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Just in time for Hanukkah, an irreverent Jewish adaptation of ‘A Christmas Carol’ debuts on stage
(New York Jewish Week) — A selfish social media influencer, an all-knowing, benevolent ghost known as “Harry the Hanukkah Fairy” and “Tiny Tim” Cratchet, the good-natured ill child from Charles Dickens’ “A Christmas Carol” may seem like they all come from different worlds, but each appears as a character in “A Hanukkah Carol, or GELT TRIP! The Musical” — a show its creators hope will become a winter tradition for years to come.
For co-creators Harrison Bryan, Rob Berliner and Aaron Kenny, the lighthearted “A Hanukkah Carol” is their answer to inundation of Christmas material and cheer throughout December.
“There is a plethora of Christmas entertainment options that we get every holiday season, especially in New York City,” said Jewish actor and playwright Bryan, a native of Brooklyn. “For me, growing up, there was a sense that Hanukkah is the second-place holiday.”
His new musical, however, “feels like this is an opportunity to join the party in a way that feels authentic,” he said. “It’s just allowing the season to feel more inclusive in a city that prides itself on being a melting pot.”
The plot of “A Hanukkah Carol” centers around Chava Kanipshin, a cruel and manipulative social media influencer who hides her Jewish identity because she was bullied as a child. But on one memorable Hanukkah, Chava is visited by spirits of the past, present and future to reckon with her life’s work — namely, her pursuit of internet fame by posting mean and embarrassing videos of her friends and family — before it is too late.
It’s a very obvious Jewish take on Dickens’ 1843 novella “A Christmas Carol” — which has already been adapted into various plays, movies and more in what feels like a thousand times over. (Did anyone else suffer through the 2009 Matthew McConaughey flick “Ghosts of Girlfriends Past”?) But to remake this classic in a Jewish way feels refreshing, adding new depth by exploring themes of Jewish pride, tradition, family and tikkun olam. After all, what is “A Christmas Carol” if not a guilt trip (or, erm, a “gelt trip”) — that stereotypical purview of Jewish mothers everywhere?
Bryan claims the show is “authentically Jewish, but not exclusively,” meaning he and partners want their version of “A Christmas Carol” to be something Jews can participate in and love for themselves. At the same time, however, due to the musical’s inclusive and heartwarming holiday message, it can be appreciated by anyone.
“There’s no Hanukkah classic yet — there’s not a Hanukkah film or show that people go to see as a matter of tradition,” lyricist Berliner told the New York Jewish Week. “We have the opportunity to take our decades of Jewish life and pop culture and comedic sensibilities and love of musical theater and sense of what’s commercial and merge it all together and see how we could present something that even non-Jewish friends would love.”
Perhaps unexpectedly, the show is rife with references to “Fiddler on the Roof,” both implicitly and explicitly. For example, main character Chava, the Scrooge-like social media maven, has nearly lost her parents’ goodwill due to continually blowing them off for holidays and acting superior to them. When Chava has a visit from the ghost of Hanukkah future, she hears her father say: “She’s dead to us.” This, of course, is a callback to “Fiddler,” when protagonist Tevye says something similar when his third daughter — also named Chava — marries a non-Jew.
The creators of “A Hanukkah Carol” see their musical as “in conversation” with the classic Jewish musical. “There are no smartphones in Anatevka, but exploring what it means to be Jewish — both in a contemporary moment and looking backwards and forwards — is a core part of ‘Fiddler,’” Berliner said. “It asks, ‘what is tradition and how can we change with the times?’ Oddly, the framework of ‘A Christmas Carol’ is perfectly aligned with that.”
Bryan, for his part, describes “A Hanukkah Carol” as “Dickens meets ‘Fiddler’ meets Mel Brooks.”
The show, which had an “industry reading” at a Midtown rehearsal studio on Tuesday, has been a long time coming — the trio has been working on it since 2018, all while juggling day jobs and navigating a hiatus during the worst months of the Covid-19 pandemic in 2020.
Kenny, a composer, and Berliner, a lyricist, met as songwriters through the BMI Lehman Engel Musical Theatre Workshop, which is considered a “top training ground” for up-and-coming theater artists. The two loved working together, and wanted to find a playwright to collaborate with. Kenny, an Australian — whom the group calls their “token goy” — reached out to Bryan, whom he had worked with on his masters thesis film at NYU. Bryan immediately sent over 20 short plays he had written — “A Hanukkah Carol” rose to the top.
Berliner, who is Jewish and grew up in Westchester, was sold immediately on Byran’s “A Hanukkah Carol” script. “The reaction that I had is the reaction that we’ve experienced a lot of folks have when we tell them the title of our show, which is, ‘how does this not exist yet?’” he said. “I would have been drawn to it at any point in my life. I certainly was in this moment.”
