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His bar mitzvah was ‘tragic.’ 18 years later, he turned it into a drag show.

(New York Jewish Week) – When Michael Witkes arrived at his bar mitzvah party, he knew he couldn’t enter to a musical theater song, his preferred genre, because he was already being bullied for being too effeminate and flamboyant. So, he simply told the DJ to just pick any song that matched the vibe of a bar mitzvah entrance.

The DJ picked “I’m Coming Out” by Diana Ross. 

“This day that is supposed to be completely celebratory became this kind of tragic, camp event, where I had to wrestle with getting bullied because of this,” Witkes said. “I just trying to become a man, a Jewish adult, and then I was suddenly getting outted at my bar mitzvah.”

Eighteen years later, Witkes, 31, is a professional drag queen in New York City, performing as “Pink Pancake.” This week, he will revisit that troubling coming-of-age moment in his first ever one-woman drag show, “Today You Are a Man” at the Tank NYC.

“I take that moment of tragedy and I flip it on its head and I turn it into this play about self discovery and coming into your authenticity as a queer person and as a Jew,” Witkes told the New York Jewish Week.

Witkes first began developing the show, which runs for 80 minutes, two years ago as a four-minute lip sync for a “Hanukkah in July” drag performance. Since then, he’s partnered with director and queer Jewish art and events curator Stuart Meyers to flesh out a full-length performance. 

“The show gives an earnest portrayal of the horror of that experience, how awful it was, and is, to be bullied for being gay and femme, yet also lifts and celebrates the story of who Michael has become through drag,” Meyers told the New York Jewish Week. “So what’s really interesting is that the piece is about his bar mitzvah of the past, but in a big way, it’s also a bar mitzvah in and of itself, because it’s a celebration of his own very Jewish process of coming into this next chapter as Pink Pancake.” 

Ahead of the show, the New York Jewish Week caught up with Witkes about what it was like to make the show and revisit his bar mitzvah experience. 

This interview has been lightly edited for length and clarity.

What would you tell your 13-year-old self about how far you’ve come?

It’s funny because I think if I told my 13-year-old self, “Hey, you’re now a drag queen in New York, and you’re making a living pursuing this queer art form,” I think that my 13-year-old self would be horrified. This might be my biggest fear at the time, realized. 

Michael Witkes at his bar mitzvah service and party, where the DJ traumatized him by playing “I’m Coming Out” for his entrance song. (Courtesy Michael Witkes)

First, I would give my 13-year-old self a giant hug. I think I would say, “You are wonderful as you are and just let your inner star shine. At the time, I did everything I could to make myself smaller and to try to hide the fact that I was gay, even though I was just naturally more feminine and flamboyant growing up. I did everything I could to hide that, with my clothes, with the way I walked around. Everything was a performance. I would just say, “Hey, baby, breath, let it all out. It’s gonna be okay. Own who you are.”

What does it mean to you to have your first full-length one-woman show center on a Jewish narrative?

I grew up in a pretty Jewish suburb of Philadelphia, on the Main Line. I feel like growing up, I kind of took my Judaism for granted. In seventh grade, there was a bar or bat mitzvah every single weekend. Judaism was so prevalent that it wasn’t a huge part of my identity. 

But now we’re in a time where there is this rise in antisemitism and you can feel it. In my other gigs, I have made some self-deprecating jokes in the mic about being Jewish — as Jews do with Jewish humor. Before it was just a part of my act, but now I have this inner voice in the back of my head saying “Is it safe to say this? Is it safe to make these jokes? Is it safe to be openly Jewish?” Since coming out and embracing myself fully, I’ve been really proud to be queer. Now I feel like the show is helping me be more proudly Jewish. It’s been wonderful working with Stuart Meyers, who has done a lot of queer Jewish work and queer Jewish art, because he’s kind of pushed me to embrace my Judaism even more and pull things out in the show in relation to my Jewish identity even more, so it’s been really exciting. We have to continue to be visible and proud and continue to advocate for ourselves and everyone that is marginalized in the global majority.

Do you feel like making this show has helped you process the trauma from your bar mitzvah party and given you a second chance at celebrating?

That is the structure of the show in a way, where I have the chance to do it all over again. It’s a queering of this Jewish rite of passage. The whole show, in a way, is like a redo of my own bar mitzvah, but now I’m in drag as a woman — but I’m not a woman, and I’m also very gender-queer. It’s a beautiful way to explore what it means to be a man and to explore your gender identity and sexuality. 

