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Bulgarian Jews skipped an official ceremony marking 80 years since their rescue from the Nazis. Why?
(JTA) — Bulgaria’s president was on hand on Friday for a ceremony marking the 80th anniversary of the country’s dramatic decision to save its 48,000 Jews from the Nazis.
So were representatives of the Bulgarian Orthodox church whose predecessors instigated the rescue, as well as a prominent Bulgarian-born Israeli historian and politician, Michael Bar Zohar, who published an early history of the episode, which was barely known until after the fall of communism.
Together they marched from Bulgaria’s national library — where an exhibition about Bulgaria’s World War II-era king, Tsar Boris III, is being held — to Sofia’s oldest church, where they lay flowers on a memorial to Boris and his wife, Tsarina Joanna.
But conspicuously absent from the ceremony with President Rumen Radev were any representatives of Bulgaria’s contemporary Jewish community,
Community leaders were invited only at the last possible minute, on Thursday afternoon, according to Alexander Oscar, president of Shalom The Organization of Bulgarian Jews. His group had already planned its own observance of March 10, known by Bulgarian Jews as “Day of Salvation.”
But Oscar said he would not have attended even if he’d been invited earlier — and he thought no one else from the local Jewish community would have either.
“Nobody from the community would have taken part in an event honoring the imaginary role of King Boris in rescuing the Bulgarian Jews and presenting a distorted history of the Holocaust,” Oscar told the Jewish Telegraphic Agency.
Oscar’s comments point to a longstanding and increasingly potent dispute over how Tsar Boris III should factor into Bulgaria’s Holocaust memory. Though Boris did sign off on the order to halt the deportation of the country’s Jews, he was also the leader of a fascist government that allied with Nazi Germany, imposed oppressive racial laws on its Jews and facilitated the murder of more than 11,000 Jews in territory it occupied. Boris died under mysterious circumstances shortly after returning from Germany where he met with Hitler in 1943.
Bulgarian troops deported more than 11,000 Jews living in Western Thrace, Vardar, Macedonia and the town of Pirot in today’s Serbia to Nazi death camps, where almost all were murdered.
St. Sophia Church, where the president’s ceremony took place, is home to plaques honoring Tsar Boris III and his wife that briefly stood in Jerusalem’s Bulgarian Forest. The plaques were removed in 2000 after protests by Bulgarian Jews and their descendants who were uncomfortable with lionizing someone who oversaw the murder of Jews during the Holocaust.
Past “Day of Salvation” commemorations have not specifically exalted Boris. But the wartime leader is a favorite of Bulgaria’s far right and those who admire the country’s pre-communist governments, and his profile has only risen in recent years as Bulgaria, like many other countries, has experienced a strengthening of its right wing.
“What we choose to remember and what we choose to omit when telling our own story is a mark of wisdom, courage and dignity,” wrote Bulgarian Jewish journalist Emmy Barouh in an open letter to Radev before the commemoration event.
“There is no morality to be found in the sinister arithmetic that the lives of 50,000 were ‘paid for’ by the lives of 11,343,” Barouh wrote. “Skipping half of this sad ‘equation’ turns ‘80th anniversary of the rescue’ into another episode of political use of Bulgarian Jews.”
Immediately after the war, the Jewish population of Bulgaria was still about 50,000, its prewar level, according to the United States Holocaust Memorial Museum. But unlike in most communist countries, the government allowed Jews to emigrate in large numbers and in fact encouraged them to do so; the vast majority departed for Israel in the late 1940s. Today, the World Jewish Congress estimates the country’s Jewish population at between 2,000 and 6,000; the country recently saw the creation of a Jewish school in Sofia and a cultural center in the remains of a crumbling synagogue in the coastal city of Vidin.
The former sanctuary of the central synagogue in Vidin, Bulgaria, built in 1894, is today crumbling and missing a roof. (Jonah Goldman Kay)
Local Jewish leaders marked the anniversary in other ways. Earlier in the week, some traveled to Kavala, Greece, for a ceremony at the site where Bulgarian soldiers deported thousands of Jews to Treblinka in 1943. On Friday, they also held their own ceremony at a different monument in Sofia commemorating both the rescue and the murder of the Jews in Bulgarian-occupied regions. They were joined by public figures including Sofia’s mayor and Bulgaria’s foreign minister, Nikolay Milkov, and its prosecutor general.
Some Bulgarians had openly called for their country to pay greater homage to Tsar Boris III at this year’s March 10 commemorations. Daniela Gortcheva, a Dutch-Bulgarian right-wing media figure, circulated a petition calling for him to be recognized.
The petition asserted that leaving Boris out of the commemoration would be akin to what happened in the Macedonian city of Ohrid last year, when a Bulgarian cultural club named after Boris drew protests from those who noted that Boris’s government was responsible for the murder of thousands of Macedonian Jews.
That incident, the latest in a long-running conflict between the two Balkan nations over World War II history, rocketed Tsar Boris back into the national spotlight in Bulgaria and made his rehabilitation a focus of Bulgarian nationalists.
After Jewish groups rebuffed the petition, Gortcheva attacked her critics on Facebook as ungrateful “heirs of Communists,” “a fifth column of Moscow” and traitors — claims that Jewish leaders say echo antisemitic smears made against Jews in the past.
Shalom, Bulgarian Jewry’s leading organization, has filed a complaint against Gortcheva with Bulgaria’s prosecutor general — the same official who last month ruled that Bulgaria could bar a neo-Nazi march honoring a Nazi collaborator.
“Gortcheva — a great supporter of the Lukov march — has been persistently involved in the spread of Holocaust denial and distortion,” World Jewish Congress Executive Vice President Maram Stern said in a letter to Milkov. “She combines such statements with slanderous claims that the Organization of the Jews in Bulgaria SHALOM and the Organization of the Bulgarian Jews in Israel are disloyal to Bulgaria.”
Following last week’s ceremonies, a group of Bulgarian scholars have circulated their own appeal this week, calling on Bulgarian leaders to acknowledge the deportations of Jews under the country’s rule during the Holocaust.
“Our state never tried to find the appropriate language to mark two inseparable and yet antipodal historical facts: the preserved life of the Jews from the prewar territories of Bulgaria and the deportation to Treblinka (4-29 March 1943) of those from the lands occupied in April 1941,” the appeal reads. “The Bulgarian state should acknowledge publicly, sincerely and unconditionally its responsibility by apologizing for the persecutions and deportations of Jews during World War II.”
“It is a matter of basic decency and tactfulness that emphasizing the salvation should be done by those who were saved and not by the savior,” the petition added. “Here, exactly the opposite occurs: Bulgarians are engaging in self-glorification and inviting the Jewish community to pay them eternal gratitude.”
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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.”