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How the late actor Topol turned Tevye into a Zionist
(JTA) — If you were born anytime before, say, 1975, you might remember Israel not as a source of angst and tension among American Jews but as a cause for celebration. In the 1960s and ’70s, most Jews embraced as gospel the heroic version of Israel’s founding depicted in Leon Uris’ 1958 novel “Exodus” and the 1960 movie version. The1961 Broadway musical “Milk and Honey,” about American tourists set loose in Israel, ran for over 500 performances. And that was before Israel’s lightning victory in the Six-Day War turned even fence-sitting suburban Jews into passionate Zionists.
That was the mood when the film version of “Fiddler on the Roof” came out in 1971. The musical had already been a smash hit on Broadway, riding a wave of nostalgia by Jewish audiences and an embrace of ethnic particularism by the mainstream. The part of Tevye, the put-upon patriarch of a Jewish family in a “small village in Russia,” was originated on Broadway by Zero Mostel, a Brooklyn-born actor who grew up in a Yiddish-speaking home. Ashkenazi American Jews tended to think of “Fiddler” as family history — what Alisa Solomon, author of the 2013 book “Wonder of Wonders: A Cultural History of Fiddler on the Roof,” describes as the “Jewish American origin story.”
But Mostel didn’t star in the film, which landed in theaters while the afterglow of Israel’s victory in its second major war of survival had yet to fade. Famously – or notoriously – the part went to Chaim Topol, a young Israeli actor unknown outside of Israel except for his turns in the London productions of “Fiddler.” With an Israeli in the lead, a musical about the perils and dilemmas of Diaspora became a film about Zionism. When Topol played Tevye in London, Solomon writes,“‘Fiddler’ became a site for celebration, drawing Jews as well as gentiles to the theater — some for repeat viewings — to bask in Jewish perseverance and to pay homage to Jewish survival. The show didn’t change, but the atmosphere around it did.”
Topol died this week at 87, still best known as Tevye, and his death reminded me of the ways “Fiddler” is — and isn’t — Zionist. When Tevye and his fellow villagers are forced out of Anatevke by the czarist police, they head for New York, Chicago and Krakow. Only Yente, the matchmaker, declares that she is going to the “Holy Land.” Perchik, the presumably socialist revolutionary who marries one of Tevye’s daughters, wants to transform Russian society and doesn’t say a word about the political Zionists who sought to create a workers’ utopia in Palestine.
“There is nothing explicitly or even to my mind implicitly Zionist about it,” Solomon told me a few years back. And yet, she said, “any story of Jewish persecution becomes from a Zionist perspective a Zionist story.”
When the Israeli Mission to the United Nations hosted a performance of the Broadway revival of “Fiddler” in 2016, that was certainly the perspective of then-Ambassador Dani Danon. Watching the musical, he said, he couldn’t help thinking, “What if they had a place to go [and the Jews of Anatevke could] live as a free people in their own land? The whole play could have been quite different.”
Israelis always had a complicated relationship with “Fiddler,” Solomon told me. The first Hebrew production was brought to Israel in 1965 by impresario Giora Godik. American Jews were enthralled by its resurrection of Yiddishkeit, the Ashkenazi folk culture that their parents and grandparents had left behind and the Holocaust had all but erased. Israelis were less inclined to celebrate the “Old Country.”
“Israelis were — what? — not exactly ashamed or hostile, but the Zionist enterprise was about moving away from that to become ‘muscle Jews,’ and even denouncing the stereotype of the pasty, weakling Eastern European Jews,” said Solomon, warning that she was generalizing.
That notion of the “muscle Jew” is echoed in a review of Topol’s performance by New Yorker critic Pauline Kael, who wrote that he is “a rough presence, masculine, with burly, raw strength, but also sensual and warm. He’s a poor man but he’s not a little man, he’s a big man brought low — a man of Old Testament size brought down by the circumstances of oppression.”
From left: Maria Karnilova, Tanya Everett, Zero Mostel, Julia Migenes and Joanna Merlin backstage at opening night of “Fiddler on the Roof” at the Imperial Theater in New York City, Sept. 22, 1964. (AP/Courtesy of Roadside Attractions and Samuel Goldwyn Films)
Mostel, by contrast, was plump, sweaty and vaudevillian — a very different kind of masculinity. The congrast between the two Tevyes shows up in, of all places, a parody of “Fiddler” in Mad magazine. In that 1976 comic, Mostel’s Tevye is reimagined as a neurotic, nouveau riche suburban American Jew with a comb-over, spoiled hippy children and a “spendthrift” wife; Topol’s Tevye arrives in a dream to blame his descendants for turning their backs on tradition and turning America into a shallow, consumerist wasteland. A kibbutznik couldn’t have said (or sung) it better.