This has definitely helped me process my bar mitzvah and re-own this moment that was kind of tragic. In general, my bar mitzvah was a wonderful event — this moment just clouded it. I think that wounds can continue to heal and come back and they can surprise you like, “Oh, I thought I got over that.” So revisiting this moment has definitely brought some things up to the surface that I’m able to now heal from. 

I rewatched the video of my service many, many times while putting the show together. I had a wonderful support system in my parents, but I don’t think I fully realized that at the time because I felt so alone and othered in school. So it’s really healing to be able to look back and listen to the speeches that my parents made at my bar mitzvah. Watching myself in the video, I look awkward and I don’t like that my parents are saying nice things about me and I’m probably not fully paying attention and kind of dissociating because it’s uncomfortable. But to look back now — my parents are so sweet. My dad said that he appreciated how sensitive I was and how gentle I was. These are things that I was bullied for, because they’re not “masculine.” But at my bar mitzvah, he was saying you’re a man because of all of these things. That’s just so beautiful. 

I’m excited to bring it to an audience. I’m sure that healing will happen even more when it’s in front of a live audience and I’m hoping that the same thing will happen for them as well. I hope bringing the specificity of this event to my show will allow people to bring the specificity of their own moments growing up Jewish or growing up queer and find healing and celebration.

What else can people expect at the show?

There are going to be too many costumes in a short amount of time. I’m really excited for all of these wacky costumes I’m bringing. It’s going to be heartfelt, it’s going to be drag. It’s a full production and I’m so excited to finally bring this to life after sitting on it for all this time. It combines drag lip sync with multimedia — video projections of my bar mitzvah and lots of other very fun, funny things. Of course, I have two backup dancers — it’s a one-woman show, but it’s a one-woman drag show, so that means that you need to have two backup dancers. It’s a fully realized show with a plot and a beginning, middle and end.

“Today You Are a Man,” is playing at The Tank NYC (312 W. 36th St.) Jan 18-20 at 9:30 p.m. and Jan. 21 at 7 p.m. Tickets start at $15.

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The post His bar mitzvah was ‘tragic.’ 18 years later, he turned it into a drag show. appeared first on Jewish Telegraphic Agency.

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The BBC Documentary That Paints Every Israeli as an Extremist

The Jewish community of Beit El in Judea and Samaria. Photo: Yaakov via Wikimedia Commons.

Louis Theroux first visited the West Bank in 2011 to film a documentary titled Louis and the Ultra-Zionists, part of his long-running series for the BBC. Back then, he at least seemed to possess a trace of journalistic curiosity. Even the title signaled a degree of editorial caution — framing his subjects as a small, ideological fringe rather than representative of Israeli society as a whole.

At the time, Theroux made an effort to clarify that he was profiling a narrow segment of Israelis. He showed legally purchased Jewish homes (sold by Arab landowners, no less) and acknowledged the regular — and at times deadly — terror attacks faced by Israeli civilians living in the area, often requiring military protection. There was condescension, certainly. But there was also context.

Fast-forward to 2024, and the curiosity is gone — though the bemused, slightly smug expression remains. His new BBC documentary, Louis and the Settlers, drops even the soft qualifiers. No “ultra.” No nuance. Just “settlers.” And with that, Theroux makes it clear: half a million Israelis living in the West Bank are one and the same — extremists who, we’re told, want every last Palestinian removed from the land.

This time, the documentary doesn’t begin with questions. It begins with conclusions. And Theroux uses a brief, unrepresentative snapshot of life in the West Bank to draw sweeping indictments of the entire Israeli state.

The message is unmistakable: Israel is the problem. Settlers are the villains. And Palestinians are passive, blameless victims of a colonial project.

Within the opening minutes, Theroux plants his ideological flag. He refers to the West Bank as “Palestinian territory” and describes every Israeli community within it as illegal under international law — a sharp departure from his more qualified approach 14 years earlier.

And while his personal views seep in throughout the film, they become crystal clear during one exchange at a checkpoint, where an Israeli soldier casually refers to their location as “Israel.” Theroux shoots back: “We’re not in Israel, are we?”

And just like that, the BBC and Louis Theroux have redrawn Israel’s borders. No Knesset debate needed.

Erasing History to Blame the Massacre

The timing of this return trip is no accident. The film comes in the shadow of the October 7 Hamas massacres — the day 1,200 Israelis were slaughtered, families were burned alive in their homes, and children were dragged into Gaza. And yet, Theroux barely mentions it.

The few passing references to October 7 serve not to inform the audience — but to imply that Israel may be exploiting its own dead to justify further expansion. It’s not an investigation. It’s an accusation. And it allows him to skip over thousands of years of Jewish history in order to frame the current war in Gaza as a convenient cover story for Israeli “aggression.”

