The Israeli military said on Monday night that it killed Islamic Jihad’s commander in Lebanon, describing the operation as a major blow to the Iran-backed terrorist group’s capabilities. Israel struck multiple targets in Lebanon after Hezbollah launched rockets into Israel in support of Iran.
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Actor Danny Burstein dishes on his latest Jewish role on Broadway
(New York Jewish Week) – In “Pictures from Home,” a new Broadway play, a photographer takes on a nearly 10-year project to chronicle the lives of his aging parents. As the son snaps pictures and interrogates his parents in their Southern California home, the three offer very different versions of their shared past and spar about the very meaning of “truth.”
“Loads of emotions came up during the show,” said Broadway veteran Danny Burstein, who plays the son, Larry. “Larry’s desire and passion to know more and to not just look at others critically but himself critically as well is inspiring to me. It’s a beautiful story.”
Written by Sharr White and directed by Bartlett Sherr, the play is based on the 1992 photo-memoir by Larry Sultan, an acclaimed photographer who died in 2009. Nathan Lane plays the father, Irving, a Brooklyn-born Jew who struggled as a salesman but eventually became a vice president at Schick, the razor company. Acclaimed British actress Zoë Wanamaker plays the mom, a real estate agent who sometimes feels underappreciated as a breadwinner following Irving’s early (or was it forced?) retirement. Irving, raised in part in a Jewish orphanage, bitterly recalls the antisemitism he faced – and swallowed – on his way up the shaky ladder of success.
And father and son clash not only over the project, but Larry’s career. Irv can’t quite understand how his son actually makes a living as a photographer and asks: “Where’s the rigor?”
Throughout the play, real recordings, home videos and the blown-up photos of his parents that appeared in Sultan’s photo-memoir are projected on the set behind the actors.
Burstein, 58, was nominated for a Tony Award for his portrayal of Tevye in the most recent Broadway production of “Fiddler on the Roof.” A week after the opening of “Pictures,” he spoke to the New York Jewish Week about the Jewishness of the show and how it has impacted him so far.
This interview has been lightly edited for length and clarity.
Danny Burstein, who plays photographer Larry Sultan, won the 2020 Tony Award for Best Featured Actor in a Musical for his role at Harold Zilder in “Moulin Rouge!” (Courtesy)
New York Jewish Week: The concept of the show is a bit challenging to describe — it’s a play based on a memoir based on a series of photographs. How would you describe what the play is about?
Danny Burstein: It’s based on the beautiful book by the same title, which has incredible pictures in it but also contains the memoir of his time with his parents. It’s all a bit convoluted, but it comes together in a beautiful way. A play has not been told in this particular way before and it is quite unique. So it’s different, and you have to let people know that it is different from anything they’ve ever seen before, as far as the storytelling goes. It is a story of family and it’s also the story of the creation of art — sometimes it’s quiet, sometimes it’s passionate and volatile. Sometimes it’s extremely funny. It’s all those things when you’re making a piece of art.
You “feel all the feels” in other words. That’s the beautiful thing about the play. Larry winds up discovering things about himself and about his history and his parents.
Were you familiar with Larry’s work before the show or did playing him bring you closer to who he was?
I was not familiar with his work at all before the play, but at the same time now I feel very, very connected to the work and to who he was. One of the things that I’m very grateful for is that Larry’s [widow], Kelly, provided us with some of the actual tapes and recordings of conversations with his parents, so I got to listen to them actually talking. It was all of a sudden a very different kind of animal.
It’s dramatized for our show and there was sometimes volatility, but mostly it was a lot of the two of them just sitting down and loving one another and chatting and reminiscing and hearing their origin stories, like how the family got to California from Brooklyn. It’s really a beautiful story and there’s a lot of love in the family. I also love Larry’s artistic pursuits and his artistic sensibility in finding several different meanings in one picture, maybe hundreds of meanings. He believed each person subjectively finds their own meaning in a piece of art and I love that about him.
Nathan Lane (Irving Sultan) and Danny Burstein (Larry Sultan) in “Pictures From Home.” (Julieta Cervantes)
How do you think the family’s Jewishness impacted the way they interacted with the world and with each other?
