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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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The post ‘An American Tail’ musical adaptation hopes its Jewish immigration story will resonate in 2023 appeared first on Jewish Telegraphic Agency.
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He reconnected with Judaism as an adult. With his art, he hopes others do the same.
Bruce David’s magnum opus is a psychedelic lithograph depicting practically the entire Torah. Over eight months, David filled it with a plethora of hidden symbols: If you look closely, you can see Joshua blowing a shofar, which hugs the Israeli flag. Squint even more and you’ll notice Joshua’s face is the flared end of an even bigger shofar that encompasses the Ten Commandments, a shofar made up of dozens of small people, seven of whom hold flames as if making a human menorah.
To understand every hidden image in just this one painting would take more words than I have space for. David gave me the “short version” of the piece’s story on Zoom — it still took six minutes.
Although David has now spent decades making Jewish art — prints, mosaics, stained glass and metal works — and exhibiting it across the country, it wasn’t what he had anticipated doing with his life. David doesn’t have any formal art training and for several years, he lost touch with his Judaism.
“Oftentimes I’ll refer to myself as a deeply flawed holy man wannabe,” David told me over Zoom from his house in Bloomington, Indiana. “But I always had this spiritual pull.”
David grew up in Louisville, Kentucky, with a Reform father and a mother from an Orthodox family. His Orthodox grandmother, Bess Harris — who he described as a force to be reckoned with — was a particular influence on him.
“I really learned my Jewish heart from her and her love of God,” David said. “She was involved with starting a Jewish day school, a Jewish nursing home, the synagogue, and she would lead trips to Israel.”
But traditional religious practice didn’t speak to him when he was a kid. He told me that one time he even climbed out of the window during Hebrew school to go play basketball.
Years later, his wife Diane was the one who helped him find new ways to connect with Judaism. Although she was raised Catholic, Diane was curious about Judaism. David needed to refresh himself on the answers.
“We started looking at the different aspects of Judaism and different things started to make sense,” David told me. “Shabbat made sense — you know, everybody needs a time to rest, recharge. Yom Kippur makes sense as a time to forgive and be forgiven. Rosh Hashanah to start again. Sukkot to get out and celebrate and get close to nature.”
When the couple met, David’s job was making deliveries for his grandfather’s wholesale store in Louisville. For David’s 30th birthday, Diane gave him a set of pigment pencils and the art started flowing out of him. Many of his pieces are concerned with biblical stories — like his mosaic of Jonah emerging onto the shores of Nineveh or his rainbow colored print of Balaam and his donkey — and he refers to them as “visual midrash.”
Unsure what to do with his art, David went to the Hillel at Indiana University Bloomington to see if the rabbi had any ideas. The rabbi connected him with art professor Mazelle Van Buskirk who was taken with David’s work. She arranged for an exhibit at IU’s School of Fine Arts, making him the first community artist to be given such an honor and kicking off his career.
He has presented his art at Jewish schools and exhibited it at events like the National Hadassah Conference, the Cincinnati Jewish Folk Festival, and the Coalition for Alternatives to Jewish Education. His work has been on the cover of books and Jewish publications. Many of the events that have had the greatest impact on David’s life were unplanned.
“We’ve always lived our lives on miracles,” David told me.
Among these, David said, was Rabbi Shlomo Carlebach, “the Singing Rabbi” who wrote hundreds of liturgical melodies in the 20th century, conducting a (planned) conversion for Diane and an (unplanned) wedding ceremony for the couple in the 80s.
“We went to the mikvah for the conversion,” David told me. “And then he tells us ‘Oh by the way we’re going to marry you Saturday night after Shabbat.’”
Another miracle happened when David met a couple looking for someone to manage 29 acres in Bloomington overlooking Monroe Lake. Nature lovers, the couple quickly took the opportunity to live somewhere they could connect with the earth. David’s admiration for natural forms can also be found in much of his art; the shapes tend to flow and bend.
