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Condoms and tikkun olam: An Orthodox woman strives to aid sex workers in Prague
PRAGUE (JTA) — Not long after she puts away her silver Shabbat candlesticks and home-baked challah, Yael Schoultz walks through a cavernous hallway, and up a set of gray concrete stairs. Past a door, she finds a group of heavily made-up women in red and black G-strings and spike heels, listlessly beckoning men for sex in return for cash.
Schoultz, 43, spotted about 30 women at the Prague brothel floating from room to room in various states of undress — negligees, see-through bras — with accents as varied as their lipstick shades. Some are smiling, some appear bored as they play games on their phones, others are trying to woo potential clients with a simple, “Come have a good time, come to my room.”
It’s a typical Saturday night post-Shabbat routine for Schoultz, an Orthodox Jewish South African who recently launched L’Chaim, an organization dedicated to helping sex workers in the Czech Republic.
Schoultz and her colleagues engage the women with friendly banter about health and the weather, careful not to interrupt those with customers. The L’Chaim volunteers collectively carry a few hundred free condoms along with high-end soaps and hand-crafted bracelets.
“The girls always ask for extras for their friends,” Schoultz said.
Schoultz, who has been visiting Czech brothels since she moved to Prague in 2011, is not a mere purveyor of gifts. Her goal is to establish a rapport with the women she meets so that they can leave the business of sex work if they so wish. And her Jewish faith is a core driver of Schoultz’s quest to provide a better life for the sex workers.
“Some of the women have been trafficked,” she explained, referring to the term governments and human rights advocates use to describe a contemporary form of slavery. “There are girls who were tied up for days and raped, even by the police. Some might seem to be in the brothel voluntarily, but not really, because they owe a lot of money on a debt and feel sex work is only way they can pay it back.”
Dressed in black from head to toe, in what a fashion magazine might describe as modest goth, Schoultz is a veteran of global anti-trafficking efforts. A few decades ago, while teaching English in South Korea, Schoultz volunteered for an organization that was trying to stop the trafficking of North Korean women to China. At the same time, she was getting a master’s in theology and wanted to move to Europe to get her doctorate, which was possible at Prague’s Charles University.
“When I got to the Czech Republic, I started looking for people who were working on the trafficking issue and found three women: a Catholic nun and two Protestant missionaries. All of them were in their 60s,” Schoultz said.
Schoultz asked if she could join them in their visits to brothels.
“I just went in and started talking to women, about really anything. Language wasn’t a barrier because most sex workers speak English,” she recalled. “But it was a bit weird walking into these places with a nun in full habit.”
After a few months Schoultz began to feel uncomfortable — not with the sex workers, but with her philanthropic colleagues’ proselytizing and “religious agenda.”
“I wasn’t interested in giving out Virgin Mary medallions,” she said.
Schoultz, who teaches English at an international school in Prague, started her own informal volunteer group to help sex workers in 2012, while also embarking on a deeply personal Jewish journey.
Although she believes her father has “Jewish ancestry,” Schoultz was brought up in a Protestant home. Still, she long maintained a deep interest and connection to Judaism which intensified when she pursued her studies in theology. For several years, she regularly attended Orthodox services at 13th-century Old New Synagogue and volunteered for the Prague Jewish Community’s social services department before completing an Orthodox conversion in 2020 with Israeli rabbi David Bohbot. She has now begun her master’s degree in Jewish Studies at the Ashkenazium in Budapest, a division of the secular Milton Friedman University operated by the Hasidic Chabad-Lubavitch movement.
“From the beginning when I knew I wanted to make the conversion, Orthodox Judaism was something I agreed with theologically, it is where I felt most comfortable,” said Shoultz, who describes herself as Modern Orthodox.
Rabbi Dohbot praised Schoultz’s dedication. “This work she does is noble, and isn’t that what most big religions are based on? Showing love and respect for others?” he said.
Schoultz completed an Orthodox conversion to Judaism in 2020. (Courtesy of Schoultz)
Last year, Schoultz achieved another transitional milestone: obtaining Czech government recognition of L’Chaim as a registered nonprofit.
Although L’Chaim is a secular organization, Schoultz sees her work through the lens of tikkun olam, the rabbinical command to repair the world.
“I feel like as a Jewish person, you’re supposed to bring light to the world,” said Schoultz. “And the sex industry is very dark, because even if you choose to be a sex worker, it’s not a job that anybody really enjoys as the customers are often drunk or abusive.”