It [their Jewishness] absolutely affects the way they exist in the world. I always think of [Larry’s] artistic journey as being very Talmudic — it seems to me that he’s constantly asking questions and trying to get to the heart of the matter. That’s fundamentally Jewish. That practice of always questioning, and bringing that questioning not just to religion but to everyday life and to art is also fundamentally Jewish. I don’t want to make it sound like only Jews are exceptional intellectually, but that that level of intellectual pursuit is part of the Jewish culture.
So Larry’s Jewishness certainly informed his intellectual and artistic pursuits. How do you think your Jewish background informed the way you approached this character and characters you’ve played in the past?
I was raised in a certain way: to question things. I can see a lot of my own relationship with my own father in the relationship between Larry and Irv. I’m sure I drove my father crazy. When I told my parents I wanted to be an actor, they were not dismissive of it. They didn’t say, “you’re wasting your life,” but they weren’t exactly supportive, either. They remained very neutral and said: “If this is what you want to do, then you’re going to have to work your ass off in order to make your dream come true.” So it wasn’t so much about the pursuit of financial success, the way Irv says, but it was about them worrying whether I could actually make a living at it and survive.
I guess it’s the same kind of fear that any parent would have. My younger son is a musician and my older son is a first [assistant director] on films. Those are not exactly the kinds of things you’re going to go into to make a lot of money. They’re pursuits of passion. I guess I felt the same way, I was worried for them. But knowing my own journey and knowing my father’s journey, who wanted to be a writer — he studied with Philip Roth at the University of Iowa — and then decided to leave all that to to pursue a career in ancient Greek philosophy. So I guess he understood, too, the way I did. I guess it all comes full circle. So, I did not run up against the kind of wall that Larry ran up against, where basically Irv would call him a loser, as he does in the show, because he was not more of a financial success.
Pictures from Home is currently playing at Studio 54 (254 W. 54th St.) through April 30, 2023. Tickets and informationh here.
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The post Actor Danny Burstein dishes on his latest Jewish role on Broadway appeared first on Jewish Telegraphic Agency.
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The cafe as a refuge of Jewish culture
די ייִדישע ליטעראַטור האָט אַ היפּשע צאָל בולטע אימאַזשן פֿון קאַפֿע־הײַזער: מנחם–מענדלס שילדערונג פֿון „קאַפֿע פֿאַנקאָני‟ אין אָדעס; די ניו־יאָרקער „קיביזאַרנע‟ און „קאַפֿע–ראָיאַל‟ אױפֿן איסט–סײַד.
אָפֿט לײענט מען די דאָזיקע באַשרײַבונגען װי טשיקאַװע עפּיזאָדן, אָבער אין דער אמתן איז דאָס קאַװע־הױז געװען אַ װיכטיקע קולטורעלע אינסטיטוציע, בפֿרט ערבֿ דער צװײטער װעלט־מלחמה. דאָס בוך פֿון פּראָפֿעסאָר שחר פּינסקער, ”A Rich Brew“ [אַ גוט געקאָכטע קאַווע] האָט אַן אַמביציעזן אונטערקעפּל: „װי אַזױ די קאַפֿע־הײַזער האָבן געשאַפֿן די מאָדערנע ייִדישע קולטור‟. װען מען לײענט איבער דעם װאָגיקן באַנד זעט מען בפֿירוש, אַז די קאַפֿע־הײַזער אין אײראָפּע, אַמעריקע און ארץ־ישׂראל זײַנען געװען זײער אַ פּראָדוקטיװ אָרט, װוּ מען האָט געשריבן, געלײענט, געשמועסט און אַ סך זיך געאַמפּערט װעגן דער מאָדערנער ייִדישער קולטור.
די ליבע־געשיכטע צװישן ייִדן און קאַפֿע־הײַזער הײבט זיך אָן אין בערלין אינעם אַכצנטן יאָרהונדערט. „דאָס געלערנטע קאַפֿע־הױז‟ איז געװען אַ נײַער לאָקאַל, װוּ די בערלינער אינטעליגענץ האָט זיך געקאָנט טרעפֿן, לײענען צײַטונגען, שפּילן שאַך און שמועסן. צװישן די אַרײַנגײער אין דעם קאַפֿע־הױז איז געװען משה מענדלסאָן, דער „פֿאָטער‟ פֿון דער בערלינער השׂכּלה. קאַװע איז געװען כּשר און דאָס קאַפֿע־הױז האָט ניט געהאַט קײן קריסטלעכן טעם. דװקא דאָ האָט מענדלסאָן פֿאַרטראַכט זײַנע פּובליקאַציעס, װאָס זײַנען געװאָרן די בימה פֿאַר זײַנע משׂכּילישע אידעען.
