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Among Ukraine’s Jews, a year of war has transformed the ordinary into the sacred
TRUSKAVETS, Ukraine (JTA) — Nearly 600 Jews stand shoulder-to-shoulder, eyes trained on the young man leading the service to close out Shabbat. The crowd sings a soulful havdalah tune that lifts up its final words: “hamavdil ben kodesh l’chol” — ”the One who divides between sacred and ordinary.”
It looks like a Shabbat gathering anywhere else in the world, but I’m in the western Ukrainian city of Truskavets, where — from every part of their conflict-scarred country — these Jewish community volunteers have come together for a four-day retreat, energized by the chance to learn from each other and take a deep breath.
I’m back in Ukraine for the first time since the crisis began to learn from these men and women making miracles happen. I came to document and share stories from this gathering. Remarkably, it’s the largest-ever in the former Soviet Union arranged by my organization, the American Jewish Joint Distribution Committee, or JDC, which has worked to aid needy Jews and build Jewish life in the region for decades.
With its wine and sweet-smelling spices, havdalah eases the transition from the holy purity of Shabbat to the workaday mundanity of the week. Surrounded by hundreds of Ukrainian Jews, I felt uplifted, as I always do when I travel to this region and see its defiant, vibrant Jewish life.
The usual rules don’t apply. Here, the ordinary becomes sacred.
On this, my 14th trip to the former Soviet Union in 10 years, I’ve come to know it as a place where that switch is truly flipped. Rebuking a painful history, from the Holocaust to Soviet oppression, everyday actions become lifesaving and essential. That’s never been more true than this past year, as Jewish communities here worked overtime to meet the enormous humanitarian needs of this crisis.
Simple flashlights become beacons enabling home care workers to reach the bedridden elderly Jews they serve. Bus trips between cities are transformed into escape hatches for those fleeing rocket attacks. A box of nonperishables is manna from heaven for those faced with empty grocery shelves, and each call from a volunteer is a life raft for the loneliest seniors and most vulnerable at-risk families.
Over the last year, more than 3,000 volunteers engaged in projects affecting 36,000 people. This work is part of our expansive response to this crisis — supported by the Jewish Federations of North America, the Claims Conference, International Fellowship of Christians and Jews, individuals, families, corporations and foundations. It includes providing uninterrupted assistance to 43,000 Jews in Ukraine and the delivery of 800 tons of humanitarian aid. Among those we help are the elderly and families, internally displaced people, and the new poor who have lost their livelihoods in the devastation.
A song leader leads participants in havdalah at JDC’s volunteer Shabbaton in Truskavets, Ukraine, February 2023. (Arik Shraga)
Not blind to the challenges they face, Jews and Jewish communities here are resilient and resolute in the knowledge that there’s something more important at play. It’s a clarity of purpose that means, against all odds, they’ve grown even stronger.
“My fears were boiling me alive,” said Tatiana Chumachenko, a 34-year-old Odessa mother of two. She started volunteering this summer and now runs weekly cooking classes and art therapy sessions for elderly Jews. “So I made the decision to widen my world — to take on more responsibility, to take care of more people. And volunteering literally saved me.”
Thousands of Ukraine’s Jews just like Tatiana have chosen determination, not despair. They’ve driven through besieged cities delivering medicine and firewood, power generators and portable heaters. They know their Jewish values demand action and compassion, and so they’ve stepped up.
Daria Yefimenko, the head of our network of 25 volunteer centers across Ukraine, is that resolute determination personified. The air raid siren went off the other day as I was interviewing her — a shocking noise, made more frightening by its maddening vagueness: What’s happening? Where? Am I in danger, or is this just background noise?
I learned later that just a few hours before I arrived in Ukraine, a missile had struck Drohobych, only 10 kilometers from the Shabbaton.
Yefimenko seemed unshaken. She and her team — her “family of superhero volunteers” — live here, of course. They must cope with brutal shelling and unpredictable electricity cuts. They have daily fears for their loved ones, and rising anxiety about what the future holds. They help their neighbors even as they share their pain and struggles.
And they keep on going.
