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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.


The post How the late actor Topol turned Tevye into a Zionist appeared first on Jewish Telegraphic Agency.

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The Entebbe Alliance Reborn: Why Uganda Is Ready to Fight Iran Alongside Israel

Muhoozi Kainerugaba of the Uganda People’s Defense Force (UPDF), the son of Uganda’s President Yoweri Museveni, who leads the Ugandan army’s land forces, looks on during his birthday party in Entebbe, Uganda, May 7, 2022. Photo: REUTERS/Abubaker Lubowa

Fifty years ago, Israeli commandos stormed the terminal at Entebbe Airport under the cover of darkness. They engaged in a deadly firefight with Ugandan troops and Palestinian hijackers to rescue over 100 Jewish and Israeli hostages. The daring 1976 raid astonished the world and reshaped modern counterterrorism, but it cost the life of the assault unit’s commander, Lieutenant Colonel Yonatan “Yoni” Netanyahu.

Fast forward to March 2026, and the geopolitical script between Jerusalem and Kampala has flipped entirely. The very soil where Ugandan and Israeli forces once exchanged fire is now the foundation of an emerging alliance aimed squarely at countering the Islamic Republic of Iran.

General Muhoozi Kainerugaba, the chief of Uganda’s armed forces and the son of President Yoweri Museveni, recently shocked the international community with a blunt declaration.

As regional tensions with Iran boiled over into direct military confrontations, Kainerugaba took to social media to draw a definitive line in the sand. He stated that while the world wanted the war in the Middle East to end, any talk of destroying or defeating Israel would bring Uganda into the war on the side of Israel. To physically cement this dramatic pivot, he previously announced that Uganda would erect a statue of Yoni Netanyahu at the exact spot where he fell at Entebbe Airport, framing the monument as a profound gesture designed to strengthen blood relations with Israel.

While some policymakers in Washington and European capitals are quick to dismiss Kainerugaba’s rhetoric as mere social media bluster, doing so overlooks a profound geostrategic realignment occurring in the Global South. This is not just historical poetry or diplomatic hyperbole. It is the public crystallization of Israel’s new “Circle of Partners” framework, a vital evolution of Jerusalem’s traditional defense strategy tailored for an era of multi-front warfare.

For decades, the Israeli defense and intelligence establishments relied heavily on the “Periphery Doctrine.” This strategy involved cultivating quiet but robust ties with non-Arab states to counterbalance a hostile Arab core.

Today, the threat matrix has completely inverted. The Arab core is increasingly allied with Israel, while the primary existential threat is the Iranian regime. Containing and defeating Tehran’s regional ambitions requires strategic depth far beyond the Levant, necessitating a modernized Periphery Doctrine that extends deep into the African continent. Israel recognizes that securing a “Circle of Partners” is no longer optional; it is a tactical imperative.

By cementing ties with Uganda — a Christian-majority, military heavyweight in East Africa — Israel is effectively anchoring a new southern flank. The strategic utility of this partnership becomes undeniable when looking at a map of Iran’s maritime ambitions. Tehran has spent years attempting to weaponize the Red Sea and the Bab el-Mandeb strait, primarily through its funding of Houthi proxies in Yemen, while simultaneously seeking naval footholds in the Horn of Africa. East Africa serves as the geopolitical backdoor to this critical maritime corridor.

Furthermore, as the conflict with Iran expands across multiple domains, an allied Uganda offers Israel unparalleled intelligence-sharing nodes in Sub-Saharan Africa. The Uganda People’s Defense Force possesses deep institutional knowledge of local terror networks and illicit smuggling routes that Iranian proxies frequently exploit. Uganda also provides potential logistical staging grounds that sit safely outside the immediate range of Iran’s conventional ballistic missile umbrella, offering Israel a secure rear base for long-term strategic planning and operational depth.

Equally important is the diplomatic and ideological blow this alliance deals to Tehran. The Iranian regime relies heavily on a manufactured narrative that pits the Global South against a supposedly isolated Israel. At a time when international forums are routinely weaponized to turn Israel into a pariah state, unconditional support from a prominent African Union member shatters Iran’s diplomatic framing. When a leading African military commander publicly volunteers his own forces to defend the Jewish state and honors a fallen Israeli hero on African soil, it signals a shared recognition of the threat posed by radicalism that transcends geography.

In 1976, the raid on Entebbe proved to the world that Israel possessed the operational reach to strike its enemies and defend its citizens anywhere on the globe. In 2026, the emerging Entebbe alliance proves that Israel possesses the diplomatic foresight to build a continental strategic firewall against Iranian hegemony.

Uganda’s willingness to stand shoulder-to-shoulder with Israel is a testament to the shifting tides of global alliances. If Tehran continues to escalate its multi-front war, the ayatollahs will rapidly discover that Israel is not fighting alone, and its “Circle of Partners” reaches much further than the Islamic Republic ever anticipated.

