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An Orthodox woman says she is no longer welcome to pray at a New York synagogue because she is trans
(JTA) — When Talia Avrahami was asked to resign from a job teaching in an Orthodox Jewish day school after people there found out she was transgender, she was devastated. But she hoped to be able to turn to her synagogue in Washington Heights, where she had found a home for the last year and a half.
The Shenk Shul is housed at Yeshiva University, the Modern Orthodox flagship in New York City that was locked in battle with students over whether they could form an LBGTQ club. Still, Avrahami had found the previous rabbi to be supportive, and the past president was an ally and a personal friend. What’s more, Avrahami had just helped hire a new rabbi who had promised to handle sensitive topics carefully and with concern for all involved.
So Avrahami was shocked when her outreach to the new rabbi led to her exclusion from the synagogue, with the top Jewish legal authority at Yeshiva University personally telling her that she could no longer pray there.
“Not only were we members, we were very active members,” Avrahami told the Jewish Telegraphic Agency. “We hosted and sponsored kiddushes all the time. We had mazel tovs, [the birth of] our baby [was] posted in the newsletter, we helped run shul events. We were very close with the previous rabbi and rebbetzin and we were close with the current rabbi and rebbetzin.”
Avrahami’s quest to remain a part of the Shenk Shul, which unfolded over the past two months and culminated last week with her successful request for refunded dues, comes at a time of intense tension over the place of LGBTQ people in Modern Orthodox Jewish spaces.
Administrators at Shenk and Y.U. said they are trying to balance Orthodox interpretations of Jewish law, or halacha, and contemporary ideas around inclusion — two values that have sharply collided in Avrahami’s case.
Emails and text messages obtained by JTA show that many people involved in Avrahami’s situation expressed deep pain over her eventual exclusion. They also show that, despite a range of interpretations of Jewish law on LGBTQ issues present even within Modern Orthodoxy, the conclusions of Yeshiva University’s top Jewish legal authority, Rabbi Hershel Schachter, continue to drive practices within the university’s broader community.
“I completely understand (and am certainly perturbed by) the difficulty of the situation. Nobody wants to, chas v’shalom [God forbid], oust anybody, especially somebody who has been an active part of this community,” the synagogue’s president, Shimon Liebling, wrote in a Nov. 17 text message to his predecessor. But, he continued, “When it came down to it, the halachah stated this outcome. As much as we laud ourselves as a welcoming community, halachah cannot be compromised.”
Liebling went on, using the term for a rabbinic decision and referring to a ruling he said the synagogue rabbi had obtained from Schachter: “A psak is a psak.”
The saga began this fall, several weeks after Avrahami lost her short-lived job as an eighth-grade social studies teacher at Magen David Yeshivah in Brooklyn, which she had obtained after earning a master’s degree at Yeshiva University. She had been outed after a video of her in the classroom taken during parent night began circulating on social media.
Around the High Holidays, when Orthodox Jews spend many days in their synagogues, Avrahami learned that people within the Shenk Shul community were talking about her, some complaining about her presence. As she always had, she had spent the holidays praying in the women’s section of the gender-segregated congregation.
Concerned, Avrahami reached out to the new rabbi, Shai Kaminetzky. He confirmed the complaints and told her he wanted further guidance from a more senior rabbi to deal with the complex legal issue before him: Where is a trans woman’s place in the Orthodox synagogue?
For Avrahami and some others who identify as Modern Orthodox, this question has already been resolved. They heed the rulings of the late Rabbi Eliezer Waldenberg, known as the “Tzitz Eliezer,” an Orthodox legal scholar who died in 2006. He ruled that a trans woman who undergoes gender confirmation surgery is a woman according to Jewish law.
But Waldenberg’s determination is not universally held among Orthodox Jews — and one prominent rabbi who does not accept it is Hershel Schachter. In a 2017 Q&A, Schachter derided trans issues, saying about one trans Jew, “Why did he decide that God made a mistake? He looked so much better as a man than as a woman.” He also suggested that a trans person asking whether to sit in the men’s or women’s section should instead consider attending a Conservative or Reform synagogue, where worshippers are not separated by gender.
“We know we’d have no problem if we were at a Reform or Conservative synagogue when it comes to the acceptance issue. The thing is, that’s not the only thing in our life,” Bradley Avrahami told JTA.
The couple became religiously observant after spending time in Israel and the two now identify as Modern Orthodox. They were married by an Orthodox rabbi in 2018, and when they had their baby via surrogate in 2021, it was important to them that the infant go through a Jewish court to formally convert to Judaism. Avrahami seeks to fulfill the Jewish legal and cultural expectations of Orthodox women, wearing a wig and modest skirts. The pair both adhere to strict Shabbat and kashrut observance laws.
“We didn’t want to be the only family that kept kosher at the synagogue, we didn’t want to be the only family that is shomer Shabbat and shomer chag,” Bradley Avrahami added, referring to strict observance of the Sabbath and holiday restrictions. “It kind of becomes isolating.”
Kaminetzky kept both Talia Avrahami and Eitan Novick, the past president, in the loop about his research, in which he consulted with Schachter. It was a natural place for him to turn: He had studied at Yeshiva University’s Rabbi Isaac Elchanan Theological Seminary and learned from Schachter there. And while the Shenk Shul includes members not affiliated with Yeshiva University, it is closely entwined with Y.U., occupying space in a university building and hiring rabbis only from a list of options presented by the university.
After speaking with Schachter, Kaminetzky reached a conclusion, according to messages characterizing it by Liebling, the synagogue president.
“He made an halachic decision that Talia isn’t able to sit in the women’s section for the time being,” Liebling wrote Nov. 17 in a message to his predecessor as president, Eitan Novick. But Liebling left the door open for change, writing, “All in all, the ‘official shul policy’ is still being decided.”
