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‘An American Tail’ musical adaptation hopes its Jewish immigration story will resonate in 2023
(JTA) — Itamar Moses was 10 years old when he watched “An American Tail” at his Jewish day school in California. He was struck by the 1986 film, an animated musical about a family of Russian-Jewish mice who immigrate to America. Even though he was surrounded by Jewish classmates and teachers, he had never seen a cartoon with Jewish protagonists.
“Watching this mainstream hit American animated movie where the central character and the central family were specifically Jewish — it was unusual,” Moses told the Jewish Telegraphic Agency. “I think there was something that felt inclusive to us about that.”
Now a Tony Award-winning playwright, Moses has adapted the children’s classic for the stage. “An American Tail the Musical” will premiere at the Children’s Theatre Company in Minneapolis on April 25 and run through June 18. Along with writing by Moses, who won his Tony for a Broadway adaptation of the Israeli film “The Band’s Visit,” the new production features familiar songs such as “Somewhere Out There” and new music and lyrics by Michael Mahler and Alan Schmuckler (“Diary of a Wimpy Kid the Musical”). The team hopes to tour the show if it has success in Minneapolis.
The original film created by Don Bluth and Steven Spielberg follows the journey of a young, tenacious mouse named Fievel Mousekewitz. Fievel’s family lives below the human Moskowitz family in Shostka, a city in the Russian Empire, in 1885. Spielberg, who had yet to make “Schindler’s List” or widely address his Jewish family history, named the character after his maternal grandfather — Phillip or “Fievel” Posner — an immigrant from Russia.
The movie begins with the Mousekewitzes and the Moskowitzes celebrating Hanukkah when Cossacks tear through Shostka in an antisemitic pogrom, together with their animal counterparts — a battery of evil cats. The Mouskewitzes flee Europe and board a ship to America, where Papa Mouskewitz (voiced by Nehemiah Persoff) promises “there are no cats” and “the streets are paved with cheese.” But a thunderstorm at sea washes Fievel overboard, leaving his devastated parents and sister to arrive in New York City without him. Although they believe he did not survive, Fievel floats to shore in a bottle and sets out to find his family.
Of course, he quickly learns there are cats in America — along with corruption and exploitation. Fievel is sold to a sweatshop by Warren T. Rat, a cat disguised as a rat. A crooked mouse politician called Honest John (a caricature of the real Tammany Hall boss John Kelly) wanders Irish wakes, scribbling dead mice’s names in his list of “ghost votes.” But Fievel finds camaraderie with other immigrant mice rallying for freedom from the cats’ attacks and Warren T. Rat’s extortion. He befriends Italian mouse Tony and Irish mouse Bridget, who join the quest to reunite his family.
The film’s metaphors will be presented similarly in the stage version, which is also set in the 1880s, although Moses has expanded its lens on the immigrant groups that populated New York at the time. The musical will incorporate more “mice” communities, such as Chinese, Caribbean and Scandinavian mice, along with African Americans and former slaves.
A scene from rehearsal. (Kaitlin Randolph)
“An American Tail” was part of a shift in mainstream media toward Jewish representation, said Jennifer Caplan, an assistant professor of Judaic Studies at the University of Cincinnati who has studied this cultural change.
“It came out in 1986, and then ‘Seinfeld’ premiered in 1989,” Caplan told the JTA. “People point to 1989 as this moment when representations of Jews changed. There was this feeling in the late ‘80s that people were looking for new, different, possibly even more explicit representations of Jews.”
Yet despite the movie’s resonance with children like Moses, some film critics complained that it wasn’t Jewish enough. Critics Gene Siskel and Roger Ebert gave the film “two thumbs down” on a 1986 episode of their program “At The Movies,” calling it “way too depressing” for children and arguing that it “chickened out” of an explicitly Jewish story. Ebert noted that while most adults would understand the Mousekewitzes were Jewish, the word “Jewish” never appears in the film, potentially leaving young audiences in the dark.
“This seems to be a Jewish parable that doesn’t want to declare itself,” he said at the time.
Unlike in Art Spiegelman’s graphic novel “Maus,” where Jews are mice and Nazis are cats, the cat-and-mouse metaphor of “An American Tail” is expansive. The cats represent a universal force of oppression — Cossacks in Russia or capitalists in America — while the mice encompass all persecuted immigrants, regardless of their religion, ethnicity or national origin.
