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For 5 days, an endangered seal became a celebrity on an Israeli beach. Locals want her back.
JAFFA, Israel (JTA) — For most of the past week, Israel’s latest unlikely celebrity lounged on the Jaffa beach, drawing throngs of onlookers, constant media attention and round-the-clock protection from the government as she sunbathed and slept the day away.
Then early on Tuesday afternoon, the unwitting star named Yulia — a rare 6-foot species of seal weighing hundreds of pounds who has traveled the eastern Mediterranean — waded into the water and swam away. She left no sign of whether she would ever return.
Her departure has left some local residents bereft and others hopeful that she may find a safer home than a bare beach with little shelter, other animals and litter. News of her departure spread quickly through the area’s social media and WhatsApp groups, one of which had even changed its name from “Friends of Jaffa” to “Friends of Yulia.”
“Of course I know she’s not smiling, but her lips are formed in a way that makes her look like she is. She’s so utterly calm — even while a million people are watching her,” said Jaffa resident Aya Zaken, who added that she was “deeply sad” that Yulia had returned to sea.
Seeing the mammal for the first time was a “much more moving” experience than she had expected, Zaken said — partly because of the seal’s size but also because of the effect she had on onlookers.
“When faced with her, I felt an overwhelming sense of calm, like a deep meditation,” Zaken said. “The feeling that this is so much bigger than me or my troubles.”
Yulia, who was given her name by a local boy who first discovered her, arrived on Jaffa’s beach on Friday. She had since been the subject of 24-hour surveillance both by the press and the Israel Nature and Parks Authority, which had sent volunteers to keep watch and ensure that the crowds of people who have gathered since her arrival didn’t disturb her.
Yulia is a Mediterranean monk seal, one of roughly 600-700 left in the world, according to the U.S. National Oceanic and Atmospheric Administration, though other estimates put the number even lower. The species is classified as endangered.
Yulia was listless and shaking when she first arrived on Israeli shores, and experts were worried that she was ill. But when Turkish researchers at the International Union for Conservation of Nature, or IUCN, received images of Yulia, they recognized her as a monk seal they had already seen, named Tugra, who is known to have a penchant for both swimming great lengths and napping for extraordinarily long stretches of time. She is over 20 years old and has a reputation for traveling, having been spotted as far off as Greece and Turkey.
“On the one hand, I’m on such a high, I haven’t slept in days,” said Mia Elasar, who has been researching monk seals for 30 years. “As a child I heard that there were once far more seals here; and now, to see one in real life, it’s a legend that has come alive.”
Elasar is the founder of the Delphis Association, an Israeli nonprofit for marine mammals that has partnered with the IUCN on a joint project for the protection of monk seals. She said Yulia’s (or Tugra’s) globetrotting isn’t the only reason for her extreme fatigue. When she arrived in Jaffa, she was spotted with large bite marks in two areas of her body. According to Elasar’s Turkish colleagues, those marks were not present at her last sighting in 2019, off the coast of Lebanon. She was also shedding her fur, a process that requires a lot of energy.
“I worry for her here,” Elasar said. “It makes more sense for her to go back.”
Onlookers view Yulia from a distance. (Deborah Danan)
Some Jaffa residents agreed that the beach — with its crowds, dogs and considerable volume of garbage — wasn’t the best place for their beloved guest. Elasar added that Israel lacks the resources to give Yulia the protection she needs. To provide a more permanent home for her and her fellow seals, she said, authorities would need to build caves along the shoreline where the marine animals could rest.
“I think it is for the best,” said Dan, a resident of Jaffa who declined to give his last name. “It was probably a matter of time until someone would potentially harm her or ‘adopt’ her to live in a bath or aquarium, or even try to eat her.”
In the end, Yulia apparently felt the same way. After 48 hours of sleeping following her arrival, she finally went back to sea. Over the ensuing two days, she was in and out of the water, until, on Tuesday, she left for the longest stretch yet. She was spotted swimming opposite the nearby Jaffa port on Wednesday morning, which gives optimists reason to believe that she will yet return.
“I very much want her to come back,” said Arnon Pinchuk, 14, who came with some of his classmates to see Yulia on Wednesday morning, only to learn that she had left.
Pinchuk was one of only 18 students from the Kehila Democratic School in Jaffa to take the trip. Asked why the rest of his 103-student class did not come along for the adventure, Pinchuk answered, “Because they’re losers who prefer being on their phones.”
Jaffa has a diverse population of Jews, Christians and Muslims and, for many of the residents, Yulia’s arrival was a unifying event. That was especially the case amid recent events in the country, which range from civil strife over a proposed overhaul of Israel’s judiciary to the recent five-day conflict between Israel and Palestinian Islamic Jihad in Gaza. Yulia got to Jaffa near the end of that round of fighting.
“She came at a time when people need quiet and solidarity and unity and happiness,” Zaken said. “I hope she gathers her strength and comes back and tells us all how awesome we are.”
Along with locals, Yulia attracted a gaggle of photographers who have spent hours training their lenses on her. Yehiel Lamesh, an amateur photographer, traveled from the southern port city of Ashdod to visit Yulia, and said, “I would go around the world to see such a creature, so of course I would come here.”
To Ziv Binunski, a cameraman for Israel’s Channel 12 News, Yulia’s sojourn was a welcome respite from his other assignments, which include capturing rocket fire over the Gaza border, as well as the anti-government protests roiling the country.
On Wednesday morning, he stood on the beach, hoping to catch her return.
“It’s such a different experience, being connected to the sea and to nature,” he said, “and to be dependent on the whims of animals, and not humans.”
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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.”