Amine Ayoub, a fellow at the Middle East Forum, is a policy analyst and writer based in Morocco. Follow him on X: @amineayoubx.

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This Passover, Reliving the Exodus Hits Closer to Home

Emergency personnel work at the site of an Iranian strike, after Iran launched missile barrages following attacks by the US and Israel on Saturday, in Beit Shemesh, Israel, March 1, 2026. Photo: REUTERS/Ammar Awad

There’s a line people love to quote — usually attributed to Mark Twain — that “history doesn’t repeat itself, but it often rhymes.” It’s clever, memorable — and almost certainly not something Twain ever said.

The now-famous “rhyming” version seems to have emerged in a 1965 essay by psychoanalyst Theodor Reik, who suggested that while events don’t replay exactly, they follow very familiar patterns with subtle variations. However you phrase it, the idea lingers — because every so often, the present arranges itself in ways that feel so familiar, it’s as if we’re watching history echo in real time.

And right now, that echo is getting harder and harder to ignore. If you’ve been paying even passing attention to the news, you’ll have noticed something unsettling — not just isolated incidents, but a pattern.

Israel is now under daily missile attack from Iran, a regime that has made no secret of its ambitions. Its goal is explicit: to obliterate Israel — and with it, the millions of Jews who live there. The threats are now being matched with action — direct, sustained, and deadly.

Meanwhile, thousands of miles away, in places that pride themselves on liberal tolerance, something darker is stirring. Antisemitic attacks are rising at a pace not seen in generations. This week in London, three men were caught on camera torching ambulances belonging to Hatzolah, a volunteer emergency organization whose sole purpose is to save lives.

The attackers didn’t care. A shadowy group claiming responsibility didn’t just justify the act — it promised more. “This is only the beginning,” the assailants warned.

And in Los Angeles — a city synonymous with diversity — a lawsuit filed by Madison Atiabi tells an almost unbelievable story. According to court documents, Puka Nacua, who plays for the Los Angeles Rams, allegedly launched into an unprovoked antisemitic outburst on New Year’s Eve.

The lawsuit goes on to allege that later, Nacua physically assaulted her, biting her shoulder with such force that it left a visible imprint. Nacua seems to have form. In December, he apologized after performing a gesture that plays upon antisemitic tropes on a live stream.

Different continents. Different contexts. But it’s the same hatred. And with it comes a powerful sense that we’ve been here before. Not exactly like this — history never replays with perfect symmetry — but the echo is unmistakable. Which brings us to Passover — and to the Haggadah.

Every year at the Seder, we say the familiar words: בְּכָל דּוֹר וָדוֹר חַיָּב אָדָם לִרְאוֹת אֶת עַצְמוֹ כְּאִלּוּ הוּא יָצָא מִמִּצְרַיִם — “In every generation, a person is obligated to see themselves as if they personally left Egypt.” We are not being asked to remember. We are being asked to see ourselves as having left Egypt — a seemingly impossible task, given that the Exodus took place over 33 centuries ago.

The answer is that the Exodus was never intended to be a one-off event. It was meant to become a template — a lens through which we interpret history as it unfolds in real time.

Read the Exodus story carefully, and you’ll notice something unsettling: Things get worse before they got better. When Moses first appears, demanding the Israelites’ release, Pharaoh doesn’t just refuse — he escalates.

As conditions deteriorate, the people turn on Moses in frustration: “May God judge you … You have made us loathsome in the eyes of Pharaoh, placing a sword in their hand to kill us.”

And then comes one of the rawest moments in the entire Torah. Moses turns to God and says: “Why have You done evil to this people? Why did You send me?” He had come as the redeemer — and instead, everything had spiraled downward.

If you had been there, watching hope collapse into despair, you would have said — quite reasonably — this isn’t redemption; it’s a disaster. And yet, we know how the story unfolds. What looked like deterioration was in fact the prelude to transformation — the pitch darkness before the first crack of dawn.

Suddenly, the words of the Haggadah don’t feel abstract anymore. They feel current. We are living through a moment when things seem to be getting worse before they get better. Iran, like Pharaoh, is digging in. Even as pressure mounts, there is no sign of retreat — only defiance, and doubling down on aggression.

Beyond the geopolitical arena, there is the resurgence of antisemitism — less a series of isolated incidents and more a gathering wave. It is deeply unsettling for those of us living through it. But that is precisely the point.

The Haggadah does not ask us to relive the Exodus at its triumphant conclusion; it asks us to place ourselves inside the process — to feel the uncertainty, the fear; to stand where Moses stood and ask, “Why is this getting worse?” And then to hold our nerve. Because embedded within the Exodus story is a radical idea: that chaos and distress can be the precursor to the moment when everything finally comes together.

The night is always darkest before dawn — not as a cliché, but as a description of how redemption actually works.

