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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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To Prevent Antisemitism in Schools Like Berkeley, Enforce the Rules Already on the Books
Illustrative: Demonstrators holding a “Stand Up for Internationals” rally on the campus of the University of California, Berkeley, in Berkeley, California, US, April 17, 2025. Photo: Carlos Barria via Reuters Connect.
At California’s Berkeley High School (BHS), teachers are interrupting their normally-scheduled classroom lessons to talk about the Iran war.
Given the Berkeley school district’s dismal record on antisemitism, will BHS once again become a venue for Israel-bashing, or even conspiracy theories that Israel manipulated the United States into attacking Iran? If signs of such activity emerge, what can be done to stop it?
Part of the solution — at least at the K-12 level — is simple: state and local governments must ensure that school districts enforce pre-existing constitutional constraints, state educational codes, and school district rules that prohibit indoctrination in the classroom.
Of course, that is not always so easy. One teachers’ group held a teach-in to address the purported causes of the October 7 attack, during which they shared curricular materials such as a guide to “settler colonialism” that defines Hamas as “a resistance movement” and tells students the United States only calls Hamas a terrorist organization because of its “measures against the occupation.”
Materials like these then make their way into BHS classrooms. One history teacher, who reportedly used antisemitic stereotypes in class, showed an anti-Israel video and required her students to respond to the prompt: “To what extent should Israel be considered an Apartheid State?”
When Jewish students complained, the Berkeley Unified School District (BUSD) simply transferred them out of her class. Also at BHS, according to the Brandeis Center complaint, an art teacher reportedly showed the class “violent, pro-Hamas videos.” The teacher also allegedly promoted student walkouts and demonstrations, and projected antisemitic images such as a fist punching through a Star of David. Jewish students were again transferred to a new class, only to find their new teacher wore Free Palestine stickers on her clothing.
What’s especially disturbing about these incidents is that the BUSD already has a policy in place to prevent this kind of ideological offensive material in the classroom. According to BUSD’s “Policy 6144: Controversial Issues,” when a teacher chooses to address such a subject, they should “ensure that all sides of a controversial issue are impartially presented,” and, “The teacher may not use his/her position to forward his/her own historical, religious, political, economic or social bias.”
According to a Supreme Court decision in Garcetti v. Ceballos (2006), such rules are consistent with freedom of speech because, when public employees are carrying out their official duties, their speech does not have the same First Amendment protection as private citizens. State governments have implemented regulations based on this principle.
Texas Educational Code § 28.0022 states that when teachers discuss a controversial topic of public policy, they should “explore that topic objectively and in a manner free from political bias.” Moreover, the code stipulates that teachers cannot assign tasks to students that involve political advocacy.
Similarly, the Florida State Board of Education issued Florida Administrative Code, Rule 6A-10.081, which stipulates that teachers shall not “unreasonably deny a student access to diverse points of view” or “intentionally distort or misrepresent facts concerning an educational matter.”
Yet without enforcement, such policies have little value.
BUSD parents have lodged more than 100 complaints of violations targeting Jewish students. Now, both the US Department of Education and the House of Representatives’ Education and Workforce Committee are investigating antisemitism in the BUSD. Parents have also brought a civil rights lawsuit against the district.
Clearly, school districts across the country should be enforcing policies against propaganda and bigotry in the classroom. But changing the ways of a resistant school district like BUSD is easier said than done. It will entail investigating and then educating the community about existing laws, rules, and codes pertaining to teachers’ speech and conduct. And it will involve persuading parents and students to work with civil rights groups and the local, state, and Federal governments to hold public teachers and administrators accountable.
Our country relies on its schools to endow students with the skills necessary for critical thinking and independent thought. If teachers themselves cannot rise above their prejudices and partisan sentiments, then American schools are not likely to turn out students resistant to conspiracy theories and propaganda.
Naomi Friedman is an Education Fellow at the Foundation for Defense of Democracies.
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Who Owns the Story? Israel Needs Images and Messages That Match the Palestinian Narrative
Protestors in Melbourne unfurl a watermelon banner in solidarity with Palestinian ‘resistance.’ (Photo: Screenshot)
In today’s hyperconnected world, legitimacy is no longer determined solely by history books or diplomatic recognition. It is shaped, distilled, and often distorted in the fast-moving currents of digital culture. Narratives are no longer argued — but they are absorbed, shared, and symbolized. And increasingly, they are decided not by depth, but by clarity and repetition.
For many who support Israel, this presents a growing challenge. The issue is not a lack of historical grounding or factual legitimacy. It is that these truths are not being communicated with the same force, simplicity, and creativity as competing narratives. In a landscape driven by visuals and emotion, complexity alone does not win attention.
At the heart of the matter lies an enduring reality: the Jewish connection to the land of Israel is ancient, continuous, and foundational. It predates modern political frameworks and is rooted in centuries of cultural, religious, and historical presence. This is not a claim constructed in recent decades; it is a defining element of Jewish identity itself.
Yet historical continuity does not automatically translate into contemporary resonance. In the digital arena, meaning is often assigned through symbols that travel faster than context. One of the more curious examples of this phenomenon is the rise of the watermelon as a political emblem.
Today, the image is widely recognized as associated with pro-Palestinian expression. But its origins are neither exclusive nor inherently political. The fruit itself traces back thousands of years to regions of Africa, long before it became entangled in modern symbolism. Its eventual adoption as a visual shorthand was shaped by circumstance, not destiny.
