to you. Keep moving forward, rise and succeed, and many blessings.”
During their call, Bettan thanked Netanyahu for his kind words and said it was “a great privilege” to represent Israel in the Eurovision Song Contest, “to bring honor, to represent us in a positive light, and to bring some light and goodness into this world.”
“And I have a certain hope, because I felt there was a very great unity tonight, and I hope so much that it stays with us and continues in two days, in a year, and in 50 years,” Bettan noted. “I want unity so much, and I truly hope it continues.”
Prime Minister Benjamin Netanyahu spoke with singer Noam Bettan, who represented Israel in the Eurovision Song Contest and won an impressive second place in the competition > >https://t.co/dxTAe2NiRQ pic.twitter.com/lVMZYl2JlQ
— Prime Minister of Israel (@IsraeliPM) May 17, 2026
The 2026 Eurovision Song Contest took place at the Wiener Stadthalle in Vienna, Austria.
Bulgaria won with the upbeat dance track “Bangaranga,” performed by Dara. The victory marked the first ever Eurovision win for the Balkan nation, which will host next year’s competition. Bettan finished second with “Michelle,” a trilingual song in Hebrew, French, and English that is about putting oneself first when in a toxic relationship.
Anti-Israel protesters who disrupted Bettan’s performance during the semifinals last week were removed from the audience inside Vienna’s Wiener Stadthalle after chanting “stop, stop the genocide” and “Free, free Palestine.”
“One audience member, close to a microphone, loudly expressed their views as the Israeli artist began his performance, and during the song, which was heard on the live broadcast,” Austrian national broadcaster ORF and the European Broadcasting Union, which organizes the Eurovision, said in a joint statement about the incident. “They were later removed for continuing to disturb the audience. Three other people were also removed from the arena by security for disruptive behavior.”
Bettan told Reuters he also heard boos from a few pro-Palestinian protesters in the audience when he first went on stage for the semifinals.
Spain, Ireland, the Netherlands, Slovenia, and Iceland refused to participate in this year’s Eurovision because of Israel’s inclusion, in protest of the country’s military operation in the Gaza Strip targeting Hamas terrorists who orchestrated the deadly attack in southern Israel on Oct. 7, 2023.
Israel also finished second in the 2025 Eurovision Song Contest.
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Harry Styles Responds ‘Correct’ to Fan Shouting ‘Long Live Palestine’ at Amsterdam Concert
Harry Styles poses on the red carpet during for the BRIT Awards at the Co-op Live Arena, in Manchester, Britain, Feb. 28, 2026. Photo: REUTERS/Temilade Adelaja
British pop star Harry Styles on Saturday night interacted with a fan who shouted a slogan in support of Palestinians during the kickoff of his “Together, Together” world tour in Amsterdam.
The “Aperture” singer was performing in Amsterdam’s Johan Cruijff Arena on the opening night of his tour and stopped to adjust his earpiece on stage when an audience member shouted, “Viva, Viva Palestina!” which means “Long Live, Long Live Palestine” in Spanish. The former One Direction singer replied to the comment saying, “Correct.” A clip of the interaction was posted on social media.
One of the charity partners for the “Together, Together” tour is Choose Love, which provides humanitarian aid to Palestinians in the Gaza Strip and West Bank, including food and medical treatment.
The tour will include more than 60 performances around the world, including in The Netherlands, the United Kingdom, Australia, Mexico, and Brazil. Styles’ only shows in the United States will be 30 consecutive nights at New York City’s Madison Square Garden. The singer’s fourth solo album, “Kiss All the Time. Disco, Occasionally,” was released in March.
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Israel Warns of Escalating Terror Threat in West Bank as Iran, Turkey, Hamas Seek to Stoke Extremism
Israeli soldiers walk during an operation in Tubas, in the West Bank, Nov. 26, 2025. Photo: REUTERS/Mohamad Torokman
Israeli security officials have warned of a rapidly deteriorating security situation in the West Bank, citing deepening Iranian and Turkish involvement alongside Hamas efforts to expand terrorist infrastructure and orchestrate attacks across the territory.