Caplan admitted that some might not have seen it as a Jewish story at the time.
“In 1986, we’re right at the birth of the multicultural push in American schools,” said Caplan. “You’ve got kids who are learning about the melting pot. I think if you are not looking for the coded Jewishness and you’re not familiar with it, then this just seems like a movie about immigrants.”
But Moses, who said the movie held a “mystical place” in his imagination, did not view the story’s broad allegory as a shortcoming. Instead, he saw an opportunity to pull its continuous thread for a message he hopes will feel relevant today: that while immigrants discover inequality and abuse in America, the forces of injustice are changeable, and that people can overcome life’s harsh realities through “grit and hard work and coming together.”
“That message is always timely, but definitely coming out of the last few years and the conversations that America is having about immigration,” said Moses. “I wanted to tell this story that’s really a fable, so you can get at these ideas indirectly as opposed to in a dry, didactic way.”
Jodi Eichler-Levine, a Jewish studies professor at Lehigh University, argued the tale’s success lies in being a “story of Jewish immigration that appeals to non-Jews as well” and called the movie a “fairytale about America.” It premiered 100 years after the Statue of Liberty’s dedication in 1886, amid centennial celebrations of the country’s immigration history. In the film, the statue comes alive, winking at Fievel and his sister once they find each other and look west at the vast expanse of the United States.
Itamar Moses won acclaim for adapting “The Band’s Visit” for Broadway. (Courtesy of Moses)
Whether viewers still buy into the optimistic crescendo of “An American Tail” remains to be seen. Do Americans still believe, as Moses hopes, that immigrants and oppressed peoples can unite to overthrow the tyrants of unfettered capitalism? A Gallup poll from February showed that Americans’ satisfaction with the country’s level of immigration has dropped to 28%, the lowest point in a decade.
Moses is betting that children’s theater has a way of refreshing themes adults have exhausted with political discourse. Children want to grapple with the ideas at the core of the show, he said, such as “the needs of the individual and the needs of the collective, the need to go out on your own but still remain connected to your family and your background.”
“The most successful material for kids tends to engage with real things that they’re thinking about and worrying about,” he said.
Today, another wave of families has fled Fievel’s hometown: though Shostka was part of the Russian Empire in the 19th century, it is now in the Sumy region of northeastern Ukraine. The Sumy Oblast was among the first regions stormed by Russian forces in February 2022 and continues to suffer daily shelling. Eichler-Levine expects that global refugee crises will only continue to broaden the appeal of a migration story.
“The ideas [in An American Tail] are sadly relevant for most of the planet right now, given that climate change and devastation from war are leading to another tremendous wave of global migration,” said Eichler-Levine.
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Israeli tourists could soon be required to show 5 years of social media history to enter the US
(JTA) — Israelis seeking to visit the United States could soon be required to submit five years of social media history, according to draft regulations published by the U.S. Department of Homeland Security this week.
The regulations would apply to tourists from 42 countries, all allies of the United States, that are enrolled in the government’s Visa Waiver Program that allows passport holders to visit for up to 90 days without a visa.
Israel was first designated into the Visa Waiver Program by DHS in September 2023. The same year, Israeli tourism to the United States reached 376,439, followed by 417,077 in 2024, according to Statista.
The proposed regulations come as the Trump administration seeks to tighten borders. In April, the U.S. Citizenship and Immigration Services announced that it would scrutinize the social media accounts of people applying to immigrate and international students for “antisemitic activity.” But the regulations mark a shift toward examining the records of people who are trying to visit, not move to, the United States.
In response to a question from a reporter Wednesday about whether the new requirement would cause a “decline in tourism,” President Donald Trump demurred.
“No. We’re doing so well,” Trump said. “We just want people to come over here, and safe. We want safety. We want security. We want to make sure we’re not letting the wrong people come enter our country.”
The new regulations would overhaul the Electronic System for Travel Authorization, or ESTA, an online application that tourists included in the Visa Waiver Program have recently been required to submit before entering the country.
It was not immediately clear how tourists would submit their social media history under the proposed regulations, or even what such a request could constitute in an era when people maintain many social media accounts and post prolifically on them.
