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Chaim Topol, Israeli actor who played Tevye in 1971 ‘Fiddler on the Roof’ film, dies at 87
(JTA) — Chaim Topol won a Golden Globe for his portrayal of an immigrant to Israel, stepped off the stage in London to fight for his country and had his sketches of Israeli presidents turned into postage stamps.
But the actor was by far best known for his embodiment of Tevye the Dairyman in “Fiddler on the Roof,” first in the Israeli and London stagings and then in the 1971 movie that brought the musical about poor shtetl Jews to the masses.
Topol died Thursday in Tel Aviv at 87, a day after his family announced that he was near death. He had suffered from Alzheimer’s disease for some time.
Born in 1935 in Tel Aviv, Topol served in the Israel Defense Forces entertainment unit before embarking on a career in stage and screen that took him around the world. In 1967, he appeared as the lead character in London’s staging of “Fiddler on the Roof,” which had been a breakout hit on Broadway three years before. In his early 30s at the time, he wowed audiences and critics with his portrayal of a character decades older.
But it was when he turned his character over to an understudy that his profile truly exploded. It was June 1967 and Israel was locked in a war with several Arab states; Topol was called up as a soldier and returned to Israel to serve in what would ultimately be known as the Six-Day War. Israel’s swift defeat of an alliance of enemies caused the world to notice the young country and the actor who took part in its victory.
“He had left London as a star; he returned as a hero,” Alisa Solomon wrote in her 2013 book “Wonder of Wonders: A Cultural History of Fiddler on the Roof.” “‘Fiddler’ became a site for celebration, drawing Jews as well as gentiles to the theater — some for repeat viewings — to bask in Jewish perseverance and to pay homage to Jewish survival. The show didn’t change, but the atmosphere around it did.”
In one sign of Topol’s breakout moment, his recording of “If I Were a Rich Man” hit No. 9 on the British charts — besting Aretha Franklin’s “Respect” in July 1967.
From there, Topol was cast in the film production of the musical, beating out Zero Mostel, who put an indelible stamp on Tevye as the star of the original Broadway production, as well as a host of Jewish and non-Jewish movie stars. Using only his last name — purportedly because his first name was easily mispronounced by non-Hebrew speakers — he ultimately starred in more than 30 films in both English and Hebrew, publish two books and release multiple albums.
Chaim Topol performs at the SeriousFun London Gala 2013, benefiting a growing community of camps and programs serving children with serious illnesses and their families and established by Paul Newman in 1988, Dec. 3, 2013. (David M. Benett/Getty Images)
In Israel, Topol was perhaps best known for his breakout role as the lead character in the 1964 film “Sallah Shabati,” about the difficulties faced by a Mizrahi immigrant family. The Ephraim Kishon film was Israel’s first Academy Award nominee in the foreign language film category and earned Topol a Golden Globe for best new actor. The casting of an Ashkenazi actor as a Mizrahi character — and one who embodied many of the stereotypes held at the time by Israel’s Ashkenazi elite — would prove controversial, although the film is still regarded as a touchstone.
Topol won Israel’s top prize, the Israel Prize, for his lifetime of achievement in 2013.
“From Fiddler on the Roof to the roof of the world, Haim [sic] Topol, who has passed away from us, was one of the most outstanding Israeli stage artists, a gifted actor who conquered many stages in Israel and overseas, filled the cinema screens with his presence and above all entered deep into our hearts,” Israeli President Isaac Herzog said on Twitter.
Herzog noted Topol’s contributions to Israel not just through the arts but through his service in the army and his dedication to a nonprofit camp for children with medical needs in Israel’s north. Topol was board chair of the Jordan Youth Village, modeled after Paul Newman’s Hole in the Wall Camp in the United States, until his death.
He is survived by his wife Galia, an actor whom he married in 1956; three children and their children.
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The post Chaim Topol, Israeli actor who played Tevye in 1971 ‘Fiddler on the Roof’ film, dies at 87 appeared first on Jewish Telegraphic Agency.
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The gift Tom Stoppard gave to me — and to all who adore him
In 2022, during a reporting trip to London, I had tea with a source who confessed to me that her mother’s central interest was the work of Tom Stoppard. It was more than an interest, really: “He was the main thing in her life,” she said.
There are artists you admire, and then there are artists you flat-out adore. Particularly cerebral types, like Stoppard, risk falling into the first category: They may generate great thoughts, but those great thoughts have a great chance of leaving you cold. That wasn’t the case for Stoppard, who died Saturday at 88, and was a thinker worth adoring. His best work achieved a rare balance: Audiences left his most affecting plays with both a fresh perspective on the world, and a feeling of great warmth toward it.
I felt that myself, after seeing a much-heralded revival of Stoppard’s Travesties on Broadway in 2018. It’s quite a highbrow play, about the brief intersection, in Switzerland during World War I, of the lives and work of James Joyce, Vladimir Lenin and Tristan Tzara, founder of Dadaism. It made me laugh until I cried. And the gloss Stoppard bestowed on this obscure episode of history followed me out of the theater, giving a brief sheen to everything and everyone I saw. I felt as though I floated back to Brooklyn, and as if the Q train might be full of personalities I’d never guess were important until years afterward.
Much of Stoppard’s work revolved around the question of what it really means to live an important life — one that is not just full, but has some kind of identifiable impact on others. The main character of Travesties isn’t Joyce, Lenin or Tzara; he’s an endearingly self-satisfied British diplomat, Henry Carr, who briefly found himself in the same circles as those luminaries. As the play opens, decades later, he’s trying to conjure up a memoir about his time in the presence of the greats, with the implication that he deserves to be considered among their ranks.