After working together on the script and songs, the trio put out an animated “proof of concept” trailer in early 2022. When they saw how much interest the trailer garnered, they opened up a crowdfunding campaign that raised over $33,000 in a month — which will allow them to stage a one-night-only performance at The Green Room 42 (570 10th Ave.) on Sunday, Dec. 18, the first night of Hanukkah. The concert will also be livestreamed.
Meanwhile, Bryan, Berliner and Kenny are in the process of searching for a producer — whether that be for Broadway, off-Broadway or an animated or live-action movie. During the Dec. 6 reading at Ripley-Grier Studios, where an all-Jewish cohort of eight Broadway actors played the more than 80 parts in the show, steady laughter throughout and a standing ovation at the end felt like finally seeing a dream come true.
“It felt amazing,” Bryan said about the first full run-through. “The sky’s the limit!”
“A Hanukkah Carol, or GELT TRIP! The Musical” will be performed at The Green Room 42, 570 10th Ave., on Sunday, Dec. 18. Livestream also available. Tickets from $15.
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The post Just in time for Hanukkah, an irreverent Jewish adaptation of ‘A Christmas Carol’ debuts on stage appeared first on Jewish Telegraphic Agency.
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New U2 album includes Israeli poem and a song about slain Palestinian activist
(JTA) — U2 frontman Bono delivered sharp criticism of Israeli Prime Minister Benjamin Netanyahu and lavish praise on Jewish tradition in an interview released Wednesday alongside the band’s new EP, titled “Days of Ash.”
The album — the first from U2 since 2017 — includes a song memorializing Palestinian activist Awdah Hathaleen, who was killed by an Israeli settler in the West Bank in July as well as a recitation of the anti-war poem “Wildpeace” by Israeli poet Yehuda Amichai.
“As with Islamophobia, antisemitism must be countered every time we witness it. The rape, murder and abduction of Israelis on Oct. 7 was evil,” Bono said. “But self-defense is not defense for the sweeping brutality of Netanyahu’s response, measured but the deaths of tens of thousands of Palestinians.”
Bono’s criticism of Netanyahu alongside the EP’s release comes months after the Irish artist broke his silence on the war in Gaza in August, writing at the time on social media that “the government of Israel led by Benjamin Netanyahu today deserves a categorical and unequivocal condemnation.”
In the immediate aftermath of Oct. 7, Bono had struck a different tone, standing out among other artists for paying tribute to the hundreds of “beautiful kids” murdered at the Nova music festival during a performance.
The new politically charged EP comprises six songs that address a series of high-profile deaths in recent years, including the killing of Sarina Esmailzadeh by Iranian security forces in 2022 and the fatal shooting of Renee Good by a U.S. Immigration and Customs Enforcement agent last month.
The Amichai recitation comes immediately before the song memorializing the death of Hathaleen, titled “One Life at a Time.”
In a wide-ranging interview about the band’s latest EP that accompanied its release, Bono lamented that Judaism was “being slandered by far-right fundamentalists from within its own community.”
He added, “While I’m someone who is a student of, and certainly reveres, the teachings in many of the great faiths, I come from the Judeo-Christian tradition and so I feel on safe ground when I suggest: There has never been a moment where we needed the moral force of Judaism more than right now, and yet, it has rarely in modern times been under such siege.”
Bono noted that another song on the EP, titled “The Tears of Things,” takes inspiration from a book of the same title by Richard Rohr, which Bono said made the case that “the greatest of the Jewish prophets found a way to push through their rage and anger at the injustices of the day … until they ended up in tears.”
Critiquing Netanyahu’s prosecution of the war in Gaza, Bono then cited the words of prominent Israeli historian Yuval Noah Harari, who has described the war in Gaza as a “spiritual catastrophe for Judaism itself.”
“As if all Jews are to blame for the actions of Netanyahu, Smotrich and Ben Gvir. … It’s insane, but the waters get even muddier when anyone criticizing the lunacy of the far right in Israel is accused of antisemitism themselves,” continued Bono.
The post New U2 album includes Israeli poem and a song about slain Palestinian activist appeared first on The Forward.
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HaKarot HaTov: Artificial Intelligence Can Never Replace Human Love and Wonder
Illustrative: Fourth grade students from Kibbutz Parod with certificates they received from the Israel Antiquities Authority for finding and turning in an ancient oil lamp. Photo: IAA.
One of the things that primary teachers regularly encounter is children calling them “mom” or “dad.” This is usually followed by serious embarrassment on behalf of the child, and possibly nervous laughter from their classmates.
Most teachers will just smooth incidents like this over, but the good ones will perhaps reflect on its underlying meaning — how in a very real sense for the child, they can temporarily become the child’s mother or father. It’s an expression of the incredibly important role teachers play in the lives of children, acting as the adult presence that bridges across from their family existence to their encounters with the larger world. This is what, unconsciously, children are tapping into when they mix up “mom” and “miss.”
