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Hebrew school enrollment across US down by nearly half since 2006, report says
(JTA) — Living in Brooklyn, surrounded by synagogues and Jewish schools, Rachel Weinstein White and her husband hoped to find a place where their children could receive a Jewish education for a few hours each week.
But they knew they didn’t want to enroll at a traditional Hebrew school associated with a local synagogue. For one thing, White wasn’t interested at the time in participating in prayer services, the main offering of most congregations. Plus, her husband is Black and not Jewish, and they were not sure how well he or their children would be welcomed.
So about eight years ago, she started her own program together with a few families, setting up a cooperative and hiring a teacher in an early version of the “learning pods” that would become a pandemic fad.
“It was just this incredible, magical year,” White said. “So many people started hearing about our little class and asked to join that it became necessary to create a second class. … It just kind of grew organically from there.”
Today the school, Fig Tree, enrolls about 350 children across three locations and plans are underway to expand further. In hour-long classes on Sundays and weekday afternoons, children learn about Jewish holidays and history, engage in art and creative play, explore their local Jewish communities and learn basic Hebrew, in a program that culminates in a b’nai mitzvah year. It overlaps significantly with traditional Hebrew schools, but outside the usual setting — a synagogue classroom — that has become a cultural shorthand among American Jews for rote, uninspiring Jewish education.
That dynamic may be why Fig Tree is an outlier in a stark trend revealed in a new report: Enrollment in supplemental Jewish schools — those that students attend in addition to regular schooling in public or secular private schools — is down by nearly half over the last 15 years.
Even as the estimated number of Jewish children in the United States rose by 17% between 2000 and 2020, enrollment in Hebrew schools fell by at least 45% between 2006 and 2020, according to the report by the Jewish Education Project, a nonprofit that promotes educational innovation and supports Jewish educators in a wide array of settings.
The report identifies pockets of growth, mostly in the small number of programs like Fig Tree that operate outside of or adjacent to synagogues, and in schools operated by the Hasidic Chabad-Lubavitch movement. But overall, according to the report, just 141,000 children attend supplemental Jewish schools in the United States and Canada, down from more than 230,000 in 2006 and 280,000 in 1987.
Some of the decline in Hebrew school enrollment is countered by increasing enrollment in Jewish day schools, where students study Jewish topics for at least part of every day. The number of U.S. children attending Jewish day schools has risen by roughly the same amount, 90,000, that Hebrew school enrollment has fallen since 2006, according to the report, though a significant portion of the increase stems from population growth in Orthodox communities, where the vast majority of students attend day schools.
Miriam Heller Stern, a professor at Hebrew Union College-Jewish Institute of Religion who was tapped to help design the study, said the results suggest that, as with many aspects of religious life today, Hebrew school enrollment cannot be counted on as an act of obligation or tradition.
“There’s this idea that parents send their kids to Hebrew school because they went to Hebrew school and that’s a rite of passage in North America, but that may be a myth,” she said. “People don’t want to push their kids to have to do the same thing they did, necessarily, anymore.”
The report speculates about what has fueled the enrollment decline — from demographic changes to shifts in how American Jews think about countering antisemitism to increased access to Jewish learning online — and also about what has allowed some schools to thrive. It notes that all of the supplemental schools that responded to its census said their schools help children feel connected to the Jewish people.
“We believe that many factors have led to the decline in enrollment of students in supplemental schools in the last decade,” said David Bryfman, the Jewish Education Project’s CEO. “However, it’s also a myth that all supplemental schools don’t work.”
The group is planning a series of online sessions with some of the dozens of researchers and practitioners involved in the report, with one goal the sharing of success stories identified by the survey. Of the six identified in the report, a common theme is urging experiential, community-based learning. Some of the promising models explicitly position themselves as infusing Jewish content into child care, filling a pressing need for American families.
Still, it may be hard to counter the demographic realities of contemporary American Jews: Just a third of U.S. Jews in a 2020 survey said someone in their household was a member of a synagogue. That was the case even for the majority of non-Orthodox Jews who said they identified with a particular denomination, a marker of traditional engagement.