“It might sound strange, but I feel very connected to Hashem when I am in the brothel, because he is there for me, and for these women too,” she added, using the preferred Orthodox Hebrew term for god.
Schoultz’s co-volunteers, who are mostly not Jewish, are aware of her commitment to the faith.
“After Yael started getting serious about Judaism, she found her path, she was more complete and found her purpose,” said Natalia Synelnykova, who worked with Schoultz to launch L’Chaim. “Everyone would say that their friends are unique, but I have rarely met someone who is so human-centered as Yael, and that is definitely linked to how she sees Judaism.”
Schoultz named her new organization L’Chaim — to life, in Hebrew — as a message to those she seeks to help.
“We want the women in the brothels to have a life because a lot of them feel like they don’t have any life, like they’re barely making it,” she said.
There are about 100 brothels in Prague, according to media reports, and roughly 13,0000 sex workers in the Czech Republic, of which about half are thought to be single mothers. Although sex work is legal, pimping is not, so the brothels operate in a murky legal area that legislators have been trying to address for decades.
Once a hotspot for human trafficking, today the Czech Republic has a relatively low rate of human sex slavery according to government statistics. But Schoultz said the numbers are misleading.
“No one really knows how many trafficked women there are in the country,” she said.
A U.S. State Department report praised the Czech Republic’s efforts to limit trafficking but also noted that the country is more focused on prosecutions of criminals rather than on helping victims. Their stories stay with Schoultz.
“I meet many Nigerian women who may not be locked up in a room, but they are locked up by Juju,” she said, referring to a form of “black magic” that some Nigerian traffickers reportedly use to scare women into prostitution.
She also counsels “Romanian girls who are initially romanced by men that turn out to be traffickers.” A man will have many women he calls “wives,” and each one has a baby with him, “The women give him all their money to support the baby who he keeps as a form of collateral in Romania,” Schoultz said.
(Shoultz turned down JTA’s request for contacts of sex workers she has helped, noting that this would violate L’Chaim’s promise of confidentiality).
The Czech Republic’s leading anti-trafficking organization, La Strada, takes a different orientation towards sex work than L’Chaim, focusing on it more as a legitimate profession that should be organized and regulated.
“We believe women are fully able to decide for themselves if they want to be sex workers and our goal is to provide safety for those who do so, to help them organize, fight stigma and have the rights of all other workers,” said Marketa Hronkova, La Strada’s director. La Strada defines trafficking strictly as those who are physically coerced or blackmailed into providing labor.
Hronkova said there are many sex workers who choose their profession willingly and that it is patronizing and often damaging when those who say they want to help focus exclusively on “pushing women to exit a path they have chosen, as if they have no minds of their own.”
The alternative to sex work, for a single mother, can often put her in an even worse financial situation, she noted. “Our goal is to make sex work safe, not to get women to stop doing it,” said Hromkova.
Concerning L’Chaim, she said as long as its aim was listening to women, and not making them feel ashamed, it could be helpful. La Strada already cooperates with another Czech organization, Pleasure Without Risk, which maintains a neutral stance towards sex work and provides women with access to testing for sexually transmitted diseases as well as counseling.
L’Chaim’s goal, Schoultz explained, is to identify who might be trafficked and provide them with the confidence and practical resources to rebuild their lives. But since getting access to the women requires earning the trust of brothel owners and managers, L’Chaim doesn’t advertise itself as an anti-trafficking group.
“We show up as providing support to women in prostitution, that gets us in the door,” she reflected. L’Chaim has about a dozen volunteers.
It can take Schoultz six months of relationship building before she finds out what brought the client into sex work.
“We start by talking about her kids, talking about her dogs,” said Schoultz “and eventually their stories come out, many involving abuse, trauma and mental health problems.”
She estimated that at the 13 or so brothels she regularly visits in Prague and Brno, at least half the sex workers were not there on a fully voluntary basis.
In the future, Schoultz hopes to create trafficking awareness campaigns and help the customers of sex workers recognize the signs that a woman is working against her will.
The brothel owners are not always pleasant to deal with, Scholtz acknowledged.
“At one place an owner came behind me and kissed my neck on the back of my neck. It was really creepy,” she said.
And despite her modest dress, or tznius, in keeping with her Orthodox values, she said she was pursued by a brothel customer to participate in “group sex.” She fended him off calmly by explaining that she “offered services, but not those kinds of services.”
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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.”