Rather than dismissing or avoiding widely circulated symbols, there is an opportunity to engage with them differently — and to embed them with alternative narratives. The goal is not to negate others, but to assert presence within the same visual language.
Currently, one of the obstacles facing pro-Israel advocacy is not a lack of material, but a lack of cohesion. Messaging often emerges reactively, responding to trends rather than shaping them. Meanwhile, opposing narratives benefit from clarity, emotional appeal, and visual uniformity.
That imbalance can be addressed by approaching communication not only as a matter of accuracy, but of strategy.
Facts remain essential — but in a digital environment, they must be paired with compelling storytelling and recognizable imagery. A well-crafted symbol can reach audiences that a detailed explanation never will.
Reframing something as simple as a watermelon is not about the object itself. It is about demonstrating that meaning is not fixed, and that narratives are not surrendered unless they are abandoned. Because ultimately, the question is not just who holds the stronger argument. It is who communicates it in a way that resonates.
To shape understanding, one must also shape the story.
Sabine Sterk is the CEO of Time To Stand Up For Israel.
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I’m a UMich Student: All Countries Are Welcome — Except Israel
Law enforcement clash with pro-Hamas demonstrators at the University of Michigan on Aug. 28, 2024. Photo: Brendan Gutenschwager/X
Tea time is my favorite part of each week. As the tea chair for the historic Martha Cook Building, an all-women’s dorm at the University of Michigan in operation since 1915, I have the joy of planning and hosting our weekly Friday teas.
Out of all our building traditions, International Tea is one of the most popular. Martha Cook residents (affectionately nicknamed “Cookies”) sign up to represent a country, and host a table offering information and a cultural snack. Friends are invited, foods from across the world are tasted, and on-campus cultural groups perform.
As I did last year, I signed up to represent Israel. I’m a Jewish student who is heavily involved in the pro-Israel community on campus, so naturally, Israel is the country I chose to showcase. The Monday before International Tea, the flags from each country went up. I smiled as I passed the Israeli flag on my way out of the building.
When I came back from the day’s classes, the Israeli flag was gone. I notified the Martha Cook House Board.
Fast forward to that Friday: the day of International Tea. After our weekly House Board meeting concluded, a representative from MHousing called me into another room.
“I just wanted to let you know before you set up for tea that someone has defaced your board.”
That morning, I was already worried that my Israel board (a tri-fold that each participant makes, celebrating the country’s culture) had been set up too early, since I had a feeling that someone might do something like that.
“What did they write?” I asked, “Free Palestine? Genocide? Apartheid?”
“No, they wrote, ‘Notable resident: Epstein.’”
That was not what I expected. Jeffrey Epstein has nothing to do with Israel. But that’s the logic now: lump together anything even remotely perceived as related to Judaism and pin the guilt on the Jewish State. On today’s campus, every grievance is interconnected — except, apparently, the one about Jews being targeted.
Police reports had already been filed for both the flag theft and the vandalism. This was just the icing on the cake for a week that had included both the official passing of a BDS resolution in our student government and the election of a new student body president who ran with the slogan, “Free laundry, free Palestine.” I would not be surprised if these anti-Israel “successes” emboldened the actions of the Martha Cook flag thief and vandal.
When I chose to represent Israel, I chose to represent a culture. I made no comment on the government nor any conflict. The reaction to the Israeli flag simply being displayed and the vandalism on my board are indicative of what campus has been like.
Since I first stepped on campus in August of 2023, I have found myself in an environment that emphasizes feelings over facts and political correctness over discussion. Even before the October 7th attacks, the campus culture was one in which it was taboo to push back on anything that did not fall into the popular narratives. The aftermath of October 7th pushed this to the next level.
Before Israel even responded to Hamas’ attack, protesters were calling Israel genocidal and advocating for the destruction of the country “from the river to the sea.” Thousands of students with no prior knowledge of Middle Eastern history or connection to the conflict began hopping on the anti-Israel bandwagon and marching around as “social justice” warriors.
The 2023-24 school year was the most divided, hostile environment I have experienced. When my friends or I tried to have conversations with people who were tagging along with the anti-Israel groups, we were either turned away, ignored, or had anti-Zionist buzzwords yelled at us. No one engaged with what we were actually saying. They just repeated slogans.
As campus calmed down, the performative activists largely moved on to trendier issues. But the small, dedicated group of anti-Israel agitators remains an active and insidious force.
There will always be those who are against us. What matters is that we, the Jewish community and our allies, stand up for the truth and for what is right. We must keep ourselves educated on the conflict. We must continue to host pro-Israel programming. We must have conversations when we can, respectfully engaging with those who disagree with us. We must do all of this while attending classes, keeping up with our studies, and cheering on our amazing Michigan sports teams (Go Blue!).
In a time when the future looks uncertain, I remain hopeful. Despite all of the hate directed at the Jewish community, I look around and see young, strong Jewish leaders stepping up and making a difference. We strive to be a light among the nations, and we are not going anywhere.
Addison Stone is a junior at the University of Michigan studying War & Conflict Studies and Theatre. She serves on the boards of Students Supporting Israel, Wolverine for Israel, and Michigan Israel Public Affairs Committee.