Over the 46 years that the couple has lived on their property, they’ve turned it into a home base for their Jewish worship and educational group Light of the Nations, which conducts lessons at various synagogues and JCCs through art and music. They host parties for Sukkot and the solar eclipse on their huge lawn, welcoming dozens of visitors.
David said they wanted their home to be a “place where people come out and get close to nature in life and slow down.”
Seventy-five years old and battling blood cancer, David is now spending his time focusing on helping people connect to Judaism in a holistic way and see the beauty that brought him back to religion. He’s slowed down on exhibiting his art, instead working on making sure Light of the Nations’ mission can continue once he is gone and that his art will find a home.
David hopes that people recognize in his art “that there’s this amazing, incredible life force influencing all creation.”
The post He reconnected with Judaism as an adult. With his art, he hopes others do the same. appeared first on The Forward.
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Metropolitan Police investigating abuse of Jewish attendees at London Pride
(JTA) — London’s Metropolitan Police launched an investigation Monday into antisemitic abuse at a Pride parade after videos and pictures circulated on social media showed Jewish participants enduring taunts at Saturday’s event.
The police department said in a statement that officers were “aware of videos circulating online that show antisemitic verbal abuse directed towards attendees” at the parade in central London and that footage was being reviewed to assess whether criminal offenses had been committed. The department added that it “continues to work hard to tackle hate crimes of all types.”
Videos shared online show people carrying rainbow flags incorporating the Star of David being confronted by individuals shouting “Free Palestine.” The harassment escalated with attendees shouting, “Go back to your Zionist homeland,” “You kill Arab children, you kill gay children,” “F*** you, Jew,” and “How many babies did you kill?”
The Jewish Telegraphic Agency reached out to Pride in London for comment. The group had not replied by press time.
The incident comes amid heightened concern over antisemitism in Britain since Hamas’ Oct. 7, 2023, attack on Israel, with a record number of antisemitic incidents reported over the past two years. It also comes as Pride celebrations around the world have been roiled by tensions over Israel and antisemitism.
Pride in London drew tens of thousands of participants and visitors to the Soho neighborhood in the British capital. Some Jewish LGBTQ+ organizations have in recent years chosen not to participate in Pride, citing hostility towards Zionist Jews. But this year, around 150 people marched as part of a Jewish bloc at the event.
Organizers said the return this year followed discussions with Pride in London over Jewish inclusion and commitments that organizers would undertake antisemitism awareness training in partnership with the Community Security Trust, the main security consultant to the Jewish community. Jewish LGBTQ group Keshet UK stated earlier this year that the measures were intended to help ensure Jewish LGBTQ+ participants could march “safely and openly” following concerns raised after Oct. 7.
It was not clear whether the Jewish marchers who endured the abuse were part of the official Jewish bloc – accounts from marchers who stayed with the Jewish bloc were generally positive.
“A few people came and chanted ‘free, free, Palestine,’” Israeli author and LGBTQ+ activist Hen Mazzig told JTA. “They were passing through. And there was another person who was at a cafe and then they came by and they were just staring at us.”
Mazzig shared footage from the event on X, writing, ”My pride is not affected by the opinions of others. I am gay, I am Jewish, and I’m here to stay. Am Yisrael chai.”
Mazzig splits his time between London and Tel Aviv, because his husband is British. He told JTA in a phone interview that Saturday’s incidents “were scary, especially when a Pride parade is supposed to be inclusive.”
Mazzig said that since Oct, 7, circumstances have been exceptionally challenging for the British Jewish community “but specifically for LGBTQ youth that are being forced to choose between their Jewish identity and their queer identity.”
Mazzig claimed that Jewish marchers are not accepted unless they specify that they are anti-Zionist. “Every statement of solidarity with LGBTQ Jews seems to come with a ‘but,’” he said. ‘We support you, but not if you’re physically Jewish, not if you’re supporting Israel. You have to renounce half of your identity first.’ That’s not equality.”
In advance of Saturday’s event, some 650 Met police officers were deployed to enforce “zero tolerance” on hate crimes and to ensure that attendees could “safely and securely” enjoy the parade.
