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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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California Democratic primary pits AIPAC-backed candidate against progressive Israel critic
(JTA) — AIPAC and its allies have poured millions of dollars into a California special election, transforming a race between two Democrats into a battleground over the pro-Israel group’s place in Democratic politics.
The spending in the Bay Area’s 14th congressional district is aimed at boosting Melissa Hernandez, a moderate Democrat and president of the Bay Area Rapid Transit Board, over Aisha Wahab, a progressive state senator who supports ending U.S. military aid to Israel.
Wahab replied “yes” during an April debate when asked whether Israel’s war in Gaza constituted a genocide. In contrast, Hernandez declined to give a yes-or-no answer, instead saying that Israel had a right to defend itself following the Oct. 7, 2023, attacks, but that the “destruction into Gaza has gone too far.”
Wahab remains the favorite heading into Tuesday’s election to replace former Rep. Eric Swalwell, a reliable supporter of Israel in Congress who resigned in April amid sexual misconduct allegations that he has denied. Wahab finished ahead of Hernandez in the election’s June 16 special primary, receiving 42.8% of the vote compared to Hernandez’s 16.8%.
The United Democracy Project, AIPAC’s main super PAC, has poured close to $2.5 million into boosting Hernandez and attacking Wahab this election cycle, while Bold America, another group that has received funding from the United Democracy Project, has spent roughly $1.8 million, according to The Hill.
When asked about the AIPAC spending in the race by the Pleasanton Weekly, Hernandez replied, “I have no say over independent expenditures. That is the law, and I see them when you do.” She added: “I have thousands of donors and not one of them sets my agenda.”
But while the Bay Area race has become one of the the latest focuses of the pro-Israel lobby, following a costly defeat by Abdul El-Sayed in Michigan’s Democratic Senate primary, Israel has hardly been a defining issue in the contest, and Wahab has not neatly fit the mold of other progressive candidates the group has targeted this election cycle.
Wahab, who is the child of Afghan refugees, has centered her campaign on affordability issues and civil rights. While her campaign website calls for “No More Wars!” it does not specifically reference the Israeli-Palestinian conflict. Citing the civilian toll in U.S. military operations in Afghanistan, Iraq, Syria and Libya, her site reads, “We cannot bomb our way to lasting peace.”
Hernandez, who previously served as the mayor of Dublin, California, has focused her campaign on lowering costs and her commitments to fighting crime and increasing public safety.
Wahab, 39, has drawn endorsements from a host of labor unions, the California Democratic Party and Our Revolution, the group formed by Sen. Bernie Sanders to advance the progressive movement. Hernandez, 51, meanwhile, has received endorsements from several police and fire unions, as well as Democratic Jewish Reps. Lois Frankel of Florida and Brad Schneider of Illinois.
During a Thursday appearance on the livestream of Hasan Piker, who has faced accusations of antisemitism, Wahab said that she would have voted for the Stop the Bombs Act and supported ending all U.S. aid to Israel, though she stipulated that “humanitarian aid is important to me too.”
During the livestream, Wahab also touted a September 2025 resolution she co-authored with Jewish state Senator Scott Wiener, which called for the “end to the humanitarian catastrophe in Gaza and the immediate release of all hostages.” The resolution was also signed by members of the California Legislative Jewish Caucus.
In 2021, Wahab also collaborated with local Jewish leaders on a fundraiser for Afghan refugee resettlement in the aftermath of the U.S. pullout from the country.
“I work well with the Jewish community. I’m very proud to support them. They’re my constituents,” Wahab said on the livestream.
“As an Afghan, you know, I really deeply want to ensure that all people feel welcomed and safe and secure in this nation. And we know that there’s a rise in antisemitism. We know all of that,” Wahab continued. “But that doesn’t mean you can’t criticize a foreign nation. You can’t criticize their leadership.”
Wahab attributed the volume of AIPAC spending in the race to “pure racism and prejudice,” saying that her “Jewish Senate colleagues are literally confused as to why they are spending this much money against me.”
As Wahab pushes back on the attack ads, she has also garnered $200,000 in support from American Priorities, a pro-Palestinian PAC that formed as a counterweight to AIPAC.
The liberal pro-Israel lobby J Street Action Fund also announced Thursday that it was spending $100,000 to support Wahab.