The DHS notice began a 60-day period for public comment on the regulations this week. A spokesperson from Customs and Border Protection told the Jewish Telegraphic Agency in a statement that the notice was preliminary.
“Nothing has changed on this front for those coming to the United States. This is not a final rule, it is simply the first step in starting a discussion to have new policy options to keep the American people safe,” the statement read. “The Department is constantly looking at how we vet those coming into the country, especially after the terrorist attack in Washington DC against our National Guard right before Thanksgiving.”
The Nov. 26 shooting of two National Guard members by a suspect who is an Afghan national triggered several restrictions on immigration by the Trump administration. The suspect entered the country legally and has not been publicly alleged to have had a social media track record that might have elicited alarm.
The potential regulation comes as Israeli soldiers have faced scrutiny for their posts on social media during the war in Gaza, with some soldiers fleeing countries they have visited that are less friendly than the United States to Israel over the threat of potential war crime inquiries.
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6 hostages murdered in Gaza lit Hanukkah candles in captivity, newly released footage shows
(JTA) — Two months after they were taken hostage, and eight months before they would be murdered, the Israelis who would later be known as the “Beautiful Six” were herded into a new section of the Hamas tunnel where they had been held.
There, their captors took hours of video of the young adults as they lit a makeshift menorah, sang traditional Hanukkah songs and, after being prompted, offered holiday greetings to the camera.
“Where are the sufganiyot?” asked Eden Yerushalmi.
“We’re waiting for Roladin in the land [of Israel],” joked Hersh Goldberg-Polin, referring to one of the most prominent purveyors of Hanukkah donuts in Israel.
The other hostages — Ori Danino, Almog Sarusi, Alex Lubanov and Carmel Gat — sit with their fellow captives. Sarusi appears visibly distressed as he makes the blessing over the candles, and the cameraman captures wrenching comments as the six young adults sing the song “Maoz Tzur.”
Goldberg-Polin explains that there are six verses in the song, “one for each time they tried to kill us and failed.” Yerushalmi responds, “We need to add another verse.”
In another video, Lubanov is instructed to shave the heads of his fellow male hostages. While shaving Danino, he recalls the movie “The Pianist,” set during the Holocaust, and says he is like a barber in that setting.
“This situation is not that far from the Holocaust,” Danino replies, looking at a mirror that a third person, possibly from Hamas, is holding up.
Some of the footage appeared intended to fuel the kind of hostage videos that Hamas released intermittently during the war, but Hamas never put it out. Instead, the footage was recovered by the IDF about three months ago during a raid on a hospital in Khan Younis and was delivered to the families of the hostages about six weeks ago, according to YNet News. It was released publicly on Thursday.
The video adds to accounts that many of the hostages sought to maintain Jewish practices and traditions while in captivity, though it is the first to suggest that such practices might at times have been facilitated or coerced by their captors.
“Lighting Hanukkah candles in that dark place captures the essence of the Jewish spirit: light prevailing over darkness,” the hostages’ families said in a statement released by the Hostages and Missing Families Forum.
“Hamas filmed these videos as propaganda, but the humanity of the beautiful six shines through this footage. It is stronger than any terrorist organization. These videos bear witness to evil and failure. The entire world must see our loved ones in these moments, their unity, strength, and humanity even in the darkest times. They were taken alive, they survived in captivity, and they should have come home alive,” the statement continues. “Nothing will bring our loved ones back to life. Only bringing the truth to light, only genuine accountability at the national level, can bring justice and healing to all our hearts.”
We will never forgive and we will never forget how our hostages were treated by Hamas in Gaza.
Despite the horrific torture and humiliation, our brave and courageous hostages never lost hope, and even continued to light Hanukkah candles to bring light into a world of darkness. pic.twitter.com/wv3PSnbQZk
— Danny Danon 🇮🇱 דני דנון (@dannydanon) December 11, 2025
The release of the footage has renewed grief over the murder of the hostages, which closely followed the collapse of ceasefire negotiations in July 2024. Some of the hostages, including Goldberg-Polin, who lost an arm on Oct. 7, had been on the list for release had a deal come together. Since then, Israeli officials have counted the hostages, whose bodies were retrieved soon after they were killed, among those rescued by the Israeli military.
