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Battle lines deepen in bruising fight for control of Germany’s liberal Jewish institutions
BERLIN (JTA) — The fight over control of Germany’s Reform rabbinical school has taken a new twist — one that appears poised to shatter longstanding institutions within liberal Judaism here, and reforge them into something new.
The Central Council of Jews in Germany announced Thursday that it is bringing in an outside expert to help redesign the country’s Reform and Conservative rabbinical schools, to end the influence of a controversial Reform rabbi who stepped aside as rector amid allegations against him this spring but who remains enmeshed in the schools’ operations.
Gerhard Robbers, a professor emeritus of law and religion at the University of Trier, will consult with students and staff as he drafts the proposal, according to the Central Council, an umbrella group for all organized Jewish communities in Germany.
Robbers’ appointment came as the Union of Progressive Jews in Germany this week announced its own interim director for Abraham Geiger College, in what appeared to be a last-ditch effort to preserve control by Rabbi Walter Homolka over the seminary he founded in 1999.
The Central Council announced it could no longer work with the UPJ after the group’s move to install the new interim director, a striking fracture in an alliance that Homolka himself had pressed to create two decades ago.
At the same time, the UPJ could now splinter, with those who are loyal to Homolka facing off against those who believe change is needed.
“Some member communities are now considering leaving the UPJ and reorganizing under the Central Council. We feel we are not represented any more by the UPJ,” Rebecca Seidler, head of the liberal Jewish communities of Hanover and chair of the State Association of the Jewish Communities of Lower Saxony, told the Jewish Telegraphic Agency.
Rebecca Seidler, chairwoman of the Liberal Jewish Community of Hanover, Germany, sits in the synagogue there, Sept. 8 2020. (Julian Stratenschulte/picture alliance via Getty Images)
In a sign of how deeply the tensions are cutting within Germany’s small community of liberal Jews, Seidler and her mother have wound up on opposing sides of the divide. Rebecca Seidler is the daughter of Katarina Seidler, the attorney whom the UPJ named this week as new interim director of the seminary. Rebecca Seidler described the differences within her family as “very difficult.”
Sources tell JTA that there is talk of a new alliance of liberal, egalitarian communities under the Central Council’s aegis. Josef Schuster, the council’s president, confirmed as much on Thursday, telling JTA that his group is in talks with representatives from communities across Germany.
“Those that wish to step out of the UPJ will be supported intensively, and also we will support them in creating a worthy representation of liberal/progressive Judaism in Germany,“ Schuster said.
The latest developments mark a dramatic new phase in a saga that has been unfolding since May, when allegations of sexual harassment against Homolka’s husband and a possible coverup at the seminary hit the news. Ensuing investigations by the University of Potsdam, under whose auspices the rabbinical schools are organized, and by a law firm commissioned by the Central Council looked into a growing array of accusations of abuse of power by Homolka.
Rabbi Walter Homolka, rector of the Abraham Geiger College, in the Liberal Jewish community’s synagogue in Hanover, Germany in December 2016. (Julian Stratenschulte/picture alliance via Getty Images)
Both investigations concluded that there was indeed abuse of power — a finding that Homolka has vigorously denied, and that the UPJ has contested.
In a post on its website, the UPJ had officially announced that an investigation it had commissioned had concluded that there was no proof of abuse of power.
Schuster of the Central Council — which represents some 100,000 Jews in Germany, of which the UPJ says 5,000 are members of its congregations, and is responsible for distributing government subsidies and so-called “religion tax” monies to local Jewish communities — told JTA that the post had convinced him that the “the UPJ is not to be taken seriously.”
“There are two studies that actually show abuse of power, but this is an organization that continues to cover up,” he said. The post was removed Thursday.
Schuster’s frustration deepened on Tuesday, when the UPJ and seminary installed Katarina Seidler as the interim director of Geiger College, two days after an election in which allies of Homolka assumed leadership of the organization. (Homolka had announced only that day that he would not run.) Just that morning, the Central Council had been speaking with Gabriele Thöne, still Geiger College’s interim director, about a “face-saving solution” that would involve her resignation and replacement by someone without ties to Homolka.
Katarina Seidler, then chair of the State Association of Jewish Communities in Lower Saxony, joined a session of the state parliament focused on antisemitism, Hanover, Germany, Oct. 23, 2019. (Sina Schuldt/picture alliance via Getty Images)
“Anyone who thinks they can just carry on providing a rabbinical education with the old followers of Homolka, with him continuing in the background of the entity that he — and not the UPJ — founded, with all its entanglements and dependencies, has not taken seriously in any way the results of the independent investigations of the University of Potsdam and the law firm Gercke Wollschläger,” Schuster said in a statement Wednesday.
Schuster told JTA that Geiger College is set up in such a way that Homolka has retained authority despite saying that he had stepped aside.
“It is not just a feeling that he is in control,” Schuster said. “It is the case on a purely legal basis.“
As yet, there has been no formal response from Abraham Geiger College to the Central Council’s withering condemnation. But Irith Michelsohn, the UPJ’s newly elected chair, told JTA in an email Thursday that her group would “definitely try to find a basis for discussion” with the Central Council.
“Perhaps this is difficult at the moment, but we will see what the new secular year will bring,” she said.
The UPJ move apparently also caught the World Union of Progressive Judaism unawares. The same day, the group had expressed support for Thöne along with “deep sadness and sorrow” following “the recent reports about the misconduct, and the hurt to individuals and their communities.”
In an open letter, WUPJ Chair Carole Sterling and President Rabbi Sergio Bergman set out a list of priorities and said they appreciated the ongoing commitment of federal and regional German ministries and the Central Council “to continue to fund Geiger College while new structures and leadership are put in place.” They also pledged their own assistance.
Support from the Central Council for Geiger College is likely to continue, sources say.
Gabriella Thone, interim director of Abraham Geiger College, in Berlin’s Rykestrasse Synagogue on the occasion of an ordination ceremony, Dec. 1, 2022. (Toby Axelrod)
All of the latest turmoil takes place days after the ordinations of four new rabbis and two cantors who studied at the Geiger College, which has become a symbol of the rebirth of Reform Judaism in the country of its founding. Held at the Rykestrasse Synagogue in former East Berlin, complete with organ music and a processional, the ceremony — which observers described as joyous — was likely the last before major changes to how the seminary operates.
Schuster said a new plan — with input from students, educators and rabbis, and in coordination with other major funders and the University of Potsdam — could be presented in the first quarter of 2023.
“Rabbinical training as a private business can no longer be an alternative in the future,” the statement concluded.
The announcement was welcomed by the International Masorti Movement, a partner and supporter of Zacharias Frankel College, the Conservative movement’s seminary, which like Geiger College is situated at the University of Potsdam. In a statement on Thursday, it called on all stakeholders “to listen to the voices of those who suffered from misconduct and to take the investigations of the University and of the law firm Gercke Wollschläger seriously, and work together for a new beginning, both regarding persons as well as structures.”
It is virtually assured that yet more slings and arrows will fly before all is said and done — and that Homolka continues to loom large in the organizations he built.
At the recent UPJ meeting where Homolka allies won election, “it became clear that there are two fronts in the UPJ,” Rebecca Seidler told JTA: “Those who support Homolka and want to separate from the Central Council, and those who are in favor of taking apart the existing structures, and who stand on the side of those affected.”
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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.”