Tali deGroot, the group’s vice president of political and digital strategy, said in a statement that AIPAC’s spending against her marked another “cynical attempt” to “defeat a candidate who won’t rubber-stamp their agenda.”
“AIPAC’s super PAC has failed time and again this cycle, and we expect this latest attempt to take Republican billionaire dollars and buy a Democratic primary to fail as well,” said deGroot. “Voters in the 14th deserve better, and they deserve a Member of Congress who will bring the kind of clear-eyed, nuanced and compassionate leadership that Dr. Wahab has shown throughout her career.”
This article originally appeared on JTA.org.
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Samuel Beckett’s characters may have seemed inert, but he didn’t wait to fight antisemitism
A newly published diary of Samuel Beckett’s extended trip to Nazi Germany in the late 1930s helps to explain why the Nobel Prize-winning Irish author became active in the Resistance movement in Occupied France. Already discussed and cited by Beckett scholars in such studies as Samuel Beckett’s German Diaries 1936–1937, the new book explains how the creator of Waiting for Godot, that dramatization of stasis and futility, could turn out to be a man of action opposing the Holocaust and the downfall of German culture.
At a time when only an estimated 1% or so of French citizens dared to assist the Resistance, Beckett was from neutral Ireland, where sympathies were often skewed to the enemies of the much-loathed British. But he risked his life to participate. Notoriously, after Adolf Hitler died in 1945, Irish Prime Minister Éamon de Valera visited the Reich ministry in Dublin to express official condolences at the demise of Der Führer. By contrast, Beckett scorned the Irish politician W.T. Cosgrave in a letter to a friend. Cosgrave, whose 1930s followers donned so-called Blueshirt uniforms and saluted superiors like worshipers of Mussolini and Hitler, was simply a “cockatoo” arrayed as a “Fascist,” according to Beckett.
Beckett spent time in almost three dozen German cities listening to fascists describe the appeal of the New Order, as well as radio broadcasts by Nazi leaders and other believers in the Third Reich. Yet unlike youthful foreign aesthetes who dallied in Fascist Europe, like the American architect Philip Johnson, who became a vocal advocate of Nazism and antisemitism, Beckett was never seduced by German propaganda. Possibly due to his close ties to Jewish friends and family members, Beckett refused to accept Nazi beliefs on race. Also, his finely honed artistic taste did not permit him to discard creative spirits because of their family origin.
Not limiting himself to reading about and discussing such persecution with sympathetic Germans as well as devotees of Nazism, he also spent time with Jews who had already suffered from the regime’s racial laws. One example was the painter Gretchen Wohlwill, a student of Matisse who was forbidden to paint by German authorities. Murals by Wohlwill at a public high school in Hamburg-Eimsbüttel named after women’s rights and education advocate Emilie Wüstenfeld were painted over by a Nazi-approved artist. Beckett met with Wohlwill repeatedly during his extended stay.
Beckett also dined at The Halali, a well-known Jewish-run wine restaurant and bar in the central Altstadt district of Hamburg. Ironically, the establishment’s name in German refers to a traditional cry or signal played on a horn to announce the successful end of a hunt. By the time Beckett patronized the place, Jews had already become the prey of Germany’s fascist rulers. His guest was Ilse Schneider, a German teenager on whom he had an unrequited crush. In romantic matters, Beckett was typically cool.
Indeed, a few months after returning from Germany, he had an affair with the American Jewish heiress and art collector Peggy Guggenheim, who found Beckett so languid and lethargic that she nicknamed him Oblomov, after an indecisive character in a 19th century Russian novel. An inert nobleman, the book’s eponymous hero rarely leaves his room or bed; in the first 50 pages, Oblomov only manages to move from his bed to a chair. Yet the inaccuracy of Guggenheim’s gibe was proven a few years later, when France awarded Beckett medals for working as a courier for a French Resistance network and assisting in sabotage operations against German occupation forces in the Vaucluse mountains, evading imminent arrest by the Gestapo. And all the while, he continued his literary output, polishing his much-admired 1944 novel Watt.
In his diary, just as the Polish Jewish historian Emanuel Ringelblum’s Notes from the Warsaw Ghetto were intended to preserve traces of daily life soon to vanish, Beckett carefully, even pedantically, noted details of his experience in Germany, even specifying the streets he walked along during outings in Hamburg and elsewhere, as if expecting them to be destroyed in an upcoming apocalypse.
