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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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Tim Walz: Get Anne Frank’s Name Out of Your Mouth
Former US Vice President and Democratic presidential candidate Kamala Harris and her running mate Minnesota Governor Tim Walz hold a campaign event in Eau Claire, Wisconsin, US, Aug. 7, 2024. Photo: REUTERS/Kevin Mohatt
Many Holocaust survivors I’ve interviewed have said it pains them when people compare anyone to Hitler and the Gestapo, or compare things to the Holocaust to try to get attention or make a political point.
They’ve also mentioned how people use Anne Frank’s name for political purposes, because most schoolchildren have read her diary.
Minnesota Governor Tim Walz (D), who, after a scandal involving alleged fraud in his state, announced he is not running for re-election, recently said the following: “We have got children hiding in their houses, afraid to go outside. Many of us grew up reading that story of Anne Frank…”
As January 27 is International Holocaust Remembrance Day, many, including Jews, will make false comparisons to the Holocaust, because they imagine this makes them noble and a fighter for social justice.
Anne Frank died in a concentration camp called Bergen-Belsen weeks before its liberation by British forces who found thousands of corpses and about 55,000 emaciated prisoners. The camp was of course run by Nazis. Frank hid in what was known as the annex in Amsterdam for 761 days. She had no option to be deported to another country safely, nor was she in Amsterdam illegally. She knew being discovered likely meant death.
I am sure illegal immigrants fear being deported and some legal immigrants may fear detention. Walz could have said that without invoking the name of Anne Frank. He did this because his goal is to paint Federal agents with a big red Nazi brush. It is also understandable that many are angry after a Federal agent shot Alex Pretti, with video footage showing Pretti did not brandish his gun, and Walz would be correct to rebuke Kristi Noem, Secretary of Homeland Security for her characterization of Pretti.
But it is important to know about communist propaganda.
In 1967, the Soviets realized there was a branding problem. The country regretted its support for Israel officially becoming a state in 1948, because it since had become a strong ally of America. The solution? The rebrand of Israel via Holocaust inversion.
Imagine! Those who rose from the ashes of the Holocaust had done so, only to become Nazis themselves. What a twist to the story! Israel would not be the David, but, rather, the Goliath.
It took some time, but by 1975, they passed Resolution 3379 at the United Nations, where the text stated that, “Zionism is a form of racism and racial discrimination.” Fifty years later, this effort has gone past their wildest dreams, with the help of Qatari funding. Most of the world lambasts Israel at every turn, blaming Israel as one of the world’s worst oppressors. Even those propagandists never thought there would be a day where Jews were called “Zio-Nazis.”
This is why Walz sees nothing wrong with a false Anne Frank comparison. Some Jews, blinded by their hatred of President Trump, don’t stop to think about the damage of false Nazi comparisons.
This does not mean one should not criticize any president or demand accountability. Sadly, people are captured by a narrative that is popular, and are not interested in much else.
A false comparison doesn’t strengthen a point, it only takes away credibility. When anyone makes any claim, you should ask: What is your evidence for that? If they don’t have it, you should tell them to use a correct phrase and retract a claim or characterization if it is false.
The reason false Nazi comparisons are a problem is that they have become a prominent component of antisemitism.
It is the Jewish way to fight against racism and to seek justice. But those who make false Holocaust comparisons dishonor the memories of those who died in the Holocaust.
The author is a writer based in New York.
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Soccer Clubs Around the World Mark International Holocaust Remembrance Day With Commemorative Events
FC Bayern and Munich FC Augsburg holding a poster to commemorate the Holocaust #WeRemember campaign. Photo: IMAGO/MIS via Reuters Connect
Soccer clubs around the world commemorated International Holocaust Remembrance Day on Tuesday by pledging to honor victims of Nazi persecution through campaigns, memorial events, and other gestures to show the importance of remembering the atrocities of World War II.
Germany’s professional leagues — including FC Bayern and Augsburg – held over the weekend a series of memorial events and matches across the country opened with a moment of silence dedicated to the #WeRemember campaign by the World Jewish Congress. The campaign aims to keep the memory of the Holocaust alive. This year’s Holocaust Remembrance Day marks the 81st anniversary of the liberation of the Auschwitz-Birkenau extermination camp in 1945.