The waning of synagogue affiliation is borne out in the Jewish Education Project’s report, which found that more than 700 supplemental schools shuttered between 2006 and 2020 — most outright, though as many as 200 have survived in a new form after merging.
Temple Solel, a small Reform congregation in Fort Mill, South Carolina, shut down its Hebrew school in recent years. The volunteer-run program had up to eight students at a time, according to Russ Cobe, a lay leader.
“We sort of hit a point where we weren’t able to sustain it,” Cobe said. “We only had a couple of people teaching and students from a wide range of ages and they wouldn’t show up every week. Also, our wheelhouse seems to be retirement age and above. We don’t have a lot of young families.”
Hebrew school mergers offer one possible approach to countering the enrollment decline. Two synagogues, one Reform and one Conservative, located half a mile apart in Oak Park, Michigan, established a joint school about seven years ago and called it Yachad, which means “together” in Hebrew.
“One day a week we meet at the Conservative congregation and one day a week we meet at the Reform congregation, so we are keeping our kids involved in both,” said Gail Greenberg, Yachad’s director. “My goal is to make it at the highest common denominator. For example, all of our food is kosher so anyone who wants to eat here can.”
The arrangement appears to be working. Last year, about 90 students were enrolled, and this year, enrollment is at 128, including 26 new kindergarteners, with even larger numbers expected in the future.
Another set of programs has grown dramatically in recent years: those affiliated with the Chabad movement, which tend to operate even when small and cost less than synagogue programs. Since 2006, the study says Chabad’s market share in terms of enrollment has grown from 4% to 10%, and in terms of the number of schools from 13% to 21%.
Those figures might represent an undercount, according to Zalman Loewenthal, director of CKids, the Chabad network of children’s programs. While the study says there are some 300 Chabad programs in the United States, Loewenthal said he is aware of at least 500 and perhaps as many as 600 — a number driven up in the last decade amid a push by Chabad to launch more Hebrew schools. His count is based on the number of customers purchasing the curriculum offered by his organization, which is also new in the last decade and in his view has contributed to improved quality among Chabad Hebrew schools.
In general, non-traditional approaches to Jewish education may be attractive at a time when American families have packed schedules and competing needs, according to Stern.
“People want to be able to have bite-sized pieces just like you sign up for a six-weeks art class, they might want a six-weeks Jewish class,” she said. “In this atmosphere, some communities are finding ways to be more modular and more flexible, and meet people’s needs in different ways.”
Stern also said, referring to six programs highlighted in the study as success stories, that the future calls for programs to offer an “immersive” experience, meaning that children become part of a community.
“They are getting something beyond just knowledge,” Stern said. “They’re also getting connection and belonging, which provides the foundation for something bigger in their lives.”
Stern said she thought the report pointed to gaps in the way American Jewish communities allocate their resources.
“Supplementary education really was abandoned as a communal priority,” she said. “Individual communities had to find ways to fund it on their own. And I think that is part of why we’re seeing a decline.”
Bryfman said he’s optimistic, both about the power of supplemental schools and the potential for them to generate new support from Jewish donors.
The Jewish Education Project had sought outside funding to pay for its study and failed, he said. But now that the numbers are clear, he is beginning to see interest from philanthropies.
“I don’t want to count the dollars before they’re granted,” Bryfman said. “But the study is already beginning to have the desired effect of bringing more resources to the field.”
Fig Tree isn’t set up to benefit in a possible future of increased charitable investments in Jewish education. That’s because the school is set up as a business — an expression of confidence in its growth and to insulate itself from the vagaries of philanthropy.
“It’s a very unusual model for the Jewish education and I would argue a self-sustaining one,” White said. “We don’t have to rely on fundraising… and we’re not beholden to some of the other requirements that a nonprofit would necessitate, which allows us to be nimble.”
