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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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VIDEO: ’Love was there too:’ A Yom Hashoah commemoration in Yiddish
די פֿאַרגאַנגענע וואָך האָט דער „ייִדישפּיל“־טעאַטער אין תּל־אָבֿיבֿ אַרויסגעשטעלט אַ ווידעאָ פֿון אַ „יום־השואה“־אַקאַדעמיע וואָס די טרופּע האָט דורכגעפֿירט אין 2022. די טעמע פֿון דער פּראָגראַם איז געווען מאָמענטן פֿון ליבע בײַ ייִדן אין די געטאָס און קאָנצענטראַציע־לאַגערן.
אינעם ווידעאָ לייענען די אַקטיאָרן פֿאָר זכרונות פֿון לעבן געבליבענע ווי אויך ייִדישע לידער אָנגעשריבן בשעת דעם חורבן. זיי באַשרײַבן ווי אַזוי געליבטע פּאָרלעך האָבן זיך געטראָפֿן בשתּיקה; רירנדיקע מאָמענטן פֿון געזעגענען זיך און ווי די לעבן געבליבענע האָבן זיך באַמיט מיט אַלע כּוחות צו געפֿינען די געליבטע נאָך דער באַפֿרײַונג.
דער ווידעאָ הייבט זיך אָן מיט אַ באַגריסונג פֿונעם תּל־אָבֿיבֿער בירגערמײַסטער, רון חולדאי, אויף העברעיִש, אָבער די פּראָגראַם גופֿא איז אין גאַנצן אויף ייִדיש.
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In Elie Wiesel’s latter years, he and I discussed the effects of the Holocaust. Those conversations are now an opera.
Back in 2012, while on assignment as the Chicago Tribune’s longtime music critic, I received a phone call from my editor that would change my life.
Elie Wiesel had just accepted the newspaper’s annual Literary Prize. Would I be interested in interviewing him for the paper?
Would I?!
There was only one minor problem: I had never read a word Wiesel had written, not even his revered Holocaust memoir Night. Holocaust education was not required in the 1950s and ’60s when I was growing up – not even in Skokie, a nexus of Holocaust survivors where I lived with my family. As the son of two survivors, I considered Holocaust books, films and TV programs emotionally overwhelming and something to be avoided, if possible.
My avoidance ended abruptly in 2001, when my then 69-year-old mother began re-experiencing her unspoken Holocaust childhood in the form of delusions. This prompted me to unearth her hidden story and tell it in a Tribune article and a subsequent book and a documentary for PBS – all aptly titled Prisoner of Her Past.
I assumed that work was the reason the Tribune tapped this music critic to interview Wiesel.
After a few weeks of reading everything he wrote that I could lay my hands on, I flew to New York and found myself seated inches away from him in his Manhattan office. Within minutes, we were speaking with a degree of comfort and intimacy I had not anticipated.
Even more remarkable, after Wiesel and I held a public conversation before 2,500-plus people in Chicago’s Symphony Center — a longstanding feature of the Tribune’s Literary Prize proceedings — he suggested that we stay in touch.
That’s when I realized we had the beginnings of a book: two generations — a survivor and a son of survivors — trying to come to terms with what happened to our families and to our people. For the next four years, I visited Wiesel regularly in New York and Florida and spoke with him often on the phone. The utterly unexpected privilege of these conversations ended suddenly with his death July 2, 2016, at age 87.
In effect, Wiesel had spent the last four years of his life communing with me about the Holocaust and its apparently never-ending after-effects, my tape recorder rolling all the while. These proved to be his final thoughts on the subject, which I took as precious lessons on a fraught subject. For Wiesel had given me answers to questions I never had been able to ask my parents. To them, the Holocaust was a subject not to be discussed with me or my sister, presumably to spare us the burden of such tragedy.
Wiesel poignantly addressed what I needed and wanted to know: How does the second generation deal with feelings of guilt over our parents’ unrelieved sufferings? How do we live up to our parents’ expectations of us, without suppressing our own dreams? How do we even speak of this terrifying subject? How religious must we be? How politically active? How do we cope with the enormity of it all?
And more.
I packed the answers – and our reflections on them – into my 2019 book The Art of Inventing Hope: Intimate Conversations with Elie Wiesel, which is the basis of the new opera: The Dialogue of Memories, which premieres next month in Seattle.
Why an opera?
Though I was glad to have captured on paper my treasured experiences with Wiesel, I wanted to share the wealth — to let others see and feel and hear what it was like to be in the room with him. I wanted audiences to witness Wiesel explaining and illuminating my own past to me. And like Wiesel, I’ve always believed in the indescribable but unstoppable power of music to go where words alone cannot.
In 2024, the Seattle-based non-profit Music of Remembrance commissioned composer Jake Heggie and librettist Gene Scheer to write Before It All Goes Dark, an opera based on my Mac’s Journey stories in the Tribune about a Vietnam vet who learns he’s heir to a priceless collection of art looted by the Nazis (I had identified and located him).
After that opera’s success, I suggested to Music of Remembrance founder Mina Miller that my years with Wiesel represented a story of profound enlightenment that could be powerful onstage. Miller wasted no time commissioning the eminent American opera composer Tom Cipullo to write the music, with libretto by me with Cipullo.
The opera features three characters: Wiesel (sung by baritone Daniel Belcher); my mother, Sonia Reich (mezzo-soprano Megan Marino); and me (tenor Dominic Armstrong). Past and present, memory and prophesy, delusion and reality intermingle in its words. And Cipullo’s music lifts those words into the realm of sublime drama as only opera can do.
I don’t know how I’ll feel watching singers portraying Wiesel, my mother and myself confronting demons that have haunted all three of us, and millions of others around the world.