In Rosencrantz and Guildenstern Are Dead, the play that made Stoppard into a star at age 29, the two title characters grapple with their inability to in any way change the course of a narrative — that of Hamlet — that they know will lead to their deaths. In Shakespeare in Love, the film that won Stoppard an Oscar in 1998, he and his coauthor Marc Norman imagined the king of English playwrights as a young man full of talent but still struggling toward greatness, in need of an overwhelming emotional shock to propel him into complete ownership of his gifts.
There are the 19th-century Russian revolutionaries of the ambitious trilogy The Coast of Utopia; the intellectuals seeking to redefine the world and its history in Arcadia; the striving academics of The Hard Problem; the newly emancipated Viennese Jews of Leopoldstadt, the play Stoppard wrote that most profoundly invoked his heritage. Over and over, variations of the same question emerge. What does it mean to live completely and well, as an individual and a member of society?
“If there is any meaning in any of it” — “it” being the brutal course of history, its neverending cycles of destruction — “it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities,” Joyce declares in Travesties. Later, Carr echoes him — a surprise, as the two hold very little respect for one another. When told that the only relevant function of art is “social criticism,” he protests.
“A great deal of what we call art,” he says, “has no such function, and yet in some way it gratifies a hunger that is common to princes and peasants.”
Not everyone wants to be an artist, and, as Carr reflects at the end of Travesties, it’s a sure thing that not everyone can be. But in the wake of Stoppard’s death, I’ve found myself thinking about the mother of my one-time source, so enraptured by what Stoppard created that her own child saw his work as the most profound passion of her life.
It’s easy to say that kind of effect made Stoppard’s life important. But the quieter story, I think, is that it made that devoted fan’s life important, too. Because she loved Stoppard, she saw herself as more firmly secured in her own existence; she saw herself as having a purpose and place.
To help someone experience their own significance — to gratify the common hunger that afflicts us all — is a great gift. And Stoppard gave it to many, including to me.
The post The gift Tom Stoppard gave to me — and to all who adore him appeared first on The Forward.
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Iran to Boycott World Cup Draw Over Visa Restrictions
Soccer Football – World Cup Playoff Tournament and European Playoff draws – FIFA Headquarters, Zurich, Switzerland- November 20, 2025 The original FIFA World Cup trophy is kept on display during the draws. Photo: REUTERS/Denis Balibouse
Iran intends to boycott next week’s World Cup draw due to the limited number of visas allocated to the country’s football federation.
According to the Tehran Times, the United States issued visas to only four members of Iran‘s delegation, with requests for three additional visas denied, including one for Iranian Football Federation (FFIRI) President Mehdi Taj.
“We have informed FIFA that the decisions taken are unrelated to sport and that the members of the Iranian delegation will not participate in the World Cup draw,” FFIRI spokesman Mehdi Alavi said on Friday, per the report.
Alavi said the federation has been in contact with FIFA in an effort to resolve the situation.
The World Cup draw will take place on Dec. 5 at the Kennedy Center in Washington, D.C.
The expanded 48-team World Cup is being hosted by the United States, Canada and Mexico from June 11 to July 19, 2026. Matches will be played at 16 venues, including three in Mexico and two in Canada.
The draw will sort the teams into 12 groups of four. The top two teams from each group and the eight best third-place teams will advance to the knockout stage.
Iran has secured a spot in its fourth consecutive World Cup and seventh appearance overall.
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Dublin to Rename Chaim Herzog Park in a Move Slammed as Attempt to Erase Jewish History
Anti-Israel demonstrators stand outside the Israeli embassy after Ireland has announced it will recognize a Palestinian state, in Dublin, Ireland, May 22, 2024. Photo: REUTERS/Molly Darlington
i24 News – Citing the Gaza war, Dublin city council voted to rename a park honoring Israel’s sixth president, the Irish-born Chaim Herzog, in further manifestation of anti-Israel sentiment in the country.
While a new name is yet to be chosen, reports cite efforts by pro-Palestinian activists to change it to the “Free Palestine Park.”
Former Irish justice minister Alan Shatter harshly criticized the vote, charging that “Dublin City Council has now gone full on Nazi & a committee of the Council has determined it should erase Jewish/Irish history. Herzog Park in Rathgar is named after Chaim Herzog, Israel’s 6th President, brought up in Dublin by his father, Yitzhak HaLevi Herzog, a friend of Eamon De Valera, who was Chief Rabbi of Ireland & Israel’s first Chief Rabbi… Some councillors want the Park renamed ‘Free Palestine Park.”
The Jewish Representative Council of Ireland issued a statement regarding the renaming of Herzog Park.
“It sends a hurtful and isolating message to a small minority community that has contributed to Ireland for centuries. We call on Dublin City Councillors to reject this motion. The removal of the Herzog name from this park would be widely understood as an attempt to erase our Irish Jewish history.”
A virtuoso diplomat and an intellectual giant, Herzog had served in a variety of roles throughout his storied career, including a memorable stint as the ambassador to the United Nations, where in 1975 he delivered a speech condemning the Soviet-engineered resolution to brand Zionism as a form of racism. The address is now regarded as a classic, along with the oration from the same session by the US Ambassador Daniel Patrick Moynihan.
Israel’s Foreign Minister Gideon Sa’ar slammed the decision, saying that Ireland’s “antisemitic and anti-Israel obsession is sickening.”