Teachers are really important to kids — and the emotional investment that teachers make in children, and that children make in teachers, is enormous. Sometimes teachers can even provide the love and care that a child’s parents cannot. Teachers matter. Or at least they did.
What it seems the future holds, as AI models improve exponentially, is children each having their own AI-powered tutor responding in real time to their learning needs. AI’s ability to gauge the progress, challenges, and requirements of each child are likely far beyond anything a human teacher could ever hope to achieve. I don’t doubt that this is coming soon, and that many parents, and many governments, will be thinking of the undeniable benefits that these AI tutors will bring.
They don’t need a salary, they don’t need time off, and they can be there at any time of day. On top of that, millions of children are already using AI chat bots for emotional support. AI tutors will soon combine academic and emotional and pastoral support in one package. Unlike human teachers, they will never get tired, or angry, or disappointed, or get distracted from their charges’ needs.
We might wonder why any of this might be a problem. In a near future where robots will care for the elderly, do our shopping, and undertake surgery, and other AI bots will be our lawyers and accountants, as they already are our software engineers, why does it matter if children are taught by AI tutors?
Perhaps it doesn’t. Perhaps children and parents won’t be able to tell the difference, or even care if they can. Having human teachers won’t be important. Maybe we will just need a few humans to check if the AI tutors are on track to ensure that the kids of the future (or the kids of next year) learn enough to read and write, and to count well enough so that they don’t spend their universal basic income all at once.
I had a friend who was a great teacher who taught in Jewish schools in London. He died a decade ago, far too young. He was dyslexic and he told me how he used to share this with his pupils and get them to help him with his spelling on the board. A small thing perhaps, but I just think how much this communicated to those young people — about dealing with adversity, compassion, and empathy. I also remember how, when I was walking with him, we might bump into some of his old pupils. Always, they were so pleased to see him.
He was still “sir,” someone important in their lives, who had helped them navigate the path from their families, out to the world as independent adults. There was also, I would venture, something there that no robot teacher or AI tutor could ever truly have. That thing was love. The love that teachers bring to their work, that drives their professionalism and their commitment and care for the next generation.
Children know that teachers are not parents — that they only come into their lives for a short time and then leave. Yet they also know that just like their parents, teachers can love and care about them — really care about what happens to them. Children also learn how adults apart from their parents can, like my friend, not be perfect, and not know everything, but still set an example through their own behavior, and push them to achieve or keep going, even when it is challenging. They can feel how this connection with adults, with other human beings, molds and creates their adult selves.
Another thing that my friend’s pupils had was gratitude. As Dostoevsky wrote, gratitude is a fundamentally human quality, because someone has to give it, and someone has to receive it. But Judaism recognized this decades before the Russian literary geniuses of the 19th century.
The Jewish concept of HaKarot HaTov or “Recognizing the Good” means gratitude, but it also implies something transcendent — the wonder of just taking the time to stop and reflect on what we have. HaKarot HaTov teaches us that it’s through gratitude to other people that we come closer to G-d. Large language models and algorithms don’t have aims, or desires, or feelings. They can’t love. AI tutors quite literally are incapable of caring whether the children they work with live or die. They can’t receive gratitude from their students, or give it, not really, because there is no “them.” Perhaps we should think more than twice before we sign up to an education system where children have no one to say thank you to.
Joseph Mintz is Professor of Inclusive Education at UCL. Follow him @jmintzuclacuk. His views are his own and do not reflect those of his employers.
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The Palestinian Authority Just Paid ‘Pay-for-Slay’ Salaries to 8,000 Terrorists
The opening of a hall that the Palestinian Authority named for a terrorist who killed 125 people. Photo: Palestinian Media Watch.
The mask is off: The Palestinian Authority (PA) announced that 8,000 terrorist prisoner pensioners would receive their monthly Pay-for-Slay “pension” salary this week — and confirmations of receipt of the deposits are already being observed over social media.
A Palestinian social media post confirming Pay-for-Slay payments have gone out.
The minimum amount for such salaries is 4,000 shekels for terrorists who spent five years in prison. Going by that minimum, the PA just paid these terrorists — which constitute only one third of all Pay-for-Slay recipients — at least 32 million shekels — over US $10 million.
However, in actuality, this most conservative estimate is far lower than the amount that was likely paid out, as some of the more infamous terrorists released in recent hostage deals have spent 30 or more years in prison. Terrorists with such status receive at least 12,000 shekels each month.
A chart detailing Palestinian payments to terrorists.
One year after PA President Mahmoud Abbas promised the US, Canada, UK, Australia, and the EU that he was ending Pay-for-Slay, there is no escaping the fact that this was just another deception and a lie.
The PA remains an unreformed sponsor of terror.
The author is a contributor to Palestinian Media Watch, where a version of this article first appeared.