די בלי־תּקופֿה פֿון ייִדישע קאַפֿעען האָט געדױערט פֿון סוף-19טן יאָרהונדערט ביזן חורבן. פּינסקער פֿירט דעם לײענער אױף אַ רײַזע איבער די װיכטיקסטע צענטערס פֿון דער מאָדערנער ייִדישער קולטור: אָדעס, װאַרשע, װין, בערלין, ניו–יאָרק און תּל־אָבֿיבֿ. ער האָט באַאַרבעט אַ ריזיקן מאַטעריאַל פֿון פֿאַרשידנאַרטיקע מקורים און אים מגולגל געװען אין אַ פֿאַרכאַפּנדיקער לעקטור. דאָס דאָזיקע בוך װעט זײַן סײַ ניצלעך פֿאַר די פּראָפֿעסיאָנעלע פֿאָרשער פֿון ייִדישער און העברעיִשער קולטור און ליטעראַטור, סײַ אינטערעסאַנט פֿאַרן ברײטן עולם.
דער װאַרשעװער „פֿאַראײן פֿון ייִדישע ליטעראַטן און זשורנאַליסטן‟ אױף טלאָמאַצקע 13 איז געװען דער סאַמע באַרימטסטער ייִדישער ליטעראַרישער קלוב, באַשריבן אין צענדליקער זכרונות און בעלעטריסטישע װערק. אָבער דאָס איז ניט געװען דאָס ערשטע ייִדישע קאַפֿע־הױז אין װאַרשע. קאַפֿעען זײַנען געװאָרן פּאָפּולער אינעם אָנהײב צװאַנציקסטן יאָרהונדערט, װען װאַרשע איז געװאָרן אַ מאַגנעט פֿאַר אָרעמע יונגע אינטעליגענטן, און בפֿרט ליטװאַקעס. אײניקע פֿון זײ האָבן געחלומט װעגן אַ ליטעראַרישער קאַריערע אױף ייִדיש אָדער העברעיִש. זײ האָבן זיך געפֿילט הײמיש בײַ יחזקאל קאָטיקן, דעם מחבר פֿון באַרימטע זכרונות װעגן דעם ייִדישן לעבן אין רוסלאַנד אינעם נײַצנטן יאָרהונדערט. מען פֿלעגט דאָ זיצן שעהען לאַנג און לײענען צײַטונגען, שמועסן װעגן ליטעראַטור און פּאָליטיק און אַפֿילו פֿירן געשעפֿטן. דערצו נאָך זײַנען די קאַפֿע–הײַזער װינטערצײַט געװען װאַרעם, װאָס איז אױך געװען װיכטיק פֿאַר די אָרעמע באַזוכער.
אָן װאַרשעװער קאַפֿעען, און על–אחת–כּמה–וכמה אָן דעם שרײַבערקלוב אױף טלאָמאַצקע 13, װאָלט די ייִדישע ליטעראַטור אַװדאי געװען אָרעמער און שיטערער. פּינסקערס בוך איז װי אַ מין ייִדישע ליטעראַטור־געשיכטע, װאָס באַטראַכט די טעמע פֿונעם שטאַנדפּונקט פֿון קאַפֿע־טישן. די װאַרשעװער קאַפֿעען זײַנען געװען װיכטיק ניט נאָר פֿאַר „ייִדישע‟ ייִדן, נאָר אױך פֿאַר אַזעלכע, װאָס האָבן געשריבן אױף פּױליש, װי יוליאַן טובֿים אָדער אַנטאָני סלאָנימסקי.