He said Kaminetzky had spoken extensively the previous evening with the Avrahamis and had been determined to share his judgment in a way that was respectful “despite the difficult-to hear halachic conclusion.”
Liebling added a parenthetical: “I honestly can’t imagine how difficult it is for them. If I were told I couldn’t sit in the men’s section, I’d be beyond heartbroken and likewise feel displaced.”
Talia Avrahami did indeed feel heartbroken. She told Kaminetzky and others that she felt like she wanted to die, alarming her friends and prompting some of them to reach out to the rabbi. “The concern about Talia’s well-being is likewise the #1 — and only — factor on my mind right now,” Kaminetzky told one of them that night.
The Avrahamis stopped attending the Shenk Shul, but they held out hope for Kaminetzky to change his mind, or for the synagogue to set a firm policy that would permit her participation. Over the next six weeks, though, they heard nothing — a situation that so disappointed Novick that he and his wife also stopped attending. (Kaminetzky’s third child was born during this time.)
“We really feel like this is a pretty significant deviation from the community that we have been a part of for 11 years, which has always been a very accepting place,” Novick said. “This is just not the community that I feel comfortable being a part of if these are the decisions that are being made. It’s not just about the Avrahamis.”
While Avrahami waited for more information, Yeshiva University and Schachter were already in the process of rolling out what they saw as a compromise in a different conflagration over LGBTQ inclusion at the school. Arguing that homosexuality is incompatible with the school’s religious values, Yeshiva University has been fighting not to have to recognize an LGBTQ student group, the YU Pride Alliance, and has even asked the Supreme Court to weigh in after judges in New York ruled against the university. This fall, the school announced that it would launch a separate club endorsed by Schachter, claiming it would represent LGBTQ students “under traditional Orthodox auspices.” (The YU Pride Alliance called the new club “a desperate stunt” by the university.)
Multiple people encouraged Avrahami to make her case directly to Schachter. When she headed to a meeting with the rabbi on Jan. 1, she hoped that putting a face to her name and explaining her situation, including that she had undergone a full medical transition, might widen his thinking about LGBTQ inclusion in Orthodoxy.
The meeting lasted just 15 minutes. And according to Avrahami, who said Schachter told her she was the first trans person he had ever met, it didn’t go well.
In an email to another rabbi who attended the meeting, Menachem Penner, Avrahami said Schachter had called her “unOrthodox” and accused him of “bullying Rabbi Shai Kaminetzky into accepting bigoted psaks.”
Penner, the dean of Yeshiva’s rabbinical school, characterized the conversation differently.
“Rabbi Schachter rules that it is prohibited to undergo transgender surgery and does not accept the opinion of the Tzitz Eliezer post-facto,” he wrote in an email response that day in which he denied that Kaminetzky had been pressured to follow Schachter’s opinion.
“That’s simply a halachic opinion that many hold,” Penner wrote. “He did not call you ‘unorthodox’ — you come across as very sincere in your Judaism and he wished you hatzlacha [success] — but simply said that the surgery was unorthodox, meaning it was not something that is accepted by what he feels is Orthodox Judaism.”
The meeting so angered Avrahami that she asked Liebling to refund her Shenk Shul dues that day, saying that Kaminetzky had kicked her out of the congregation.
“Of course! I’ll send back the money ASAP!” Liebling responded. “I’m so sorry how things are ending up.”
Yeshiva University and Schachter, through a representative, declined to comment, referring questions directly to the Shenk Shul. Kaminetzky directed requests for comment to a representative for the Shenk Shul.
“We have had several conversations with the Avrahamis and we understand their concerns,” the Shenk Shul said in a statement. “It’s important to emphasize that the Avrahamis were not asked to leave the congregation.”
That response doesn’t sit right with Novick, who said blocking Talia Avrahami from praying on both the men’s and women’s sides of the synagogue was tantamount to ejecting her.
“They seem to be trying to have their cake and eat it, too,” he said of the synagogue’s leadership. “They may not be wrong in saying they didn’t tell Talia she was ‘kicked out’ of Shenk, but they’ve created a rule that makes it impossible for her to be a full participant in our community.”
Bradley Avrahami argued that the rabbis who ruled on his wife’s case were short-sighted, giving too little weight to the fact that Jewish law requires Jews to violate other rules in order to save a life. Referring to that principle and pointing to the fact that transgender people are at increased risk of suicide, he said, “It was pikuach nefesh for the person to have the surgery.” His brother, he noted, survived two suicide attempts after coming out as trans.
“They really just don’t understand the harm that they caused when they make these decisions and put out these opinions,” Bradley Avrahami said. “A rabbi should not take a position knowing that that position will cause someone to want to harm themselves.”
Bradley Avrahami said he has received several harassing calls to his work number at Yeshiva University’s Azrieli Graduate School, where he is liaison for student enrollment and communications and taught Hebrew in the fall 2022 semester. Talia Avrahami, meanwhile, has struggled to find a job to replace the one she left under pressure in September, although she recently announced that she had landed a temporary position.
For now, they are attending another synagogue in Washington Heights, though Talia says she and her husband would consider returning to Shenk Shul if she were invited back and permitted to participate.
So far, there are no signs of that happening. On Jan. 1, after her meeting with Schachter, Talia sent a WhatsApp message to Kaminetzky.
“We elected you because you said you would stand up for LGBT people, not kick us out of shul,” she wrote.
The message went unanswered.
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The post An Orthodox woman says she is no longer welcome to pray at a New York synagogue because she is trans appeared first on Jewish Telegraphic Agency.
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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”