Alex Weisler joins the massive group havdalah at JDC’s volunteer Shabbaton in Truskavets, Ukraine, Feb. 18, 2023. (Arik Shraga)
There are so many stories in this part of the world — World War II stories, Soviet stories, stories of rebuilding and reimagining Jewish life after the Soviet Union fell. I’m curious about the one we’ll tell when this is all over.
Will we remember how Jews supported each other in the darkest days? We should.
Before the massive Shabbaton havdalah, I led a smaller version at the hotel down the road where we have housed hundreds of internally displaced people since the earliest days of the Ukraine crisis.
Six elderly Jews from the Zaporizhzhia region joined me for their first havdalah ever. Among the group was 76-year-old Alla Hodak, who fled from a place with significant devastation.
Alex Weisler leads a group of internally displaced Ukrainian Jewish community members in their first-ever havdalah ceremony, Feb. 18, 2023. (Arik Shraga)
Here, observing Jewish rituals in a third-floor alcove, she had begun to form a makeshift community—not quite home, but not alone either. “You made sure we were never abandoned to fate,” she told me.
In that moment of stark intimacy, our small group blessed the wine, smelled the cinnamon, and felt the warmth of the braided candle. It bound us together and reminded us that drawing a distinction between then and now can be holy, too.
As we take stock of a year of grief and grit, we must guarantee that the next one is a kinder one. We must recognize our own hands as sacred tools and each member of our global Jewish family as holier still.
There’s nothing ordinary about that. Each person and each day has become an opportunity to do good for those who need us most and build their future together. That’s the only way forward.
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Eliya Smith says plot is what happens when you’re busy doing nothing
Eliya Smith’s dad has seen her play Dad Don’t Read This. He’s kvelled at its every iteration.
“He’s always like, ‘Are people gonna know that I’m Dad?’” Smith, 28, said on the day of the Knicks Victory Parade. The streets of the West Village, where we met for coffee, were teeming with orange and blue; she was wearing a baseball cap with some sort of bird, a heron or maybe a penguin, swallowing a fish.
“I always think it’s funny that he’s like, ‘I’m here and I have no complicated feelings.’”
Smith’s father isn’t the title character of the piece, which is about four high school friends, the computer game The Sims and the existential angst of adolescence, but technically he is. Smith started writing the show about a decade ago, during Thanksgiving break from Harvard. She needed the pages printed and emailed them to her father with the injunction as a kind of title page. (The following page read, “If you’re reading this page, it means you started to read. Stop reading.”)
The play is a work of fiction, as are all its characters. But the real-life command became a guiding principle — and the first lines — of the show.
“There is like a sort of frame of, ‘This play isn’t for you,’” said Smith, a former Forward editorial fellow who, last year made her Off-Broadway debut with the play Grief Camp. “I think the audience should reckon with the experience of watching it. Not that I’m like, ‘Fuck you for coming to my play,’ I’ll always be grateful, but I think my favorite parts of the play are when it really feels like they’re like doing the play for each other.”
Dad Don’t Read This is what Smith calls her first real, full play. Unsatisfied with her earlier attempts, she took a crack at writing what she knew: boredom and Ohio (in her mind synonymous) and the endless hours she spent in her basement chatting with friends. That and The Sims, the life simulator where players construct the world and circumstances of flailing, gibberish-spewing suburbanites.
“When I was in high school, I feel like I would sometimes play The Sims and be like, ‘If only it were this easy,’” Smith said. She had a cheat code that could defy Maslow’s Hierarchy of Needs: When a Sim had to pee, you could drag the need away. She found herself thinking, “’I wish I could do that for myself, that I could just like drag away the sadness.”
In the show, this sentiment is embodied by Mal (Amalia Yoo, hot off her turn as another high schooler in the midst of a best friend breakup in John Proctor is the Villain), who tries to manipulate her friends the way she does her pixilated people.
Smith isn’t Mal, but the character’s Ohio ennui (Smith’s from Columbus) and some of her feelings are true to her high school self. OK, Smith’s like her in one way: She, like Mal, had a cousin who gave her a Sims cheat code for unlimited money.
The connection between the world of The Sims, and the control it signifies, has a natural extension in playwriting.