According to the Israeli news outlet Walla, defense officials point to a growing role by Iran, Turkey, and Hamas in financing, directing, and sustaining terrorism, while also leveraging Gaza-linked networks to expand coordination, incitement, and operational activity across the West Bank.
With Israeli communities in the West Bank steadily expanding, the local military command is under significant strain, operating with 22 battalions while confronting a wide range of security challenges, including dismantling terrorist infrastructure, disrupting terrorist financing channels, locating weapons caches, protecting settlements, and stopping arms smuggling from Jordan.
Israeli officials have previously warned that large-scale terrorist attacks targeting local communities could serve as a destabilizing flashpoint amid the wars in Gaza and Iran.
Last year, Israeli forces uncovered documents suggesting Hamas is actively preparing plans for raids on settlements in the area.
Israel’s domestic intelligence agency, the Shin Bet, arrested six Arab Israeli citizens last month suspected of transferring millions of shekels from Hamas’s Turkish branch into the West Bank as part of an underground terrorist financing network believed to have smuggled more than three million shekels to fund attacks against Israel.
Experts also point to a growing threat from the Jenin Brigades in the northern West Bank — an alliance of Palestinian Islamic Jihad and Hamas operatives that has transformed refugee camps into bases for shootings, bombings, and ambushes.
The group’s operations are reportedly sustained by a complex financing system that moves Iranian funds through Palestinian banking channels, siphons off Israeli-collected tax revenues, and makes use of international facilitators.
“By sustaining this West Bank front through Hamas and Palestinian Islamic Jihad networks, Tehran forces Israel to fight simultaneously across multiple fronts, drains resources that could otherwise consolidate gains in Gaza, and keeps the Palestinian issue politically radioactive enough to sabotage broader Arab-Israeli alignment,” Jose Lev Alvarez, a writing fellow at the Middle East Forum think tank, explained in a recent article.
“Tehran [then] advances its axis-of-resistance doctrine at minimal cost — no Iranian boots, no direct missile exchanges, just calibrated chaos designed to obstruct any credible day-after plan for Gaza and derail normalization agreements with Saudi Arabia or Gulf states demanding Palestinian stability,” he continued.
Last year, the Israel Defense Forces (IDF) warned that Iran was driving a growing terrorist threat in the West Bank, with concerns that Iranian-backed arms smuggling could enable an Oct. 7-style attack.
Israeli intelligence and security forces have since intensified operations across the territory amid fears that Iranian-supplied weapons are increasingly reaching Palestinian terrorists and escalating the risk of a large-scale assault.
Israeli intelligence assessments have also warned that terrorists operating in the West Bank are believed to possess weapons capable of breaching Israeli defenses, including what officials described as “standard Iranian weapons.”
According to Joe Truzman, a senior research analyst at the Foundation for Defense of Democracies (FDD), a Washington, DC-based think tank, Israeli officials should be closely monitoring the West Bank as Hamas regroups and rearms in the Gaza Strip after more than two years of war.
“Hamas and its allied factions understand that igniting violence in the territory would divert Israel’s attention during a critical time of rebuilding the group’s infrastructure in Gaza,” Truzman told The Algemeiner last year.
“The release of convicted terrorists to the West Bank under the [Israel-Hamas] ceasefire agreement may be a factor in the resurgence of organized violence in the territory,” he continued.
As of last February, Israeli security forces foiled nearly 1,000 terrorist plots over the past year, with senior military officials increasingly worried that the volatile situation in the West Bank could lead to a large-scale attack similar to Hamas’s Oct. 7, 2023, onslaught against Israeli settlements and communities near the security barrier.
According to a survey released last year by the Jerusalem Center for Security and Foreign Affairs, 70 percent of all respondents — and 81 percent of Jewish respondents — expressed fear of an Oct. 7-style attack coming from the West Bank. In contrast, 53 percent of Arab respondents said they were not worried about such an attack.
In response to these concerns, the IDF has established a special command to address potential threats in the West Bank and launched a nearly unprecedented counterterror operation in the northern part of the territory.