Composer Jerry Bock, lyricist Sheldon Harnick and book writer Joseph Stein set out to write a hit musical, not a political statement. But others have always shaped “Fiddler” to their needs.
In the original script, Yente tells Tevye’s wife Golde, “I’m going to the Holy Land to help our people increase and multiply. It’s my mission.” In a 2004 Broadway revival, staged in the middle of the second intifada, the “increase and multiply” line was excised. In a review of Solomon’s “Wonder of Wonders,” Edward Shapiro conjectured that the producers of the revival didn’t want Yente to be seen as “a soldier in the demographic war between Jews and Arabs.”
Topol himself connected “Fiddler” to Israel as part of one long thread that led from Masada — the Judean fortress where rebellious Jewish forces fell to the Romans in the first century CE — through Russia and eventually to Tel Aviv. “My grandfather was a sort of Tevye, and my father was a son of Tevye,” Topol told The New York Times in 1971. “My grandfather was a Russian Jew and my father was born in Russia, south of Kiev. So I knew of the big disappointment with the [Russian] Revolution, and the Dreyfus trial in France, and the man with the little mustache on his upper lip, the creation of the state of Israel and ‘Masada will never fall again.’ It’s the grandchildren now who say that. It’s all one line — it comes from Masada 2,000 years ago, and this Tevye of mine already carries in him the chromosomes of those grandchildren.”
The recent all-Yiddish version of “Fiddler on the Roof” — a Yiddish translation of an English-language musical based on English translations of Yiddish short stories — readjusted that valence, returning “Fiddler” solidly to the Old Country. It arrived at a time when surveys suggested that Jews 50 and older are much more emotionally attached to Israel than are younger Jews. For decades, “Exodus”-style devotion to Israel and its close corollary — Holocaust remembrance — were the essence of American Jewish identity. Among younger generations with no first-hand memories of its founding or victory in the 1967 war, that automatic connection faded.
Meanwhile, as Israeli politics have shifted well to the right, engaged liberal Jews have rediscovered the allure of pre-Holocaust, pre-1948, decidedly leftist Eastern European Jewish culture. A left-wing magazine like Jewish Currents looks to the socialist politics and anti-Zionism of the Jewish Labor Bund; symposiums on Yiddish-speaking anarchists and Yiddish-language classes draw surprisingly young audiences. A Yiddish “Fiddler” fits this nostalgia for the shtetl (as does the “Fiddler” homage in the brand-new “History of the World, Part II,” which celebrates the real-life radical Fanny Kaplan, a Ukrainian Jew who tried to assassinate Lenin).
Topol’s Tevye was an Israeli Tevye: young, manly, with a Hebrew accent. Mostel’s Tevye was an American Tevye: heimish, New York-y, steeped in Yiddishkeit. It’s a testament to the show’s enduring appeal — and the multitudes contained within Jewish identity — that both performances are beloved.
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France Continues to See Surge in Antisemitism, New Government Data Shows, Amid Rampant Hostility Toward Jews
Procession arrives at Place des Terreaux with a banner reading, “Against Antisemitism, for the Republic,” during the march against antisemitism, in Lyon, France, June 25, 2024. Photo: Romain Costaseca / Hans Lucas via Reuters Connect
Antisemitism in France remained at alarmingly high levels last year, with 1,320 incidents recorded nationwide, as Jews and Israelis faced several targeted attacks amid a relentlessly hostile climate despite heightened security measures, according to a newly published data.
On Thursday, the French Interior Ministry released its annual report on anti-religious acts, revealing a troubling rise in antisemitic incidents documented in a joint dataset compiled with the Jewish Community Protection Service.
Although the total number of antisemitic outrages in 2025 fell by 16 percent compared to 2024’s second highest ever total of 1,570 cases, the newly released report warns that antisemitism remains “historically high,” with more than 3.5 attacks occurring every day.
Over the past 25 years, antisemitic acts “have never been as numerous as in the past three years,” the report says, noting a dramatic spike following the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023.
Les chiffres de l’antisémitisme en France en 2025 : un enracinement de la haine antijuive.
Le ministère de l’Intérieur a publié, ce jeudi 12 février 2026, les chiffres des actes antireligieux en France pour l’année 2025. Les données chiffrées concernant les actes antisémites… pic.twitter.com/PQXQfNwsqT
— CRIF (@Le_CRIF) February 12, 2026
Even though Jews make up less than 1 percent of France’s population, they accounted for 53 percent of all religiously motivated crimes last year.