Take Hebron, for example. Theroux tells viewers that “in 1968, the year after [the West Bank] was occupied by Israel, a community of Jewish settlers moved in illegally. They now number some 700.” He fails to mention that in 1895 — decades before the modern state of Israel existed — Hebron had a Jewish population of 1,429.

Jews have lived in Hebron since antiquity — it’s where, according to Jewish tradition, Abraham purchased the Cave of the Patriarchs. Modern records date the community back centuries, despite discrimination under Ottoman rule and bans on Jewish prayer at holy sites. In 1929, Arab rioters carried out a massacre, wiping out Hebron’s Jewish population. Dozens were murdered; the rest were expelled. Under Jordanian rule from 1948 to 1967, Jews were banned from the city entirely. When they returned after the Six-Day War — not as colonists, but as a displaced community coming home — Theroux picks up the story there and calls it “illegal.”

On the Six-Day War itself, Theroux offers no context. No mention of the Arab armies preparing to destroy Israel. No mention of Israel’s preemptive strike against an existential threat.

According to The Settlers, Israel simply “occupied” — full stop.

Palestinian Terrorism? Not Even a Footnote.

Theroux visits Evyatar, a small Jewish community near the Palestinian town of Beita, and uses it as a stand-in for the entire West Bank. Beita is depicted as a symbol of peaceful resistance: a proud, ancient Palestinian village standing firm against violent settlers backed by IDF soldiers.

It’s a neat story. Too neat. Because missing from the story are years of organized, violent riots from Beita — complete with Molotov cocktails, burning Stars of David, and Nazi swastikas. All carefully omitted to preserve the narrative: Palestinians peaceful, settlers aggressive. Facts that don’t fit? Left on the cutting room floor.

Meanwhile, Israeli nationalism is treated as something sinister and unsettling — a moral aberration to be examined. The notion that Jews might want sovereignty or security is met with thinly veiled suspicion. Yet Hamas’ goal of a Jew-free Palestine, explicitly laid out in its charter, is never mentioned. Nor is the Palestinian Authority’s “pay-for-slay” policy, which literally incentivizes terrorism by rewarding those who murder Israelis — including women and children.

These aren’t fringe details. They’re central to understanding the region. And Theroux knows it. He just doesn’t care.

The BBC’s Complicity

That The Settlers aired on the BBC — a publicly funded broadcaster once seen as a gold standard of global journalism — says plenty. Not just about Louis Theroux’s agenda, but about the institutional direction of the BBC itself. This wasn’t a rogue filmmaker sneaking bias past the editors. This was bias built into the foundation — signed off, packaged, and broadcast under the banner of credibility.

There is, of course, no problem with scrutinizing Israeli policy, and no issue with questioning the settlement enterprise or highlighting the tensions in the West Bank. But journalism — real journalism — demands context. It demands precision. It demands at least a passing familiarity with the full scope of the story.

Theroux offers none of that. He arrives with a predetermined script and casts his roles accordingly: Hero. Villain. Victim. Oppressor. And when reality refuses to cooperate? It’s left out.

Louis Theroux didn’t return to Israel to understand it. He returned to flatten it. To reduce its complexity to a morality play — and to ensure everyone knows the antagonist is.

The Settlers isn’t a documentary. It’s a hit piece. And the BBC handed him the camera — then applauded the performance.

The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.

The post The BBC Documentary That Paints Every Israeli as an Extremist first appeared on Algemeiner.com.

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Indian Army Kills Islamist Terrorist Linked to 2002 Murder of Jewish-American Journalist Daniel Pearl

Jewish-American Wall Street Journal journalist Daniel Pearl was kidnapped and murdered by Islamist terrorists in Pakistan in 2002. Photo: Screenshot

The Indian government announced on Thursday that its military forces had killed “Pakistan’s most wanted terrorist,” who was connected to the 2002 murder of Jewish-American Wall Street Journal journalist Daniel Pearl.

On Wednesday, India launched “Operation Sindoor,” which the ruling Bharatiya Janata Party (BJP) claims is targeted at dismantling “terrorist infrastructure” in Pakistan and Pakistan-administered Kashmir.

The operation came after Pakistani terrorists killed 26 Hindu tourists in Kashmir last month amid escalating tensions between the two countries.

In a post on X, the BJP confirmed that during this week’s operation, the Indian army killed Islamist terrorist Abdul Rauf Azhar, who was involved in numerous terrorism plots, including the 1999 hijacking of an Indian Airlines flight, the 2001 terror attack on the Indian Parliament, and the 2016 Pathankot Air Force base attack.

