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Netanyahu announces pause to judiciary reform, in significant victory for protesters
(JTA) — Prime Minister Benjamin Netanyahu announced that he would postpone a vote on far-reaching reforms to the judiciary and engage in dialogue with the opposition, yielding to calls from hundreds of thousands of protesters as well as senior members of his own party and international leaders.
In his televised address, Netanyahu cited fears of civil war, which Israeli President Isaac Herzog had also warned of weeks ago.
“I am not ready to tear the people into shreds,” Netanyahu said Monday in remarks broadcast just past 8 p.m. Israel time. “We are not facing enemies but brothers. I am saying now and here, there must not be a civil war.”
He added, “I have decided to delay the second and third readings of the legislation until the Knesset reconvenes” roughly a month from now, at the end of April. He said the break — which includes the Jewish and Israeli holidays of Passover, Holocaust Remembrance Day, Memorial Day and Independence Day — would be devoted to dialogue.
Netanyahu’s announcement marks a significant victory for opponents of the judicial reform, and heralds a new stage in the months-long debate over the legislation which, as written, would sap the Supreme Court of much of its power and independence. As it stands, the legislation substantially increases government control over Supreme Court appointments and essentially removes the court’s ability to review laws. That version of the legislation will almost certainly not pass now, and leaders of a strike called on Monday to protest the reforms called it off immediately after Netanyahu’s speech.
The legislation has been controversial ever since it was unveiled near the beginning of the year, just weeks after Netanyahu’s right-wing coalition took office. For months, hundreds of thousands of Israelis have taken to the streets to oppose the proposals, and their calls were joined by a chorus of public figures, in Israel and abroad, who warned that the overhaul would remove a key component of Israel’s democratic system. Reservists in the Israel Defense Forces vowed to absent themselves from duty in protest.
Netanyahu and his allies said that the reform reflected the will of Israel’s right-wing majority. But facing the threats from reservists, Defense Minister Yoav Gallant announced on television Saturday night that he supported a pause in the legislation, as well as dialogue toward a compromise. He said internal conflict in the IDF surrounding the overhaul put Israel’s security at risk.
One day later, on Sunday night, Netanyahu fired Gallant — a decision that sparked massive, spontaneous protests across the country, starting late Sunday night and lasting until Monday’s early hours, and then reconvening Monday afternoon.
In his speech on Monday, Netanyahu railed against reservists refusing to report for duty, which he called a “terrible crime.”
“The state of Israel cannot exist without the IDF, and the IDF cannot exist with refusal,” he said. “Refusal from one side will lead to refusal from the other side. Refusal is the end of our country. So I demand — demand — of the commanders of the security forces, and the commanders of the IDF, to forcefully oppose the phenomenon of refusal.”
Opposition leaders, including Benny Gantz and Yair Lapid, accepted Netanyahu’s call for dialogue. Lapid said the dialogue should lead to the writing of a constitution for Israel, which the country currently lacks, under the aegis of President Isaac Herzog. For weeks, Herzog has been calling for a pause in the legislative process and had previously unveiled a compromise on the judicial reform that Netanyahu’s coalition rejected. The Biden administration had also urged Netanyahu to find a compromise, including in a conversation last week between President Joe Biden and Netanyahu.
Bitter feelings were still evident in the prime minister’s speech: Netanyahu said pro-government protesters who turned out on Monday evening were “spontaneous,” “not paid for, not spurred by the media.” Netanyahu has at times depicted the massive protests as a conspiracy.
Gantz, in accepting the offer, said, “The prime minister is principally responsible for tearing the country apart.” He also called on Netanyahu to reinstall Gallant. Netanyahu did not mention Gallant in his address.
Netanyahu said his decision to pause the legislative process was backed by a majority of his coalition. In December, Netanyahu allied with the far-right Religious Zionist bloc as part of his governing coalition, and one of the bloc’s leaders, Finance Minister Bezalel Smotrich, was pressing for quick passage of the reforms up until Netanyahu’s announcement.
Another leader of the far-right bloc, Itamar Ben Gvir, the national security minister, circulated an agreement signed by himself and Netanyahu to establish a “National Guard” alongside the decision to pause the court reform. It is not clear how such an entity would function alongside Israel’s already massive security infrastructure. Ben-Gvir has called for the loosening of open-fire rules in clashes between security forces and Palestinians. Netanyahu likewise did not mention the agreement with Ben-Gvir in his speech.
In a tweet posted shortly before Netanyahu’s speech, Ben-Gvir sounded defiant.
“The reform will pass. The national guard will be established. The budget I demanded for the Ministry of National Security will pass in its entirety,” he wrote. “No one will frighten us. No one will be able to change the decision of the people.”
Then, mimicking the central chant of the anti-government protesters, he added: “Repeat after me: De-mo-cra-cy!”
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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.”