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At Berlin screening, former Israeli hostages see film about their captivity rewritten after redemption
(JTA) — BERLIN — They stood outside Berlin’s Babylon theater, bundled against the cold, laughing and dragging on cigarettes: the Cunio twins David and Eitan, and their younger brother Ariel.
David and Ariel were among the last Israeli hostages released in October from Hamas captivity, after 738 days. Their presence in Berlin — for a screening of a film about them, now recut with a redemptive ending — felt almost like an apparition. On the other side of two heavy glass doors were hundreds of theatergoers, people who had long waited for this moment.
The brothers and their extended family were in Berlin for a second premiere of Tom Shoval’s film “Letter to David.” The original film, shown in 2025 at the Berlin International Film Festival, or Berlinale, dove deep into the struggles of a family whose members had been abducted from Kibbutz Nir Oz on Oct. 7, 2023. By then, six kidnapped members of the family, including three children, had been freed. But David and Ariel remained in captivity.
“Last year I was standing before the screening with a poster of David and Ariel. I was determined, every time I showed the film, to say that it’s an unfinished film,” Shoval told the sold-out audience at the theater in former East Berlin.
“And now I’m standing here. I have David in the audience, and I have Ariel in the audience,” he continued. “This is a precious, precious moment.”
The film “is a testament to love, hope and all the people who did not give up during the two years I was in captivity,” David Cunio said in Hebrew, standing on the stage with his extended family. “You gave me a voice when I could not be present. You were there for me.”
The film’s second showing came as tensions over the war in Gaza and Germany’s support for Israel roiled the Berlinale. After the jury’s president, director Wim Wenders, brushed off a journalist’s exhortation for the festival to take a stand against Israel, the Indian author Arundhati Roy announced she would not attend, and some 80 filmmakers and stars signed an open letter of protest.
Festival director Tricia Tuttle issued a statement saying that “artists should not be expected to comment on all broader debates about a festival’s previous or current practices over which they have no control. Nor should they be expected to speak on every political issue raised to them unless they want to.”
Journalists and filmmakers continued to raise the issue, even on the festival’s final weekend, when some award winners — including the Syrian-Palestinian director Abdullah Al-Khatib, who won best debut film — swatted back at the festival jury, criticizing what they see as Germany’s general support for Israel. Al-Khatib’s allegation that Germany has been “partners in the genocide in Gaza by Israel” prompted a German minister to walk out of the awards ceremony on Sunday.
Friday’s screening of “Letter to David” was by contrast a love fest, and the two police cars out front and uniformed officers circulating inside appeared to have little to do. The audience gave the entire family a standing ovation before the screening.
“I think this is a piece of history,” audience member Nirit Bialer, an Israeli who has lived for years in Berlin, said in an interview. “Just seeing the family, and just following the story about this family on the media, going to the Hostages Square in Israel every time I was there in the last two years: Wow, I’m speechless.”
The film’s original ending showed twins David and Eitan Cunio as actors, grappling with each other in an embrace that is both tender and violent, in a scene from Shoval’s feature film, “Youth,” screened at the Berlinale in 2013.
That ending now segues into a new conclusion, in which the reunited Cunio family embraces. They also view the film together, and Shoval captures their faces as the projector beams from behind.
Shoval said in an interview that he had not changed anything in the first part of the film. “I wanted to leave it as a time capsule, in a way, of how we perceived it back a year ago,” he said.
Though he had been invited to be with the family at their reunion, he chose not to, explaining, “I thought it’s a moment that belongs to them and not to me.”
But he spoke with David soon after he was released. And shortly afterward, he visited Sharon and David Cunio at their home. “I came in the morning and we sat until sunset together and we talked. Even when I’m thinking about it now, I’m getting emotional, because it was really…” He paused. “You’re waiting for a moment for this for so long.”
The Friday screening was not an official part of the Berlinale, but the beleaguered festival director Tuttle made a point of taking the stage herself. The film has been “finished in the way that Tom only hoped and dreamed and believed that he would be able to finish it,” she told the audience.
