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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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Iran Opposes Grossi’s UN Secretary-General Candidacy, Accuses Him of Failing to Uphold International Law
UN nuclear watchdog chief Rafael Grossi holds a press conference on the opening day of the International Atomic Energy Agency’s (IAEA) quarterly Board of Governors meeting in Vienna, Austria, Sept. 8, 2025. Photo: REUTERS/Elisabeth Mandl
Iran has publicly opposed International Atomic Energy Agency (IAEA) Director-General Rafael Grossi’s potential appointment as UN Secretary-General next year, accusing him of failing to uphold international law by not condemning US and Israeli strikes on Iranian nuclear sites during the 12-day war between Iran and Israel in June.
During a UN Security Council meeting on Monday, Iran’s Ambassador to the UN, Amir Saeid Iravani, sharply criticized Grossi, calling him unfit” to serve as UN Secretary-General next year, Iranian media reported.
“A candidate who has deliberately failed to uphold the UN Charter — or to condemn unlawful military attacks against safeguarded, peaceful nuclear facilities … undermines confidence in his ability to serve as a faithful guardian of the charter and to discharge his duties independently, impartially, and without political bias or fear of powerful states,” the Iranian diplomat said.
With UN Secretary-General Antonio Guterres’ term ending in December next year, member states have already begun nominating candidates to take over the role ahead of the expected 2026 election.
Since the start of the war in Gaza, Israel’s relationship with Guterres has spiraled downward, reaching a low point last year when then-Foreign Minister Israel Katz labeled the UN “antisemitic and anti-Israeli” and declared Guterres persona non grata after the top UN official failed to condemn Tehran for its ballistic missile attack against the Jewish state.
Last week, Argentina officially nominated Grossi to succeed Guterres as the next UN Secretary-General.
To be elected, a nominee must first secure the support of at least nine members of the UN Security Council and avoid a veto from any of its five permanent members — the United States, China, Russia, the United Kingdom, and France.
Afterward, the UN General Assembly votes, with a simple majority needed to confirm the organization’s next leader.
As head of the UN’s nuclear watchdog since 2019, Grossi has consistently urged Iran to provide transparency on its nuclear program and cooperate with the agency, efforts the Islamist regime has repeatedly rejected and obstructed.
Despite Iran’s claims that its nuclear program is solely for civilian purposes rather than weapons development, Western powers have said there is no “credible civilian justification” for the country’s nuclear activity, arguing it “gives Iran the capability to rapidly produce sufficient fissile material for multiple nuclear weapons.”
With prospects for renewed negotiations or nuclear cooperation dwindling, Iran has been intensifying efforts to rebuild its air and defense capabilities decimated during the 12-day war with Israel.
On Monday, Mohammad Eslami, head of the Atomic Energy Organization of Iran (AEOI), declared that the IAEA has no authority to inspect sites targeted during the June war, following Grossi’s renewed calls for Tehran to allow inspections of its nuclear sites and expand cooperation with the agency.
Iran has also announced plans to expand its nuclear cooperation with Russia and advance the construction of new nuclear power plants, as both countries continue to deepen their bilateral relations.
According to AEOI spokesperson Behrouz Kamalvandi, one nuclear power plant is currently operational, while other two are under construction, with new contracts signed during a recent high-level meeting in Moscow.
Kamalvandi also said Iran plans to build four nuclear power plants in the country’s southern region as part of its long-term partnership with Russia.
During a joint press conference in Moscow on Tuesday, Iranian Foreign Minister Abbas Araghchi reiterated Iran’s commitment to defending the country’s “legal nuclear rights” under the now-defunct 2015 nuclear deal, noting that Tehran’s nuclear policies have remained within the international legal framework.
Iran’s growing ties with Russia, particularly in nuclear cooperation, have deepened in recent years as both countries face mounting Western sanctions and seek to expand their influence in opposition to Western powers.
Russia has not only helped Iran build its nuclear program but also consistently defended the country’s “nuclear rights” on the global stage, while opposing the imposition of renewed economic sanctions.
Russian Foreign Minister Sergey Lavrov has described the reinstatement of UN sanctions against Iran as a “disgrace to diplomacy.”
In an interview with the Islamic Republic of Iran News Network (IRINN), Lavrov accused European powers of attempting to blame Tehran for the collapse of the 2015 nuclear deal, despite what he described as Iran’s compliance with the agreement.
Prior to the 12-day war, the IAEA flagged a series of Iranian violations of the deal.
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Eurovision Host Says It Will Not Drown Out Any Boos During Israel’s Performance
ORF executive producer Michael Kroen attends a press conference about the Eurovision Song Contest in Vienna, Austria, Dec. 16, 2025. Photo: REUTERS/Lisa Leutner
The host broadcaster of the next Eurovision Song Contest, Austria’s ORF, will not ban the Palestinian flag from the audience or drown out booing during Israel’s performance as has happened at previous shows, organizers said on Tuesday.