דער עפּילאָג פֿון דער װאַרשעװער ייִדישער קאַפֿע־קולטור האָט זיך אױסגעשפּילט אינעם געטאָ, װוּ עס זײַנען אױך געװען עטלעכע קאַפֿעען: „דער געטאָ־קאַפֿע איז אַ קאָמפּליצירטער אָרט פֿון קאָלאַבאָראַציע, קולטורעלן לעבן, קאָמערץ און עליטיזם,‟ שליסט פּינסקער זײַן קאַפּיטל װעגן װאַרשע.
אין װין און בערלין זײַנען געצײלטע קאַפֿעען געװאָרן אַ מקום־מקלט פֿאַר ייִדישע אימיגראַנטן און פּליטים, װאָס זײַנען לרובֿ געקומען נאָך דער ערשטער װעלט־מלחמה. די דאָזיקע דײַטשיש–רעדנדיקע הױפּטשטעט האָבן צו יענער צײַט שױן געהאַט פֿאַרמאָגט אַ רײַכע קולטור פֿון ליטעראַרישע און קינסטלערישע קאַפֿעען. בײַ אַ סך ייִדישע ליטעראַטן זײַנען די קאַפֿעען געװאָרן „סטאַנציעס אױף דעם טראַנס־נאַציאָנאַלן זײַדן־װעג‟ פֿון עמיגראַציע, װאָס האָט זײ סוף־כּל–סוף געבראַכט קײן אַמעריקע אָדער ישׂראל. דערבײַ האָבן זײ מיטגעבראַכט שטיקלעך פֿון דער דאָזיקער קולטור מעבֿר־לים, קײן ניו־יאָרק און תּל־אָבֿיבֿ. די ניו־יאָרקער קאַפֿעען װערן געשילדערט אין דער אַמעריקאַנער ייִדישער ליטעראַטור, װי למשל „שלומס קאַפֿע‟ אין דוד איגנאַטאָװס ראָמאַן „אין קעסלגרוב‟. איגנאַטאָװ שילדערט דעם דאָזיקן לאָקאַל װי אַן „אָרט פֿון קאָנפֿראָנטאַציע צװישן פֿאַרשידענע השׂגות װעגן דער ייִדישער ליטעראַטור‟. ניט װײניק הײסע סיכסוכים האָט מען דאָ געפֿירט אױך װעגן דער ראַדיקאַלער פּאָליטיק.
צום שלוס שרײַבט פּינסקער: „די שטאָטישע קאַפֿעען האָבן געדינט ניט נאָר װי צענטערס פֿון מיגראַנטישע קולטורעלע נעצװערק, אָבער אױך װי אַ מקום–מקלט פֿאַר הײמלאָזע מענטשן, פֿאַר קאָסמאָפּאָליטישער פֿילשפּראַכיקײט, װאָס איז געװען אין געפֿאַר פֿון צעשטערונג מצד די נאַציאָנאַליסטישע אידעאָלאָגיעס.‟ אָבער הײַנט, איז פּינסקער משער, שפּילן די קאַפֿען מער נישט אַזאַ חשובֿע קולטורעלע ראָלע. „פֿײסבוק‟ און אַנדערע װירטועלע לאָקאַלן האָבן איצט פֿאַרנומען זײער אָרט.
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Iran Loses Contact With Palestinian Terror Proxies Amid US-Israel Strikes: Report
Smoke rises following an explosion, after Israel and the US launched strikes on Iran, in Tehran, Iran, March 3, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
The Israeli-American offensive targeting Iran’s military and security apparatus has led to a loss of communications between the Iranian regime and its Palestinian terrorist proxies, according to a new report.
Palestinian factions both in and outside of Gaza, especially Hamas and Islamic Jihad, have lost contact with Iran’s Islamic Revolutionary Guard Corps (IRGC) since the US and Israel began launching large-scale strikes against Iran this past weekend, the Arabic newspaper Asharq Al-Awsat reported on Tuesday.
It remains unclear whether the IRGC officials responsible for dealing with the Palestinian terrorist groups were killed in the strikes or are operating with special safety measures. However, sources told Asharq Al-Awsat that the Iranian commanders conveyed messages in different ways during last June’s 12-day war with Israel, indicating a disruption in reliable communication channels during the current conflict.
The US and Israel have killed dozens of top Iranian officials over the past few days of military action.
“Normally, messages are transmitted in encrypted ways, either electronically or in other ways. Since the beginning of this war, no messages have been received,” the Palestinian sources said.