When JTA asked the Metropolitan police why at least two policemen appeared to stand by as Jews were subject to abuse, the Met requested that JTA provide the video in question. After being supplied with the video, the Met later told JTA that it had nothing further to add at this stage but would provide an update if it did.
Mazzig said the Met police should consider the abuse at the parade “shameful and it should alarm everyone.”
He added, “I hope that we stop debating whether or not antisemitism is real and accept it. And that communities that are supposed to be inclusive and pluralistic start taking action.”
The post Metropolitan Police investigating abuse of Jewish attendees at London Pride appeared first on The Forward.
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Israel’s diaspora minister calls Erdogan a ‘grotesque hybrid of Hitler and Sinwar’
(JTA) — Israel’s Diaspora Affairs Minister Amichai Chikli compared Turkish President Recep Tayyip Erdogan to Adolf Hitler and slain Hamas leader Yahya Sinwar in a post on X on Monday.
“We all know how narcissistic power-obsessed fanatics like you begin and how they end. The Jewish people have never feared mere flesh and blood, from Pharaoh until today,” Chikli wrote. “You are nothing but a pathetic blood soaked zero who history will soon forget.”
In the post, Chikli accused the Turkish leader of being a “patron of Hamas and ISIS” and described him as a “grotesque hybrid of Hitler and Sinwar” alongside an AI image of Erdogan in front of a Nazi flag.
Chikli’s post was in response to an address by Erdogan last month, in which the Turkish leader called Zionism a “genocidal occupying expansionist ideology” and said the “struggle” against Zionism was for the “collective survival of ourselves and our nation.”
Long-standing tensions between Turkey and Israel stoked by the war in Gaza have escalated in recent weeks, amid increasing Israeli concerns over the tight ties between Ankara and Washington and the possible sale of advanced American F-35 fighter jets to Turkey. Erdogan, who has consistently voiced support for Hamas, has been one of Israel’s most outspoken international critics.
Chikli’s post followed Israeli Prime Minister Benjamin Netanyahu’s blistering attack against Erdogan during an interview on “Fox & Friends” on Fox News Monday. Netanyahu said Turkey was “governed by a man who calls openly for the annihilation of Israel…and talks openly about conquering Jerusalem.”
The Israeli leader warned against the sale of weaponry to Ankara, portraying Turkey as an aggressive country that didn’t help the U.S. battle Iran. He spoke in advance of U.S. President Donald Trump’s trip to Ankara late Tuesday for a two-day summit of NATO.
“For a regime infected by the Muslim Brotherhood, an extreme movement that hates America and chants ‘death to America’ from that side of the spectrum, I don’t think they should be given F-35’s or the engines for their fighter jets,” Netanyahu told Fox News.
Such a sale would “upset the power balance in the Middle East, which is ultimately guaranteed by Israeli air superiority and … by America’s posture in the Middle East,” Netanyahu said.
Relations between the two regional powers have also been aggravated by the Israeli government’s June 28 decision to recognize the Armenian genocide by the Ottoman Empire during and immediately after World War I.
Turkey has condemned Israel’s recognition of the Armenian genocide. It’s a move so diplomatically controversial that to date, only some 33 countries, aside from Israel, have taken this step, including the U.S. in 2021.
According to Politico, Erdogan said in a public address last week, “We do not give the slightest heed to the slanders about our country from the murder network that has the blood of 73,000 innocent Gazans, most of them children and women, on its hands.”
Israel’s Minister of Foreign Affairs, Gideon Saar, also took aim at Turkey’s foreign minister, Hakan Fidan, during a press conference in Jerusalem Monday, decrying Fidan’s comments to CNN Türk on Friday in which he said that Israel had become a “burden that humanity can no longer bear.”
“The remarks by Turkey’s Foreign Minister are a clear call for genocide,” Saar said. “The Jewish people know all too well what happens when such words are allowed to go unanswered. The first step on the road to genocide is dehumanization.”
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