Between 2022 and 2025, antisemitic attacks across France quadrupled, leaving the Jewish community more exposed than ever.
The most recent figure of total antisemitic incidents represents a 21 percent decline from 2023’s record high of 1,676 incidents, but a 203 percent increase from the 436 antisemitic acts recorded in 2022, before the Oct. 7 atrocities.
According to French officials, this latest report, which is based on documented cases and official complaints, still underestimates the true scope of the problem, largely due to widespread underreporting.
The first six months of 2025 alone saw more than 640 antisemitic incidents, a 27.5 percent decline from the same period in 2024, but a 112.5 percent increase compared to the first half of 2023, before the start of the war in Gaza.
The report also reveals a surge in physical attacks, totaling 126 incidents last year, with a striking 67.4 percent of all antisemitic acts aimed at people.
Of all recorded incidents, 30.5 percent of antisemitic outrages took place in private settings and 13.1 percent in educational institutions, but the true extent is likely higher, as these numbers do not account for school-related antisemitism reported by the French Ministry of National Education.
The latest data further indicates that anti-Israel rhetoric is fueling antisemitism, with one-third of incidents explicitly referencing Palestine or the war in Gaza.
The French government’s newly released figures come as the local Jewish community continues to face a growing climate of hostility, despite official efforts to increase security and curb the rise in anti-Jewish hatred.
In a shocking second antisemitic attack in less than a week, a 13-year-old boy in Paris was brutally beaten Monday by a knife-wielding assailant.
On his way to a synagogue in Paris’s 18th arrondissement, the schoolboy was physically attacked by a group of five individuals who beat him, pressed a knife to his throat, called him a “dirty Jew,” and stole his belongings, the French news outlet Le Parisien reported.
According to the Paris prosecutor’s office, the victim was walking to a synagogue, clutching his kippah in his hand rather than wearing it for fear of being recognized, when five attackers confronted him. The group then stole his AirPods, sneakers, and coat, and forced him to empty his pockets.
The boy also told authorities that he was shoved, punched in the face, and threatened with a knife to his throat before his attackers stole his belongings, shouting antisemitic remarks throughout the assault.
In a separate incident over the weekend, three Jewish men wearing kippahs were physically threatened with a knife and forced to flee after leaving their Shabbat services near the Trocadéro in southwest Paris’s 16th arrondissement, European Jewish Press reported.
As the victims were leaving a nearby synagogue and walking through the neighborhood, they noticed a man staring at them. The assailant then approached the group and repeatedly asked, “Are you Jews? Are you Israelis?”
When one of them replied “yes,” the man pulled a knife from his pocket and began threatening the group. The victims immediately ran and found police officers nearby. None of the victims were injured.
Last week, a Jewish primary school in eastern Paris was vandalized, with windows smashed and security equipment damaged, prompting a criminal investigation and renewed outrage among local Jewish leaders as targeted antisemitic attacks continued to escalate.
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Antisemitism bills head to NYC Council Committee to Combat Hate
The New York City Council committee is moving forward with a series of bills aimed at addressing the rise in antisemitism, including a controversial proposal that would limit protests outside houses of worship.
The newly created Committee to Combat Hate is set to hold a hearing later this month on seven related bills introduced last month by Council Speaker Julie Menin, who is Jewish. The measures include a proposal to establish a 100-foot buffer zone outside synagogues and educational centers, increased funding for security measures, expanded education on online harassment, and improved reporting of antisemitic incidents.
Antisemitic incidents continue to account for a majority of reported hate crimes in New York City. According to the New York City Police Department, antisemitic incidents made up 57% of all hate crimes reported in 2025. The trend has continued into the new year, with more than half of all hate crimes reported in January targeting Jews or Jewish institutions, NYPD data showed.
Menin, who is the first Jew to lead the city’s legislative body, said last month that the council would vote on her five-point plan to combat antisemitism at Thursday’s meeting, hoping to pass it on an “aggressive and fast timetable.” A council spokesperson said the timetable has since been modified to align with the Feb. 25 committee hearing. After that hearing, the Speaker will decide when the bills go to the full council for a vote.
The panel is chaired by Councilmember Yusef Salaam, who is Muslim and has spoken about the need to confront antisemitism alongside Islamophobia. “When antisemitism rises, Islamophobia often follows,” Salam said at a news conference when the speaker announced her plan. “When Islamophobia is tolerated, antisemitism finds new grounds to grow.”