And when it happens, it doesn’t unfold gradually. It happens, as the Torah describes it, כַּחֲצֹת הַלַּיְלָה, at the stroke of midnight, in an instant. One moment, Egypt is the most powerful empire on earth; the next, it is shattered. One moment, the Jewish people are slaves; the next, they are walking out toward freedom. It is a pivot — a complete reversal of reality.

Which means that if we are living through a chapter of that same unfolding story, we may be closer to the turning point than we think. The signs are there: a world order that feels increasingly unstable; an enemy under mounting pressure that still refuses to yield; a surge of hostility that defies reason. But all that will be over in a moment, as the divine will changes it in one stroke.

And so, this year, when we sit at the Seder and say, “In every generation, a person is obligated to see themselves as if they personally left Egypt,” we don’t need to stretch our imagination quite so far. For the first time in a long time, it doesn’t feel like ancient history — it feels immediate.

And one day — soon, and all at once — the shift will come. And when it does, those who held their nerve, who stared into the darkness and still believed in the dawn, will simply nod and say: of course. The Exodus never really ended. It has been unfolding all along — until we finally learn to recognize it while we are still inside the story.

The author is a rabbi in Beverly Hills, California.

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In my Passover memories, the magnolia trees of Brooklyn are always in bloom

It’s inevitable — the beginning of spring and the scent of magnolias always remind me of Passover.

Growing up, I lived with my parents in a two-bedroom apartment on the second floor of a three-story apartment building in Borough Park, Brooklyn. The living room window faced the street. A beautiful magnolia tree grew in front of that window, partially obscuring the houses across the way. In late March or early April, I’d start to notice the buds on the magnolia’s branches morph into a rich velvety green that would grow and grow, and soon unravel into huge blossoms, the color of pink ballet slippers.

There was a fire escape in front of that window, and when I was a teenager I’d sit on the windowsill and swing my feet onto the rusty rungs. It was a good place to imagine, to think, write and stare at that beautiful tree, coming alive.

I’d often try to extend my arm and reach a flower, but since I was afraid of heights and didn’t look down, I could usually only graze it. Once in a while, though, with heart thumping and some wobbly finesse I could manage to stand and quickly snip off several blossoms. The delirious scent of spring in Brooklyn, its air vacuumed fresh and clean was unbelievable — winter was finally gone and spring was here. The large pink flower felt like my very own special bouquet. Excitedly, I would take one or two of the petals, press them between my fingers, desperately trying to extract its perfume and dab it behind my ears, before I placed the flower in a small vase.

Meanwhile, inside the house, my very petite mother would busily iron our crisp, white damask tablecloth until it was smooth as paper. With sturdy fingers she would then unfurl it on our dining room table.

Then, my mother would climb a ladder to reshelve all our dairy and meat dishes in the top cupboard, making sure they were out of sight and out of mind for Passover; she’d cover them with a long layer of aluminum foil just to make sure.

Then, out came the blue bubble Depression-era glass dishes, Bakelite knives, forks and spoons with bright red handles, pots, pans and heavy crystal wine glasses.

Like the magnolia tree outside, all these dishes and silverware felt like welcome guests who we hadn’t seen for a year.

Soon, that beautifully ironed tablecloth was layered with all things Passover — the Seder plate; the Maxwell House Haggadah; the treasured well-worn haggadah from The Home of the Sages of Israel on the Lower East Side; Elijah’s cup, not just for Elijah, but for all the relatives, long gone, who couldn’t be present. And, of course, the bottle of Manichewitz grape wine, matzo and matzo balls the size of tennis balls sloshing around in a bowl of chicken soup; hard-boiled eggs; saltwater; a jar of potent horseradish capable of inducing actual tears; velvet and satin yarmulkes, the inside imprinted with someone’s Bar Mitzvah or wedding date. Finally, aunts and uncles on one side of the table, my cousins and I on the other.

On the table, in addition to the wine, there were blue and green seltzer bottles, delivered by the seltzer man. In those days, it was either water from the faucet or seltzer. My cousins and I would press the siphon into the little bit of wine we were allocated and concoct our own, not so good, drinks. Inevitably, someone would accidentally tip over a glass of wine and those beautiful white damask roses would suddenly be transformed into purple ones.

Soon, the magnolia tree would shed all its blossoms and create a beautiful pink blanket on the ground. My mother would take our dairy and meat dishes down from the top shelves in the cupboard, and Passover, like those blossoms, would once again become a memory.

No longer a teenager, I now live in the suburbs, my house surrounded by grass and trees, but not that magical magnolia.

Sometimes, though, while I’m walking, I’ll see one of those trees. I’ll stop and stare at its blossoms scattered on the grass and remember those Passovers past.

The post In my Passover memories, the magnolia trees of Brooklyn are always in bloom appeared first on The Forward.

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