“What heroes,” Goldberg-Polin’s mother, Rachel Goldberg-Polin, told Channel 12, according to the Times of Israel. “Six young luminous people who did everything right and they stayed alive and they did their part, and for us to claim we brought them back, in bags, bags of children to their parents, please don’t count Hersh among the people you saved.”
News of their deaths triggered mass protests in Israel opposing Israeli Prime Minister Benjamin Netanyahu’s failure to reach a deal the month before. In September 2024, Netanyahu issued an apology to the hostages’ families.
The video comes as the body of the last remaining hostage in Gaza, Ran Gvili, has yet to be returned to Israel, two months after a U.S.-brokered ceasefire deal between Israel and Hamas that required the release of all of the remaining hostages. Twenty living hostages and 27 deceased hostages, most but not all killed on Oct. 7, have since been returned.
The video appeared to be taken months before the group of six were killed in Hamas captivity in Rafah on August 29, 2024, shortly after the collapse of ceasefire negotiations with Hamas that could have led to the release of some of them.
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How Montana teachers use a Hanukkah kit to teach students who’ve never met a Jew
In Montana, students across the state — from Hutterite colonies to Native American reservations — are learning about Hanukkah in school: playing dreidel, lighting candles, and reading a picture book that tells the true story of Billings residents who united against antisemitism.
That’s thanks to the Montana Jewish Project, which is in its third year of distributing 50 “Hanukkah curriculum boxes” to public school teachers around the state, many in rural areas with few to no Jewish students in their classrooms. Teachers who sign up for the box receive it free of charge.
“A teacher at a school with a large Mennonite population went out of her way to email us and say, Thank you so much. This resonated so much with my students,” said Rebecca Stanfel, executive director of the Montana Jewish Project. “It makes a lot of sense, because the lesson plan is really about accepting everyone in your classroom, whatever their faith tradition.”
Montana, home to the most hate groups of any state and a Jewish population of a few thousand, tends to be the subject of alarming headlines: “Neo-Nazis urge armed march to harass Montana Jews” and “Jewish man attacked in Montana by self-proclaimed Nazi on Oct. 7,” most recently.
But the state has also been a national model for how to effectively push back against hate. In 1993 in Billings, neo-Nazis threw a brick through a 6-year-old Jewish boy’s bedroom window, which was displaying a menorah. In response, the Billings Gazette printed a full-page picture of a menorah for readers to cut out and tape to their windows. Thousands posted the menorahs to show solidarity.
So when it came to teaching Montana’s students about Hanukkah, Stanfel knew she wanted to go beyond the Maccabees and include that local story — one that counters common stereotypes about Montana as a white Christian nationalist safe haven. Each Hanukkah box includes a copy of The Christmas Menorahs: How a Town Fought Hate, which recounts the Billings story, along with suggested discussion questions.
One prompt asks students: “What would you have done if you were in Billings at the time? Would you have encouraged your family to display a menorah? Why or why not?”
Heather McCartney-Duty, a fifth grade teacher at an elementary school in the city of Choteau, population 1,700, knows of three Jewish students at her school — and they’re all siblings. That made it all the more important to teach about Hanukkah, she said, both to educate non-Jews and help her Jewish students feel included.
With the help of Montana Jewish Project’s box, she read her students the picture book, taught them to play dreidel, lit candles, decorated the classroom in blue and white, and even displayed a “mensch on the bench.”
“The news stories that hit out of Montana are, Oh, the Unabomber. Oh, the Freemen. What crazy thing has Montana done today?” McCartney-Duty said. “So to have this massive effort towards pushing back against hate and pushing back against bullies, it’s very significant to kids that it happened in Montana.”
Another teacher using the Hanukkah box, Courtney Hamblin, is adapting the lesson for her older students at a high school in Billings. She’s coupling the story with watching the PBS documentary Not in Our Town and reading newspaper archives about the display of solidarity.
That lesson will prepare her students to read Night by Elie Wiesel in the coming months, she said, helping them become more familiar with Jewish references in the book.
To her, the Billings story shows students “that something local can become national,” Hamblin said. “I’m trying to teach them that little acts of kindness can balloon into these big things.”
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