But as we mark Yom HaShoah, I do know that moments once shared by Wiesel and me alone now will be available to everyone. I hope that Wiesel’s brilliant insights and my mother’s tragic experiences will help others who — like me — have long struggled with dark and enduring histories.
The Dialogue of Memories plays May 17 at Benaroya Hall in Seattle; May 20 at the Presidio Theatre in San Francisco; and May 23-24 at the Studebaker Theater in Chicago. For details and tickets visit www.musicofremembrance.org. Howard Reich can be reached at howard@howardreich.com.
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J Street says Israel should fund its own defense
J Street, the progressive pro-Israel, pro-peace political advocacy, is shifting its stance on defensive U.S. military aid to Israel as a growing number of Democrats, including some of the congressional candidates it endorsed this year, call for ending such assistance.
Jeremy Ben-Ami, the organization’s longtime president, said in a lengthy post on Monday that the organization is now advocating for phasing out direct financial support for arms sales to Israel when the current $38 billion 10-year memorandum of understanding between the two countries expires in 2028. He called it “a fundamental reassessment of the U.S.-Israel security relationship,” citing “the war in Gaza, rising extremist Jewish terror in the West Bank and the US-Israel war with Iran.”
Also stressing that “the US-Israel security relationship remains a central pillar of American policy in the Middle East,” Ben-Ami added that joint research and technological investment “should continue” and that the U.S. should continue to sell short-range air and ballistic missile defense capabilities to Israel. However, “all future Research and Development agreements with Israel must include genuine cost-sharing and aim to produce defense items that both countries plan to field.”
Ben-Ami’s post includes this statement, in boldface: “The goal of this reassessment is to advance the broader American interest of a more stable and prosperous Middle East that includes both Israelis and Palestinians living in security and freedom.”
U.S. funding for Israel’s Iron Dome first started under the Obama administration in 2011. J Street’s acceptance of the position for candidates appears aimed at navigating divisions among congressional Democrats as Democratic Party voter views swing against Israel and influential progressive figures in the congressional delegation, most conspicuously Rep. Alexandria Ocasio-Cortez of New York, who previously backed missile-defense funding, and Rep. Ro Khanna of California, join calls to end all military aid to Israel.
Other members and candidates in the party still back Iron Dome funding from the U.S. seek to condition offensive weapons sales on Israel’s compliance with human rights and international law.
Brad Lander, a Jewish challenger to Rep. Dan Goldman, said last week he would oppose any additional U.S. aid to Israel, arguing the country is in violation of human rights and international law.
Last week, Brad Lander, a Jewish Democrat running for Congress who has described himself as a liberal Zionist, on Friday joined the calls for an end to U.S. aid to Israel, while adding that “Israel should have access to purchase it with their own funds.” Lander, who has been “primary approved” to challenge Rep. Dan Goldman of New York — who is the official J Street pick in the race — told the Forward he did not coordinate his announcement with the group’s, which came after his.
Democrats are already taking legislative action. The Senate is expected to vote on Wednesday on two measures — filed by Sen. Bernie Sanders, the Jewish Vermont Independent and longtime critic of U.S. aid to Israel — to restrict at least $660 million in weapons sales to Israel. A record 27 Senate Democrats — a majority of the caucus — supported a similar pair of resolutions to block weapons transfers. J Streets urged members to vote in favor. In the House, the Block the Bombs Act, which would restrict certain offensive arms sales to Israel, currently has 60 sponsors.
J Street’s red line
Ben-Ami maintained that J Street’s updated stance to end grants, known as the Foreign Military Financing (FMF) program, aligns with calls by Israeli Prime Minister Benjamin Netanyahu and Sen. Lindsey Graham, a Republican from South Carolina, to gradually “taper off” U.S. military aid to Israel over the next decade until it reaches zero. “This reform would normalize the relationship and place Israel in the same category as other capable allies that purchase U.S. defense equipment without subsidy,” Ben-Ami said.
Ilan Goldenberg, J Street’s senior vice president and chief policy officer and previously an aide to former Presidents Barack Obama and Joe Biden, said the organization will still support the sale of Iron Dome components and other missile defense systems as long as it’s consistent with U.S. law and aligns with U.S. policy objectives and interests.
The strategy reflects a broader shift in politics, where Israel policy and Palestinian rights have become a litmus test for progressive candidates. Recent polls showed the tensions within the Democratic Party, which loomed large in the 2024 presidential election in the wake of the Gaza war — and now opposition to the war in Iran — are likely to shape the midterm elections.
J Street PAC is backing 133 House and Senate incumbents as well as Democratic challengers running against Republican incumbents. The group has also approved several candidates competing in open Democratic primaries, allowing its donor network to support their campaigns
Speaking with the Forward during J Street’s annual conference in Washington, D.C. last month, Ben-Ami outlined the organization’s red lines for endorsements. “If you’re in favor of a complete arms embargo against Israel, and you don’t recognize that Israel should be the national homeland of the Jewish people, you won’t come anywhere near our list,” Ben-Ami said.
A recent poll commissioned by the organization found that 70% of American Jews support placing some conditions on military assistance, including 26% who favor halting aid altogether.
The departure from the long-standing bipartisan consensus backing unconditional military support for Israel has drawn criticism from some Israel supporters.
Joel Rubin, a national security expert and a former Obama administration official who was the founding political and government affairs director at J Street in 2008, called it a “major shift” that “undermines” pro-Israel organizational support for the U.S.-Israel security assistance relationship and also “puts more pressure” on Democrats to oppose aid to Israel. “J Street is playing with fire regarding the US.-Israel relationship,” he said. “It’s much easier to tear down a relationship than it is to build one up.”
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