Vor dem Spiel haben beide Mannschaften der Befreiung Auschwitz‘ gedacht. Im Stadion gab es eine Schweigeminute.#WeRemember #DSCKSV pic.twitter.com/U098DdMbiW
— Arminia ist wieder da (@arminiawiederda) January 23, 2026
In Italy, a commemorative ceremony in memory of Jewish Hungarian soccer player and coach Árpád Weisz was held Tuesday morning at Stadio Renato Dall’Ara and organized by Bologna FC. Those in attendance included Bologna FC CEO Claudio Fenucci, a delegation from the club’s youth sector, Bologna City Councilor for Sport Roberta Li Calzi, and Emanuele Ottolenghi, vice president of the Jewish community of Bologna.
Weisz lived in Italy and led Bologna to league and international victories. He also coached Fiorentina and Inter Milan, and was the first coach to claim Italian titles with two clubs. He additionally is credited with discovering talented players such as Giuseppe Meazza. He, his wife and two children were deported to the Auschwitz concentration camp, where they were murdered by the Nazis. He died in 1944 at the age of 47.
The FIGC, which is the governing body of soccer in Italy, is running a campaign on its official website and social media channels to commemorate the victims of the Holocaust. The campaign features an image of empty seats in a stadium, to remember those murdered by the Nazis.
“Remembering is not enough; there is an absolute need to stay aware of one of the greatest tragedies in human history,” said FIGC President Gabriele Gravina. “To know is to prevent, to fight, to protect, to respect. [Soccer], with its social impact, can serve as a powerful platform to spread messages of profound significance, especially to younger generations, who did not experience this atrocity firsthand but have both the right and the duty to understand it.”
England’s Manchester United marked Holocaust Remembrance Day by making a pledge “to listen, learn, and carry the legacies forward of the millions of innocent lives that were taken under persecution.”
The Football Association, which is the governing body of soccer in England, said in a released statement that International Holocaust Remembrance Day “is for everyone. It brings people together from all walks of life to strengthen communities and stand up against hatred and discrimination.”
“As the years pass, we’re growing more distant in time from the Holocaust and from the other, more recent genocides that are commemorated on HMD. That distance brings a risk – memory fades and the sharp reality of what happened becomes blurred, abstract, or even questioned,” the FA added. Soccer “has the power to bring people together in so many ways, can eradicate social barriers and be a force for good across communities. One of our key commitments is to do everything in our power to deliver a game free from discrimination and that will never stop, which is why IHMD is so important.”
The British club Chelsea FC hosted on Tuesday at its stadium a free exhibition, open to all visitors between 10 am and 2 pm, which highlights “the achievements, struggles, and resilience of athletes before, during, and after the Holocaust.” Visitors also learn about the role sport played in fighting against Nazi persecution, and the exhibit shares the stories of Jewish athletes persecuted under Nazi rule as well as the post-Holocaust rise of Jewish sports figures such as Mark Spitz, one of the most decorated Olympic swimmers of all time. The exhibition is produced by Yad Vashem in partnership with the Jewish Ethics Project and the soccer team’s Jewish Supporters’ Group.
Tottenham Hotspur hosted a Holocaust Memorial Day event for faith leaders and students, while Fulham FC shared on its website and YouTube channel a video of Holocaust survivor Barbara Frankiss talking to three Fulham players about her experience facing Nazi persecution and the importance of Holocaust remembrance.
We were honoured to host Haringey’s annual Holocaust Memorial Day event, uniting faith leaders and students from across our community to reflect on this year’s theme ‘Bridging Generations’.
#HolocaustMemorialDay #HMD2026 pic.twitter.com/dQIZk4VpUF
— Tottenham Hotspur (@SpursOfficial) January 27, 2026
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So many Jews stars in this comedy, so few chances for them to shine
At the heart of Fantasy Life, which marks Matthew Shear’s directorial debut, is a sweet relationship between dropout law student Sam (Shear) and mother-of-three Dianne (Amanda Peet). Sam is — as the movie clunkily establishes — a clumsy mess with some mental health issues; she is a former child actor who, at 51, feels washed up as an artist.