The result is evocative, if not always compelling, reading. But an apparently dry extended list of paintings and monuments seen, noting when works by Jewish artists were missing or stored out of sight, had a documentary value in response to exalted rhapsodic Nazi tomes. Beckett carefully read (with frequent underlinings) Hitler’s manifesto Mein Kampf as well as “Der Stürmer” (Stormtrooper) a weekly German antisemitic tabloid newspaper. These doubtless made him reject lofty pro-Hitler advocacy which he persistently heard from others during his visit.
Although Beckett would always demur if interviewers asked about the philosophical content in his work, during his German visit and afterwards, he was drawn to Jewish philosophers in an attempt to puzzle out how Germany, whose culture and language he admired, could self-destruct through racist inhumanity. To address this mystery, Beckett pored over Baruch Spinoza’s Ethics; works by Edmund Husserl and Fritz Mauthner; and Ernst Cassirer’s biography of Immanuel Kant. Mauthner concluded with a prefiguration of Nazi devastation: “In his negative thinking, Kant is already the destroyer of everything.”
Similarly, soon after his arrival in Germany in 1936, Beckett realized that war was inevitable. Enthusiasm for Hitler, stoked by Propaganda Minister Josef Goebbels, was such that Germans “will soon have to fight: a war, or “they will explode.” With omnivorous energy akin to that of his mentor James Joyce, Beckett also consumed popular schlock like Erwin Guido Kolbenheyer’s novel about Spinoza, Amor Dei (Love of God), an antisemitic polemic that likens Jewish scholarship to a spider’s web spun over a “cup of joy,” to the “disgust of the thirsty.” Or Hans Grimm’s People with No Room (Volk ohne Raum), a fictional account justifying German invasion of East Europe to acquire land and wealth.
Beckett absorbed this deleterious material, but also read works of banned Jewish authors like Franz Werfel and Stefan Zweig. While mostly remaining discreet in public about his convictions, Beckett nevertheless marveled about the political obliviousness of Karl Ballmer, a painter whose canvases he admired. Ballmer would return to his native Switzerland in 1938 after blithely ignoring foreshadowings of the destruction of European Jewry.
The newly published diaries, which will appear next year in the U.S. and will be dramatized on Deutschlandradio, a public broadcasting corporation in Germany, understandably have less literary verve than Beckett’s missives to friends. Jotted down in a crabbed handwriting and not intended for publication, his diaries were preserved in a cellar storage space of Beckett’s Paris apartment and later donated to an archive at the University of Reading. Always one to belittle himself, the modest Beckett termed the journal “absurd” because it “serves no purpose” and is merely “the act of an obsessional neurotic.” On the contrary, as documentary evidence of how fascism can take hold of a population, its significance is ever-more timely and powerful for Jewish readers in America and elsewhere.
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Can an anti-Zionist Democrat win in a heavily Jewish South Florida district?
(JTA) — Democratic primary voters in Florida’s newly drawn 25th Congressional District are choosing on Tuesday between an anti-Zionist member of the Democratic Socialists of America and one of Israel’s staunchest supporters in Congress.
The race offers a test of whether the Democratic Party’s progressive insurgency can extend to a district that includes Delray Beach, Boca Raton and Miami Beach and an electorate that is roughly 25% Jewish, highlighting the party’s widening divisions over Israel.
Redistricting has transformed what had been solidly Democratic territory into a district President Donald Trump would have carried in 2024. The new lines pit Oliver Larkin, a DSA member who has accused Israel of genocide and called for ending U.S. military aid to the country, against Jared Moskowitz, a two-term congressman who backs continued U.S. military aid even as support for it has eroded within his party.
Polling from Moskowitz-aligned firms has shown him with a lead of 30-plus percentage points, while a more recent poll from a Larkin-aligned outlet this month put the two in a statistical dead heat.
Larkin’s language has alarmed some Jews, including his labeling of modern-day Israel as a “religious supremacist” country and his call for Israel to become a “secular” state. “I do not support a religious supremacist regime, whether it be in Israel or Saudi Arabia, or any other country,” Larkin told Fox News.