“You become a playwright because you have control issues,” Smith conceded. “When I’m writing it on the page, I can manipulate the characters how I want, and then we start rehearsing it, and I lose a little more control, and then it’s like the more the play becomes its own thing.
“I think it is actually the reason I became a playwright, because I love the moment where my desire to control everything is sort of overruled,” Smith said. Still, it’s often painful for her to be present as her words are performed.
About the hat — the one with the bird — she often feels the need to wear one when she sits in the audience, not to be incognito (she’s been told it makes her more conspicuous) but to block some of her field of vision so she doesn’t have to see some patron sigh or look at their phone.
Smith and I move from the coffee shop — whose vibe she compares, no shade, to the fast fashion brand Brandy Melville — over to the Greenwich House Theatre, where Dad Don’t Read This just transferred from St. Luke’s Theatre in midtown, earning a New York Times Critic’s Pick.
We plop into swivel chairs in the dressing room and catch up. Eliya left the Forward in 2021 to go to grad school at UT Austin. She’s only really been living in New York full time for about a year, calling Park Slope home. Life in Austin, she said, felt almost like an extension of high school in Ohio. She’d drive around bored with her friends. She misses the heat.
“I feel like there’s a sort of leveling thing that happens,” she said between sips of her iced coffee. “I feel like in New York you like get off the subway and you somehow are supposed to not be sweaty from being like packed in with hundreds of other people underground, and I feel like in Texas it’s so hot that it’s just totally fine, everyone is kind of disheveled and gross, and it’s just like what the vibe is, and I feel like it’s really equalizing, like ‘We’re all like looking not our best,’ and I liked that.”
She has yet to write her Texas play — or her New York one.
“I feel like everything I write is on a five-year delay,” said Smith, whose produced plays often circle the Buckeye State. (Last season’s Grief Camp took place in Virginia, but also followed young people; another play, about Holocaust memory, was called Deadclass, Ohio and, aptly, played at the New Ohio Theatre in Manhattan.) “Until I was like 23 I was like I can only write about being 17.”
Her new projects, Two Girls, a metatheatrical work about a shock porn video, and Biography (her least autobiographical piece to date), are departures.
It’s hard to explain the exact vibe of Dad Don’t Read This. Some have likened Smith’s work to Annie Baker, who she knows from UT Austin. I propose, in moments, it approaches Chekhov at a sleepover. Smith says she would never compare herself to the Russian master, but is happy to sing his praises. Though I meant this as a compliment, it could be seen as critique: On the surface, there isn’t much of a plot.
“I often joke that I don’t like plot,” Smith said. “But that actually isn’t true. I rigorously plot all my plays, it’s just the plot is like: This character is deeply wounded because of the perceived subtext from a line about a soda, and to me, that is plot.”
She also believes Top Gun: Maverick is the best movie ever in part because of how much happens. You can tell she is sincere, while knowing this is somewhat absurd to discuss in the same breath as The Cherry Orchard.
“You can have great art like Top Gun: Maverick, that is very sort of like there’s a story and these are all the beats, and you can also have Chekhov where the plot is like a wound that you couldn’t even name.”
Ineffable feelings are the engine of Dad Don’t Read This. Mal and her friends try and fail to articulate just what is going on in their little lives, where the inconsequential is the only thing that matters.
While firmly of a generation — it’s set in 2014, the actors are a few years younger than Smith — the play has found older admirers. Helen Shaw of The New York Times ranked it one of her top shows of the season. The New Yorker’s Adam Gopnik will participate in a “Dad Affinity Night” on June 28.
The key to its connection may well be what’s absent from the stage — smart phones and social media are nowhere to be seen. It’s intentional.
“We like don’t have boredom anymore, because we have phones, and so I’ve been trying to figure out how do I put characters in a situation where they can be extremely bored and where that can be dramatically intriguing,” Smith said. “And also, like, how do I make boredom resonate with an audience that doesn’t experience boredom because we look at our phones, and I do feel like being bored in Ohio is like something that I knew so intimately.”
Onstage at the Greenwich House Theatre, boredom lives. And it’s riveting.