“We were horrified along with the world and all of you when David Cunio and many members of his family were abducted by Hamas,” she said. And on their release “we rejoiced with everyone as well.”
Saying that the new version was completed too late to be included in the festival schedule, Tuttle thanked two co-production companies that work closely with Israeli artists for backing Friday’s screening: the Israel-based Green Productions and the Berlin-based Future Narrative Fund.
Audience members seemed loath to leave the theater after the screening, lingering over what some described as mix of happiness and worry.
“The fact that David is able to see the movie makes us see the movie in a different way,” commented Konstantin, who had seen the original version last year. A young Jewish actor who lives in Berlin, he asked that his full name not be used, out of concerns about antisemitism. “With the ending, it’s like a full circle, completed.”
Seeing the film again with the Cunio family present “was very uplifting and very happy,” said Berliner Julia Kopp, who also saw the film last year. “But at the same time, it’s not a happy ending … I also have a bit of a heavy heart,” worrying about “how life will go on for them.”
Both brothers have indicated that reentry into everyday life has been challenging after two years of captivity for them and two years of traumatized advocacy by their loved ones. And Ariel Cunio and his partner Arbel Yehud, who was held in captivity until January, have raised nearly $1.8 million since launching a crowdfunding campaign last week aimed at allowing them the time and space to “come back to life.”
A crowdfunding campaign launched on behalf of David and Sharon Cunio their twin daughters, also former hostages, says, “The family not only has to deal with the trauma that follows being held hostage and the events that transpired on October 7th, but also needs to rebuild their entire lives from scratch.”
Shoval said the film — and the screening — offered a vision for what a more settled future might look like.
“For me, the film is about the unification of the brotherhood, and what that means to be torn apart from each other, but also to get back,” Shoval said. “They can sit in the theater and they can see themselves. They can see what they missed, what happened. They can project about the past, about the present. This is a power of cinema, I feel. It felt natural for me to do that: to bring them back.”
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He may have been the world’s most famous mime, but in this play, he won’t shut up
There is a kind of sublime poetry in Marcel Marceau’s first act.
As a young man in occupied France, Marceau (then Mangel) forged identity papers and shepherded dozens of Jewish children across the Alps to Switzerland. In scenarios where staying quiet was essential for survival, Marceau soothed his charges into silence with his own.
In Marcel on the Train, Ethan Slater and Marshall Pailet’s play of Marceau’s pre-Bip life, the world’s most famous mime is anything but silent.
The action of the play, which bounces through time back to Marcel’s father’s butcher shop and forward to a P.O.W. camp in Vietnam (don’t ask), unfolds over the course of a train ride. Slater’s Marceau is chaperoning four 12-year-old orphans, posing as boy scouts going on a hike.
The kids — played by adults — are a rambunctious lot. Marceau tries to put them at ease juggling invisible swords, performing Buster Keaton-esque pratfalls and exhausting his arsenal of Jewish jokes that circle stereotypes of Jewish mothers or, in one case, a certain mercenary business sense.
Pailet and Slater’s script toggles uncomfortably between poignancy and one-liners with a trickle of bathroom humor (the phrase “pee bucket” recurs more often than you would think.)
The terror of Marceau’s most melancholy escortee, Berthe (Tedra Millan) is undercut somewhat by her early, anachronistic-feeling declaration, “Wow, we’re so fucked.” The bumptious Henri (Alex Wyse) would seem to be probing a troubled relationship with Jewishness and passing, but does that discussion a disservice when he mentions how it wouldn’t be the biggest deal if he “sieged a little heil.” Adolphe (Max Gordon Moore) is described as “an exercise in righteousness” in the script’s character breakdown. Sure, let’s go with that.
The presence of a mute child, Etiennette (Maddie Corman), is tropey and obvious. It doesn’t suggest that she inspired him to abandon speaking in his performances, but it doesn’t dismiss that possibility either.
But the chattiness and contrived functions of the fictive children are made more disappointing by the imaginative staging maneuvering around the shtick. Slater, best known for his role in the Wicked films and as Spongebob in the titular Broadway musical, is a gifted physical performer.