Azhar’s involvement in the 1999 hijacking led to the release of Ahmed Omar Saeed Sheikh, a British-born al-Qaeda member with close ties to Pakistan’s intelligence services, who later was involved in the kidnapping and subsequent murder of 38-year-old Pearl, who was covering the war on terror as a journalist when he was abducted.

In a statement on X, Pearl’s father, Judea, addressed initial reports regarding Azhar’s death and his connection to his son’s murder.

“I want to clarify: Azhar was a Pakistani extremist and leader of the terrorist organization Jaish-e-Mohammed. While his group was not directly involved in the plot to abduct Danny, it was indirectly responsible. Azhar orchestrated the hijacking that led to the release of Omar Sheikh — the man who lured Danny into captivity,” he said.

In 2002, the Jewish-American journalist was abducted and killed by a group of Islamist terrorists connected to Azhar’s militant network, which had ties to al-Qaeda and Jaish-e-Mohammed, a terror group aiming to separate Kashmir from India and incorporate it into Pakistan.

On Jan. 27, 2002, an email was sent to several Pakistani and US media organizations, which included several photos, stating that Pearl was being held in “inhumane” conditions to protest the US treatment of Taliban and al Qaeda prisoners in Cuba. Photo: Screenshot

Originally stationed in New Delhi as the South Asia bureau chief for The Wall Street Journal, Pearl later moved to Pakistan to investigate terrorism following the Sept. 11, 2001, terrorist attacks in New York City.

After kidnapping Pearl at a restaurant in Karachi, southern Pakistan, the Islamist terrorists, who identified themselves as the National Movement for the Restoration of Pakistani Sovereignty, accused him of being an Israeli spy and sent the United States a list of demands for his release.

However, Washington did not meet their demands, and Pearl was ultimately executed after being held captive for five weeks.

His wife, Mariane Pearl, gave birth to a baby boy, Adam D. Pearl, in Paris later that year. On the Daniel Pearl Foundation website, she said, “Adam’s birth rekindles the joy, love, and humanity that Danny radiated wherever he went.”

The post Indian Army Kills Islamist Terrorist Linked to 2002 Murder of Jewish-American Journalist Daniel Pearl first appeared on Algemeiner.com.

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Jewish Jewelry Shop Owners Brutally Assaulted in Tunisia Days Before Annual Pilgrimage

A Jewish jewelry shop owner in Djerba, Tunisia, was brutally attacked by a man wielding a machete. Photo: Screenshot

A Jewish jewelry shop owner in Djerba, Tunisia, was brutally attacked by a man wielding a machete just days before the Tunisian island was set to host its annual Jewish pilgrimage, which is expected to draw thousands of visitors.

On Wednesday morning, two Jewish men — owners of a jewelry shop in the center of the island, located off Tunisia’s southeast coast — were physically assaulted by a man carrying a large knife.

Although the attack was halted when one of them screamed — alerting members of the local Jewish community who subdued the assailant — one of them was left severely injured.

According to local media reports, the attacker had surveyed the island the day before, visiting several stores to identify those owned by Jews. Local police arrested him shortly following the assault.

After the attack, one of the owners was admitted to the hospital with severe injuries. The 50-year-old Jewish man had his fingers severed during the assault and underwent surgery to reattach them.

Israeli Foreign Minister Gideon Saar condemned the attack and expressed his wishes for a swift recovery to the victims.

“This attack comes two years after the previous deadly assault that claimed Jewish lives and the lives of security personnel during the Lag BaOmer celebration,” the top Israeli diplomat wrote in a post on X.

“I call on the Tunisian authorities to take all necessary measures to protect the Jewish community,” Saar continued.

Djerba is home to the majority of Tunisia’s Jewish community, numbering about 2,000 people, and is also where the renowned El Ghriba Synagogue, one of North Africa’s oldest synagogues, is located.

The attack comes just a week before Jewish pilgrims are expected to arrive on the island for the Lag B’Omer holiday, when thousands gather annually for three days of festivities. The annual pilgrimage to El Ghriba Synagogue, scheduled for May 15 and 16 this year, draws visitors from around the world.

The synagogue has been targeted in multiple terrorist attacks over the years, including in 1985, 2002, and 2023.

Two years ago, a shooting at the synagogue claimed the lives of two Jewish cousins and three police officers. Aviel Hadad, a 30-year-old Israeli goldsmith, and Ben Hadad, a 42-year-old Frenchman who had traveled to join the festivities, were among the victims.

The post Jewish Jewelry Shop Owners Brutally Assaulted in Tunisia Days Before Annual Pilgrimage first appeared on Algemeiner.com.

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