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In a Ukrainian city liberated from Russia, local Jewish leaders are being accused of collaboration
(JTA) — When Russian troops poured across the Ukrainian border in March, thousands fled from the cities that would be first in their path. But in Kherson, the southern port city with strategic value to the Russians, Rabbi Yosef Itzhak Wolff decided to stay put.
His decision to remain put him in line with the philosophy of his Jewish movement, Chabad, whose rabbis typically commit to the cities where they are stationed and stay there through thick and thin.
But his decision could also cost him the ability to serve Kherson’s Jews. According to a report this week in the New York Times, Wolff is now in Germany, concerned because some in Kherson accuse him of collaborating with the Russian forces.
Meanwhile, a member of his Jewish community is facing life in prison over his actions during the chaotic early days of the war, according to the New York Times report.
Russia captured Kherson on March 2, 2022, and for months, the city suffered a brutal occupation that resulted in hundreds dead and scores more “disappeared” or tortured, according to Human Rights Watch.
Among those living in the occupied city was Wolff, an Israel-born rabbi who arrived in Ukraine nearly 30 years ago, just after the fall of the Soviet Union and Ukraine’s independence. For the past 13 years, he had presided over a Jewish community in Kherson estimated before the war at 8,000 people.
In the early days of the war, Wolff’s work to supply food, medicine and at least some semblance of a joyous Purim to his community was highly publicized.
During one trip, the Times of Israel reported, he dodged bullets shuttling food back to the city from the border with Crimea, where his brother is also a rabbi. In another, according to Chabad.org, he went out to deliver food even as Russian tanks rolled through the town.
“Despite heavy fighting in the streets of Kherson, Rabbi Yosef Wolff did not abandon his community for a moment, remaining in the war-torn city through it all and serving the local population,” Rabbi Motti Seligson, a spokesperson for the Chabad movement, told the Jewish Telegraphic Agency. He called Wolff a “true hero of the Jewish people and for people of good conscience everywhere.”
Before the Holocaust, Kherson was a major center of Jewish life, with some 26 synagogues, but now, there is only Wolff’s. And before the war, it was like Chabad centers around the world: serving a local community, but also famously welcoming to unfamiliar faces, including foreign visitors.
Rabbi Yosef Yitzchak Wolff and mayor of Kherson Volodymyr Mykolaienko light Hanukkah candles, Dec. 19, 2017, in Kherson, Ukraine. (PLes Kasyanov/Global Images Ukraine via Getty Images)
Opening the doors to newcomers took on added gravity after the war began and Russians streamed into Kherson. For much of the year, it was unclear whether Ukraine would regain control of the city, or whether it would become like Crimea and remain under Russian occupation. But last month, Ukraine liberated Kherson, generating scenes of jubilation — and putting anyone perceived as collaborating with the Russian army under suspicion.
Some of that suspicion landed on Wolff, who had allowed Russian soldiers to pray in his synagogue. The soldiers were Jewish officers who had arrived with armed guards, he told the New York Times.
In the days after liberation, he left Kherson, and Ukraine, for Germany. Now, with efforts to penalize collaborators underway, he told the newspaper that he is not sure when or if he will return.
Among those who remained in Kherson was a prominent member of the Jewish community who is now being prosecuted for his choices amid the messy reality of occupation.
Illia Karamalikov, a nightclub owner and member of Kherson’s city council, was close to Wolff, frequently allowing Chabad to use his nightclub’s space for events, the rabbi told the New York Times.
In the early days of the occupation, Kherson descended into a state of lawlessness. The Ukrainian civil administration fled ahead of the Russian forces and, after conquering the city without much resistance, Russia took little responsibility for its administration, instead sending soldiers on to other targets such as neighboring regions of Odessa, Mykolaiv, Kryvyi Rih — Ukrainian president Voldymyr Zelensky’s hometown — and ultimately, Kyiv.
Looting was rampant, and cut off from power and supply lines, the thousands of people who remained in the city faced a real risk of starvation.
It was locals who managed to bring back some semblance of order. Karamalikov helped organize a 1,200-strong community patrol to enforce curfews and watch for looters.
A boy stands with Ukrainian flag in the central square of Kherson after the city was liberated from Russian occupation, Nov. 19, 2022. (Oleksii Samsonov/Global Images Ukraine via Getty Images)
It was in that role, according to the New York Times report, that he found himself face to face with a lost and confused Russian pilot, whom his men had taken into captivity. Karamalikov held the prisoner in a utility closet in his home for a night, before ultimately making the decision to return him to the Russian forces unharmed.
That earned him a 12-page indictment from Ukraine, as he ran afoul of new laws enacted at the outbreak of the war that stipulate that “cooperation with the aggressor state, its armed formations, or its occupation administration;” are punishable as acts of collaboration under Ukraine’s criminal code.
Many of those who spoke to the New York Times said the laws don’t account for the reality of living under occupation.
“All these people who ran away are judging us,” Wolff told the newspaper. “These are cruel times.”
Through returning the soldier, Karamalikov allegedly “organized the further participation of a Russian serviceman in aggression against Ukraine,” according to his indictment.
But many in Kherson are not sure what other option they had. Karamalikov’s community watch organization was a volunteer and non-military force whose limited power involved pressing looters into doing community service. To have harmed the soldier would have made them combatants against Russia.
“We wondered later: Should we have killed the soldier and kept it secret?” one of Karamalikov’s watchmen, Andriy Skvortsov told the New York Times. “But I’ve decided no, that wouldn’t have been good.”
“With a life in his hands, I can’t imagine Illia ever killing anyone,” Wolff told the newspaper. “What he did was the most humane decision he could make.”
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The post In a Ukrainian city liberated from Russia, local Jewish leaders are being accused of collaboration appeared first on Jewish Telegraphic Agency.
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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”