When things quiet down, Pailet’s direction, and the spare set by scenic designer Scott Davis, create meadows of butterflies. Chalk allows Marceau to achieve a kind of practical magic when he writes on the fourth wall. One of the greatest tricks up the show’s sleeve is Aaron Serotsky who plays everyone from Marceau’s father and his cousin Georges to that familiar form of Nazi who takes his torturous time in sniffing out Jews.
Surely the play means to contrast silence and sound (sound design is by Jill BC Du Boff), but I couldn’t help but wonder what this might have looked like as a pantomime.
While the story has been told before, perhaps most notably in the 2020 film Resistance with Jesse Eisenberg, Slater and Pailet were right to realize its inherent stage potential. It’s realized to a point, though their approach at times leans into broad comedy that misunderstands the sensibilities of its subject.
Like Slater, who learned of the mime’s story just a few years ago, Marceau was an early acolyte of Keaton and Chaplin. But by most accounts he cut a more controlled figure — that of a budding artist, not a kid workshopping Borscht Belt bits on preteens.
The show ends with a bittersweet montage of Bip capturing butterflies (not jellyfish — you will probably not be reminded of Mr. Squarepants). It means to frame Marceau’s established style as a maturation that nonetheless retains a kind of innocence, stamped by the kids he rescued.
“You’ll live,” Berthe tells him in a moment of uncertainty. “But I don’t think you’ll grow up.”
In Marceau there was, of course, a kind of Peter Pan. But there’s a difference between being childlike and being sophomoric.
Marcel on the Train is playing through March 26 at Classic Stage Company in New York. Tickets and more information can be found here.
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US soldier who protected Jews in POW camp during WWII to be awarded Medal of Honor
(JTA) — An American soldier who is credited with saving the lives of 200 Jewish comrades in a prisoner of war camp in Germany during World War II will receive the U.S. military’s highest decoration, the Medal of Honor.
The award to Roddie Edmonds, who died in 1985, was announced last week. It comes more than a decade after Israel’s Holocaust memorial, Yad Vashem, recognized him as a “Righteous Among the Nations” for his bravery and six years after President Donald Trump recounted his heroism during a Veterans Day parade.
Edmonds, a sergeant from Knoxville, Tennessee, was the highest-ranking soldier among a group taken prisoner during the Battle of the Bulge in January 2045 when the Nazis asked him to identify the Jews in the group. Understanding that anyone he identified would likely be killed, Edmonds made the decision to have all of the soldiers present themselves as Jews.
When a Nazi challenged him, he famously proclaimed: “We are all Jews here!”
The show of solidarity came to light only after Edmonds’ death, when a Jewish man who had been among the soldiers at the camp shared his recollection with the New York Times as part of an unrelated 2008 story about his decision to sell a New York City townhouse to Richard Nixon when Nixon was having trouble buying an apartment following his resignation as president.
When they found the article several years later, it was the first that Edmonds’ family, including his pastor son Christ Edmonds and his granddaughters, had heard about the incident. Soon they were traveling to Washington, D.C., and Israel for ceremonies honoring Edmonds, one of only five Americans to be credited as Righteous Among the Nations, an honor bestowed by Israel on non-Jews who aided Jews during the Holocaust.
As the family campaigned for a Medal of Honor, Edmonds was also the recipient of bipartisan praise from two American presidents.
“I cannot imagine a greater expression of Christianity than to say, I, too, am a Jew,” President Barack Obama said during remarks at the Israeli embassy in Washington, D.C., on International Holocaust Remembrance Day in 2016.
Three years later, President Donald Trump recounted the story at the New York City Veterans Day Parade. “That’s something,” he said. “Master Sergeant Edmonds saved 200 Jewish-Americans — soldiers that day.”
Last week, Trump called Chris Edmonds to invite him to the White House to receive the Medal of Honor on his father’s behalf, Chris Edmonds told local news outlets. The Medal of Honor ceremony is scheduled for March 2.
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