Larkin supports a complete arms embargo on Israel, and told JTA that that should be “the minimum standard for anyone claiming to support democracy.” Asked by Fox News if he supports selling defensive weapons to Israel, Larkin responded, “I do not make a distinction between offensive and defensive weaponry.” He also backed New York City Mayor Zohran Mamdani’s goal of arresting Israeli Prime Minister Benjamin Netanyahu. Larkin doubled down after Mamdani backed down from the stance, saying, “I believe that the United States, any federal or otherwise law enforcement entity that has the legal jurisdiction to arrest Benjamin Netanyahu for his war crimes — that should be enforced.”
Larkin has courted support from left-wing, anti-Zionist Jews who support his platform and says that he has spoken out against antisemitism on the campaign trail.
“Our campaign believes in collective liberation for all people and that includes the liberation of Jewish South Floridians and Jewish people the world over from antisemitism,” Larkin said in a statement to the Jewish Telegraphic Agency. He said that there is a rise in fascism across the U.S. and that we “must recognize the link between antisemitism, Islamophobia, anti-Black racism, xenophobia, transphobia, and more and build a coalition to unite together to defeat these forces.”
Larkin said he supports a “one-state solution with equal and democratic rights for all people.”
Progressive, pro-Palestinian candidates with similar platforms have won the Democratic nomination this midterm cycle in deep-blue districts around the country. Larkin, who worked on Vermont Sen. Bernie Sanders’ 2016 presidential campaign, is betting he can match their success even in a heavily Jewish district that leans more to the center.
Moskowitz, who is endorsed by AIPAC and Democratic Majority for Israel, outright accused Larkin of fueling antisemitism, telling the Sun Sentinel editorial board in a letter that his opponent “has embraced the support of individuals and organizations that have repeatedly trafficked in antisemitic rhetoric and hostility toward the Jewish community.”
Last month, a Boca Raton rabbi encouraged Republican congregants to register as Democrats so they could cast their votes for Moskowitz. The far more moderate Democrat has refused to debate Larkin, saying that his opponent is contributing to antisemitism.
Moskowitz has also claimed that Larkin is “running against me solely on my religion.” The Sun Sentinel board rated Moskowitz’s claim “demonstrably untrue” and, in an unusual move, said it would not endorse him for reelection after he declined a joint interview with Larkin. The paper decried what it described as Moskowitz’s “lack of respect for voters.” Moskowitz’s campaign did not respond to a JTA request for comment.
Moskowitz has outraised Larkin 11-to-1, according to local media estimates. The American Israel Public Affairs Committee has raised $667,200 of Moskowitz’s $2.5 million through June 30, according to campaign finance analyses done by the website Open Secrets.
Donna Nevel, a member of the South Florida chapter of the anti-Zionist group Jewish Voice for Peace, believes Larkin can win.
“There are thousands and thousands of us, from Jewish communities and all across South Florida, who are doing everything we can to make sure that Oliver will be our congressperson,” Nevel said to a cheering crowd, during a fundraiser held in New York City earlier this month.
She also said that “many Zionist organizations think that South Florida is their backyard.” She continued, “And we say, ‘Hell no!’”
In an email to JTA, Nevel said there are a “large and growing” number of Jews in the district supporting Larkin, including “well over a hundred Jewish canvassers on a regular basis.” Larkin joined a JVP-hosted Shabbat dinner with Michigan Rep. Rashida Tlaib and Florida’s left-wing U.S. Senate candidate Angie Nixon on Friday.
Larkin has said that we “should not be supporting or allowing AIPAC to influence our elections.” He told the South Florida Sun Sentinel that the group has a “corrupting influence” and that it only supports Congress members “on the condition, in my estimation, that they support wholesale U.S. military aid to Israel.”
Left-wing streamers Hasan Piker — a staunch Israel critic who’s drawn antisemitism accusations — and Michael Beyer, who was suspended from Twitch after calling Jews a “demon ethnicity,” have both fundraised for Larkin.
Asked about their support, Larkin told the Sun Sentinel that both figures have used “language that I personally have not used and will not use,” and said that as a candidate it is important “that I speak in respectful terms and based in fact.”
“But I believe that when those individuals have made those references it’s been towards members of the Israeli government,” Larkin said, as well as Israeli settlers in the West Bank.
“So certainly they’re not politicians and they don’t speak in political terms, and I don’t condone language that dehumanizes any individual,” he said. “I do think that they have legitimate criticism — even if it is rather unvarnished in how they convey it — of what the Israeli government has done.”
This article originally appeared on JTA.org.
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