They are brought together when her husband’s parents suggest Sam as an emergency babysitter for her young daughters. Sam’s “mannying” opportunity arises when he visits his therapist after getting laid off, because he needs to confess a compulsive antisemitic tic he has developed. His imperturbable therapist (Judd Hirsch) employs his wife (Andrea Martin) as office administrator and it is she who extends both repeated good wishes to his parents and the possibility of him looking after her granddaughters. Over the course of the seasons around which the film is structured, Sam becomes the girls’ nanny and, since Dianne’s rock bassist husband David (Alessandro Nivola) is away on tour they get to know each other. The two find solace and hope in each other.
Although Nivola portrays David as a douche, and although there is sexual tension between the two leads, their relationship is treated gently and with nuance. David and Dianne’s marriage is on the rocks, but is limping along. Much to the relief of Dianne’s wealthy parents (Bob Balaban and Holland Taylor) as well as to the movie audience, the film does not — as it threatens — lurch into the tabloid spectacle of “Manny Beds Mommy.”
Shear is best known for his acting, with supporting roles in a number of Noah Baumbach films and, most recently, a similar ensemble role in Nathan Silver’s Between the Temples. As a director, Shear is clearly in love with Peet who, thus encouraged, gives a luminous performance. Shear, who also wrote the film, tries too hard to evoke the three distinguishing characteristics of his role: appealing, awkward, smart. It’s his movie but he does not look like he’s enjoying starring in the action. Perhaps he should have just cast his look-alike Adam Pally (Dr. Peter Prentice in The Mindy Project) as Sam.
Shear’s experience in the film industry has given him access to some high profile actors. His willingness to use them means that he sets the bar for his first film too high. After all, sending what is effectively his student film to SXSW for its premiere is a bold statement as is casting Zosia Mamet along with the aforementioned Balaban, Taylor, Nivola, Hirsch, Martin and Peet. Having this many celebrity names in a single production earns it attention, I guess. But it also means more scrutiny for a production than you might otherwise expect, or even want.
Though Shear succeeds in gently evoking an odd, imbalanced relationship between two people on either side of a familiar community but in different stages of life, he often does so in ways that are crudely conceived, not fully realized, or lacking a unified aesthetic. The film bills itself as a comedy, but there are few laughs and the drama lacks sustained intensity.
The film grew out of an idea Shear had brought to Pizza Club — what his friend the actor Ashley Zukerman (who does not appear in Fantasy Life) described as a few friends “going out for pizza under the guise of helping each other with projects.” Shear has been picking up bits of stories here and there, and you can feel the elements of authenticity: For example, Dianne gets recognized at a restaurant, but the star-struck waitress thinks she’s Lake Bell.
Too often, though, the scenes feel contrived. A detail announces itself as a choice rather than something organic, or a scene’s very presence seems justified only by what it’s meant to explain. It’s easy to hear the director telling the actors what to do — “Judd, do that thing with your hands”; “Andrea, just stand around helplessly tearing your hair out.” Scenes function less as drama than as annotation, dutifully clarifying Sam’s social awkwardness or her agent’s thinly veiled contempt for Dianne. Or to highlight some relationship development — let’s show how Dianne and Sam view the manny-Mommy relationship differently by showing two bumping into each other when he has the kids: He looks at her, she is happy to see him and kids, but is quite as happy to move off again.
As far as the production goes, the design is unobtrusive and the cinematography is crisp and clear. And, though he under-uses the excellent actors at his disposal — Balaban has a far wider range than the one note of disgust at the schmuck manny that he evinces repeatedly — he does not betray them. The celebrity pantheon actually adds to a homely feeling. It’s almost a joke itself, when you recognize almost every character in the movie because they are well-known actors. And that sense of familiarity is totally in keeping with the movie’s New York vibe.
Fantasy Life will conclude the New York Jewish Film Festival on Jan. 28.
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