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Embodying a story of trauma and liberation, Ukrainian Jews celebrate Passover amid a new normal
KYIV, Ukraine (JTA) — Yuliia Krainiakova fled her home in Kharkiv, Ukraine, after Russian troops invaded last year and made her way to Berlin, where she and her daughters settled for 10 months with the help of Jewish organizations.
After returning to Kharkiv several months ago, she hoped to experience some of the Jewish gatherings that had been a beacon during a time of turmoil — but her city, Ukraine’s second-largest, has continued to be shelled regularly, making safety a more pressing priority than Jewish communal life.
“Due to the war, it is difficult to find in Kharkiv,” she told the Jewish Telegraphic Agency on Tuesday. “So we decided to come to Kyiv for Passover seder, so we could have a Jewish experience here.”
Krainiakova, her husband and her two daughters were among dozens of Jews from Kharkiv who made the roughly six-hour train journey to Ukraine’s capital on Tuesday for a seder organized by Midreshet Schechter, which in partnership with Masorti Olami operates all the Conservative communities in Ukraine.
On Wednesday, they sat down at a large U-shaped table, festooned with all the trappings of the traditional seder, for a festive meal whose main concession to the war was that few attendees were in their home city.
Rabbi Irina Gritsevskaya directs Midreshet Schechter and has traveled to Ukraine multiple times over the last year from her home in Israel to support holiday celebrations there, while also teaching classes throughout the year online to students at Shaalvim Jewish Day School in Kharkiv. She said the Passover story, or maggid, was especially resonant for Ukrainian Jews who have endured more than a year of war.
“The maggid is going to be centered on going to trauma, because Pesach is actually a story of going through trauma, through the trauma of losing our Temple, our Beit Hamikdash,” Gritsevskaya said. “Now we are dealing with a different trauma, so the question is, how can we learn from the story that happened many, many years ago and connect it to today so we learn the lessons of hope and rehabilitation.”
Last year, Passover took place less than two months into the war, meaning that families were dispersed, supplies were hard to come by and any planning could easily be thrown into disarray as conditions changed. Still, between Chabad and the American Jewish Joint Distribution Committee, or JDC, the country was home to multiple public seders, some held in hotels or earlier in the day to accommodate emergency curfews.
Yuliia Krainiakova, left, and Alla Gusak sit together at a Passover seder in Kyiv, Ukraine, April 5, 2023. (Marcel Gascon Barbera)
This year, life in Ukraine has settled into a new normal in which Ukrainians can reasonably plan for the future, despite continuous blackouts and ongoing shelling in some cities. Passover observances will take a more typical form, with Chabad, the main organizer of Jewish life in many Ukrainian cities, holding 90 community seders and distributing Passover supplies to 30,000 people.
Adding to the new normal is the fact that hundreds of thousands of Ukrainians who left in the frightening early days have returned home.
That includes some of the families at Kharkiv’s Shaalvim school, which remains online because of the ongoing threat of shelling. Their trip to the Conservative synagogue in Kyiv offers a rare opportunity to be together.
“The idea to meet and spend time with each other is very exciting for them after all this time staying at home,” their teacher Svetlana Maslova said shortly after the group arrived on Tuesday.
Besides forcing the kids to receive their education remotely and secluded at home, the 120 children enrolled in the Shaalvim school have been experiencing recurrent blackouts for months, caused by shelling or by Russian strikes on Ukraine’s energy infrastructure. “At some point we had two full days without power,” Maslova said.
Shaalvim has provided a source of stability during a year of upheaval, parents said. Alla Gusak, who traveled to Kyiv with her 11-year-old daughter, lived before the war in Chuhuiv, a town about 25 miles southeast of Kharkiv that was a prime target for Russian troops because it houses a Ukrainian air force base. Russia briefly occupied the city early in the war.
“We were bombed and survived and managed to get out by miracle,” said Gusak. She added that their family home was heavily damaged and said another property in the family, in Izium, was rendered unusable along with the local medical clinic and schools while the Russian army occupied that city. “We cannot even go there because there are mines everywhere.”
Gusak and her husband worked in agriculture, but now there are mines strewn across the fields they once sowed. So even with its classes online, the Shaalvim Jewish school is of great help for her daughter to go through the horrors of this war, she said.
“What Jewish school gives us is actually family,” said Natalya Kupin, whose 11-year-old daughter attends the school. “It unites our kids, it gives us tradition and that’s what other people and nations also need, a basic tradition, because that’s what gives us the ability to be together.”
In the room where preparations were underway for the seder Tuesday, a costume Pharoah headdress hung in a corner, ready for a festive meal with lots of flourishes. Gritsevskaya said she had discussed the seder in advance with her students, and they would have an opportunity to reflect on the meaning of liberation in their own lives. She also said that while the preparation for the journey and the seder had been extensive, she didn’t know everything that would happen.
“The kids also prepared a show, a spectacle, about Yetziat Mitzrayim [leaving Egypt], which I have not seen,” Gritsevskaya said. “That’s a surprise for me.”
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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.”