The 70th edition of the contest in May will have just 35 entries, the smallest number of participants since 2003, after five national broadcasters including those of Spain, Ireland, and the Netherlands said they would boycott the show in protest at Israel’s participation.
What is usually a celebration of national diversity, pop music, and high camp has become embroiled in diplomatic strife, with those boycotting saying it would be unconscionable to take part given the number of civilians killed in Gaza during Israel’s military campaign following the Palestinian terrorist group Hamas’s Oct. 7, 2023, invasion of and massacre across southern Israel.
“We will allow all official flags that exist in the world, if they comply with the law and are in a certain form – size, security risks, etc.,” the show’s executive producer, Michael Kroen, told a news conference organized by ORF.
“We will not sugarcoat anything or avoid showing what is happening, because our task is to show things as they are,” Kroen said.
AUSTRIA SUPPORTED ISRAEL PARTICIPATING
The broadcaster will not drown out the sound of any booing from the crowd, as happened this year during Israel’s performance, ORF’s director of programming Stefanie Groiss-Horowitz said.
“We won’t play artificial applause over it at any point,” she said.
Israel’s 2025 entrant, Yuval Raphael, was at the Nova music festival that was a target of the Hamas-led attack. The CEO of Israeli broadcaster KAN had likened the efforts to exclude Israel in 2026 to a form of “cultural boycott.”
ORF and the Austrian government were among the biggest supporters of Israel participating over the objections of countries including Iceland and Slovenia, which will also boycott the next contest in protest. ORF Director General Roland Weissmann visited Israel in November to show his support.
This year’s show drew around 166 million viewers, according to the European Broadcasting Union, more than the roughly 128 million who Nielsen estimates watched the Super Bowl.
The war in Gaza began after Hamas-led terrorists killed 1,200 people, most of them civilians, and seized 251 hostages in an attack on southern Israel.
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Antisemitism Allowed to Fester in Australia, Says Daughter of Wounded Holocaust Survivor
Victoria Teplitsky, daughter of a Holocaust survivor who was wounded at the Bondi shootings, stands at a floral memorial in honor of the victims of the mass shooting targeting a Hanukkah celebration on Sunday, at Bondi Beach, in Sydney, Australia, Dec. 16, 2025. Photo: REUTERS/Jeremy Piper
Government authorities have not done enough to stamp out hatred of Jews in Australia, which has allowed it to fester in the aftermath of Oct. 7, said the daughter of a Holocaust survivor who was wounded at the Bondi shootings on Sunday.
Victoria Teplitsky, 53, a retired childcare center owner, said that the father and son who allegedly went on a 10-minute shooting spree that killed 15 people had been “taught to hate,” which was a bigger factor in the attack than access to guns.
“It’s not the fact that those two people had a gun. It’s the fact that hatred has been allowed to fester against the Jewish minority in Australia,” she told Reuters in an interview.
“We are angry at our government because it comes from the top, and they should have stood up for our community with strength. And they should have squashed the hatred rather than kind of letting it slide,” she said.
“We’ve been ignored. We feel like, are we not Australian enough? Do we not matter to our government?”
The attackers fired upon hundreds of people at a Jewish festival during a roughly 10-minute killing spree, forcing people to flee and take shelter before both were shot by police.
RISING ANTISEMITIC ATTACKS
Antisemitic incidents have been rising in Australia since the war in Gaza erupted after Palestinian terrorist group Hamas killed 1,200 Israelis in an attack on Oct. 7, 2023.
A rise in such incidents in the past sixteen months prompted the head of the nation’s main intelligence agency to declare that antisemitism was his top priority in terms of threat.
“This was not a surprise to the Jewish community. We warned the government of this many, many times over,” Teplitsky said.
“We’ve had synagogues that have been graffitied, graffiti everywhere, and we’ve had synagogues that have been bombed,” she added, referring to a 2024 arson attack in Melbourne in which no one was killed.
Teplitsky’s father Semyon, 86, bled heavily after being shot in the leg, and now is facing several operations as doctors piece bone back together with cement, then remove the cement from the leg, which he still may lose, she said.
“He’s in good spirits, but he’s also very angry. Angry that this happened, that this was allowed to happen in Australia, the country that he took his children to, to be safe, to be away from antisemitism, to be away from Jew hatred.”
Israel’s Prime Minister Benjamin Netanyahu said on Monday that Australian Prime Minister Anthony Albanese “did nothing” to curb antisemitism.
Albanese repeated on Tuesday Australia‘s support for a two-state solution. Anti-Israel, pro-Hamas protests have been common in Australia since Israel launched its offensive in Gaza.
At a press briefing on Monday, Albanese read through a list of actions his government had taken, including criminalizing hate speech and incitement to violence and a ban on the Nazi salute. He also pledged to extend funding for physical security for Jewish community groups.