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Shots fired in Jewish neighborhood of Montreal
(JTA) — Montreal police said an alleged shooter in a neighborhood known for its large Jewish population had been “neutralized” after killing one police officer and wounding another officer and a civilian Monday.
“A suspect has been neutralized,” the official police account posted on X after advising residents Côte-des-Neiges to stay indoors. “Two police officers and one citizen have been injured. The police operation is still underway. Continue to avoid the area. Further details to follow.”
The Montreal Gazette later reported that the suspect and the civilian also were dead.
It was not clear if the intended targets were Jewish, but a Chabad emissary in the neighborhood told Ynet, an Israeli news site, that a nearby building was targeted and that he was sheltering about 100 people.
The Yeshiva World News news site posted a video of a SWAT team swarming around a home belonging to a family affiliated with Chabad, the Orthodox Jewish movement.
Côte-des-Neiges was the scene of postwar Jewish settlement as Jewish families ascending from the working to the middle class moved west from the area of St. Laurent Boulevard. The area, with treelined streets studded with duplexes and low-rise apartment buildings, had a friendly neighborhood ambience and lacked the anti-Jewish restrictions some of the wealthier enclaves maintained at the time.
There are a number of Jewish schools and synagogues in the area, including the Spanish and Portuguese synagogue, the oldest congregation in the country, established in 1768 and which moved to the neighborhood in 1947. The neighborhood is now the site of a large Chabad community and a number of Jewish restaurants and delis.
This is a developing story.
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Everyone was a fan of Clive Davis — even if they didn’t know it
Last September I spent about 30 seconds with Clive Davis in a crowded elevator.
I was in the Sony Building, having just seen a press screening of Richard Linklatter’s Blue Moon. The elevator was full of mostly young people — probably Sony employees — and some press. The doors pinged open and in stepped a man with two handlers and an adorable spaniel. I turned to a fellow journalist and whispered “That’s Clive Davis.”
Someone who knew Clive — enough to call him “Clive” — told him we’d just seen a movie about the creative breakup between lyricist Lorenz Hart and musical composer Richard Rodgers.
“Didn’t you play Janis Joplin for Richard Rodgers,” he asked Davis.
Davis replied with perfect comic timing: “Yes. He hated it.”
That anecdote tells us just how much Davis, the legendary music executive and producer who died Monday June 22 at the age of 94, changed the musical landscape.
Davis had been in the music business long enough to serve as a bridge figure between the Great American Songbook and the popular music of the latter half of the 20th Century. The artists he signed at CBS, and later Arista (he was ousted from the CBS/Columbia for allegedly using company money to finance his son’s bar mitzvah), are enduring icons even, in the case of Ms. Joplin, decades after their deaths.
But what hit me in the elevator was the feeling that not everyone there knew who he was. They did, of course, know the music: Pink Floyd, P!nk, Whitney Houston, Sly and the Family Stone, Barry Manilow, Neil Diamond, Leonard Cohen, Bruce Springsteen and Aerosmith, the very authors of “Love in an Elevator.”
It’s not overstating it to say that Davis’ influence across genres and his golden ear provided the soundtrack to American life. His own life was productive until the end.
He was in the Sony building because he was Chief Creative Officer at the company. A week before his death, the streets were thumping with a New York anthem from one of his late career discoveries: Alicia Keys.
Davis’ rise could be taught in Jewish Studies courses. Born in working-class Crown Heights, he — like Barba Streisand — was a graduate of Erasmus Hall High. He made good at NYU and got his law degree at Harvard.
He rose from the legal department at Columbia to become the company’s top tastemaker. Somewhere along the way he discovered Joplin — of a polar opposite disposition and background — and went from strength to strength.
Davis’ true triumph might have been just how adept he was at navigating everything the U.S. had to offer. The musicians he promoted had little in common save for his imprimatur.
In that elevator, which delivered us without much fuss to the lobby, there may have been people whose musical tastes gravitated to rock, R&B, jam bands, easy listening, guitar instrumentals and jazz.
Whether they knew it or not, Davis shepherded something they liked into existence. His genius was in recognizing genius.
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