Iran has long supported and expanded its regional network by providing financial and military assistance to its terrorist proxy groups, including the Houthis in Yemen, Hamas and Islamic Jihad in Gaza, and Hezbollah in Lebanon, among others.
Palestinian factions — particularly Palestinian Islamic Jihad and smaller groups — have been facing a severe financial crisis for months amid a sharp decline in Iranian support, as Tehran grapples with mounting international sanctions and domestic crises that have constrained its ability to sustain funding, arming, and training for its terrorist networks.
Even prior to the Israeli-American strikes, Palestinian sources told Asharq Al-Awsat that they feared “the collapse of the Iranian regime, which would mean the end of support without return.”
The consequences are expected to be significant but less severe for Hamas, which has been ramping up efforts to rebuild its military capabilities and maintain tight control inside the Gaza Strip through a brutal crackdown on internal opposition, reflecting its broader network of support compared with Islamic Jihad and other smaller factions that remain heavily dependent on Iranian backing.
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Support for Israel, Trump Gaza Peace Plan Remains High Among US Voters, New Poll Finds
Pro-Israel rally in Times Square, New York City, US, Oct. 8, 2023. Photo: REUTERS/Jeenah Moon
A new national survey suggests that American support for Israel remains resilient overall but with notable generational divides that could shape the future political landscape.
According to the February 2026 Harvard CAPS / Harris Poll, strong majorities of US registered voters back policies aligned with Israel’s security posture and express approval of President Donald Trump’s handling of the conflict in Gaza. At the same time, the data shows that support for Israel fluctuates significantly depending on age.
Notably, the survey was conducted last week on Wednesday and Thursday, just before the US and Israel launched their military campaign against Iran over the weekend.
Among respondents, 73 percent of voters say they support Trump’s Gaza deal framework. The proposal, aimed at restructuring governance and stabilizing post-war conditions in Gaza, commands bipartisan backing in the poll’s toplines.
The plan calls for the dismantling of Hamas’s military and political control, the establishment of an interim administrative authority backed by regional Arab partners, and a major internationally funded reconstruction effort. Trump has also emphasized expanding normalization between Israel and Arab states, building on the Abraham Accords, as a cornerstone of long-term stability, while maintaining Israel’s security oversight during a transitional period.
Voters appear to prioritize stability and deterrence, responding favorably to an approach framed around preventing Hamas from reasserting control and reinforcing Israel’s long-term security.
The poll shows that a clear majority of Americans continue to side with Israel over Hamas and support Israel’s right to defend itself. However, support levels vary considerably by age group.
Older voters, particularly those over 55, show the strongest pro-Israel sentiment, with large majorities backing Israel’s military actions and expressing sympathy with Israel over the Palestinians. Voters between 35 and 54 also lean pro-Israel, though by narrower margins.
The sharpest contrast appears among younger voters. Americans under 35 remain more divided, with significantly lower levels of sympathy toward Israel and greater skepticism about its military campaign in Gaza. While even in this group Israel retains meaningful support, the margins are slimmer and opposition more vocal.
The generational gap reflects broader cultural and media consumption differences, as well as the impact of campus activism and social media narratives. Yet the topline remains clear: despite softness among younger voters, Israel continues to command majority support nationwide.
Further, strong and stable majorities support Israel over the Hamas terrorist group. According to the survey, 71 percent of Americans support Israel over Hamas. However, support for Israel heavily fractures along age lines. Per the poll, 82 percent of those over 55 years old support Israel, compared to only 62 percent between the ages 35-44. However, a striking 58 percent of those between the ages 18-24 support Hamas over Israel, indicating a groundswell of backing for a foreign terrorist organization among American youth.
In the nearly two-and-a-half years following the Hamas-led Oct. 7, 2023, massacre across southern Israel, support for the Jewish state has seen significant declines across political and age lines in the US. Younger Americans, particularly, have largely turned against Israel. The increasingly tense relationship between Israel and US voters has become a flashpoint in Democratic primaries, with liberal political hopefuls increasingly vowing not to accept support from the American Israel Public Affairs Committee (AIPAC), the preeminent pro-Israel lobbying group in the US.
The February poll was conducted among 1,999 registered voters, with a margin of error of ±2 percentage points.