Before she became speaker, Menin privately promised Inna Vernikov, a Republican from Brooklyn, to create a subcommittee dedicated to combating antisemitism. Instead, she formed a task force, co-chaired by Vernikov and Eric Dinowitz, a Democrat from the Bronx and chair of the seven-member Jewish Caucus. The appointment of Vernikov drew criticism for her incendiary remarks on social media about Mayor Zohran Mamdani and the Democratic Party’s approach to antisemitism.
Mamdani, a strident Israel critic who faces scrutiny from mainstream Jewish organizations over his response to antisemitism and pro-Palestinian protests, said he broadly supports the package introduced by Menin but expressed reservations about the legality of the proposed 100-foot buffer zone around synagogues and other houses of worship. “I wouldn’t sign any legislation that we find to be outside of the bounds of the law,” he said.
On Wednesday, during a budget hearing at the state Legislature, Mamdani was questioned again about his response to antisemitic rhetoric, including the slogan “globalize the intifada,” that has been chanted at protests against the war in Gaza. “I strongly discourage the language, and I have not used the language,” Mamdani said.
Progressive groups that support Mamdani, including Jews For Racial & Economic Justice, Jewish Voice for Peace and IfNotNow, called on council members to reject the buffer zone bill. “When houses of worship host non-religious political events, they are making a choice with the knowledge that they might be protested for doing so,” the groups said.
Mamdani has faced criticism twice for his response to protests outside synagogues hosting events about real estate investment in Israel. On Jan. 8, protesters outside a Queens synagogue featured chants of “Say it loud, say it clear, we support Hamas here.” Though Mamdani quickly condemned the language, he had to follow up later to denounce Hamas.
Just after Mamdani’s election in November, he issued a mixed response to a demonstration outside Manhattan’s Park East Synagogue that featured anti-Israel and antisemitic slogans. He initially questioned the use of a sacred place for an event promoting migration to Israel. He later clarified his statement and said he would consider legislation limiting protests outside synagogues.
Critics said the response, which took nearly a day, was slow and undercut Mamdani’s repeated pledges to protect Jewish New Yorkers, and raised fresh questions about what kind of mayor he intends to be. New York City is home to the largest concentration of Jews in the United States.
The post Antisemitism bills head to NYC Council Committee to Combat Hate appeared first on The Forward.
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James Van Der Beek, ‘Dawson’s Creek’ star, had longstanding ties to Israel
(JTA) — James Van Der Beek, the beloved star of the 1990s television show “Dawson’s Creek” who married his wife in Tel Aviv in 2010, has died.
Van Der Beek died on Wednesday at 48, following a years-long battle with colorectal cancer.
“Our beloved James David Van Der Beek passed peacefully this morning,” his family wrote on Instagram Wednesday. “He met his final days with courage, faith, and grace. There is much to share regarding his wishes, love for humanity, and the sacredness of time. Those days will come. For now we ask for peaceful privacy as we grieve our loving husband, father, son, brother, and friend.”
Van Der Beek’s breakout role, playing 15-year-old Dawson Leery in the hit teen drama “Dawson’s Creek” in 1998, earned him widespread acclaim and cemented him as a teenage heartthrob of the early 2000s.
Van Der Beek, who was not Jewish, met his wife, Kimberly Brook, in 2009 while traveling in Tel Aviv at a restaurant on Bograshov Beach.
In August 2010, the pair returned to Israel where they were married at the Kabbalah Center in Tel Aviv and toured around the country during their honeymoon.
In a post on Instagram in 2021, Van Der Beek recalled his time in Israel and Hebron, a city in the West Bank, detailing shouts of “Mazel Tov” from Israelis as well as the arrest of their tour guide by Israeli police.
“This is by no means a complete picture of the situation, and I won’t pretend to understand the geopolitical complexities fueling this conflict…,” wrote Van Der Beek. “But there’s a lot of humanity on both sides of that razor wire, and whatever ‘solution’ fails to recognize that… isn’t a solution.”
Van Der Beek is survived by his wife and their six children, Olivia, Joshua, Annabel, Emilia, Gwendolyn and Jeremiah.
Among the close friends and associates who mourned Van Deer Beek after his death were “Golda” director Guy Nattiv and Becky Tahel, an Israeli-American creative whose career in Hollywood began as a babysitter to the Van Der Beeks’ young children.
“Looking back at so many moments, so many evenings that became sacred because you were in them,” Nattiv posted on Instagram. “Birthdays, Jewish holidays, crowded tables, loud laughter, NFL games and concerts. James, you weren’t just present in our lives you were woven into them. Every piece of you lives inside our hearts now.”
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