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Netanyahu’s new government could lose a critical constituency: American conservatives
WASHINGTON (JTA) — The op-ed was typical of the Wall Street Journal’s conservative editorial page, extolling the virtues of moderation in all things.
The difference was that the author of the piece published Wednesday, Bezalel Smotrich, has a reputation for extremism, and the political landscape he was imagining is in Israel, not America.
Experts who track the U.S.-Israel relationship say the op-ed had a clear purpose: to quell the fears of American conservatives whom Prime Minister Benjamin Netanyahu has long cultivated as allies and who may be rattled by his new extremist partners in governing Israel.
Those partners include Smotrich, the Religious Zionist bloc leader and self-described “proud homophobe” whom Israeli intelligence officials have accused of planning terrorist attacks — and who was sworn in as finance minister in Netanyahu’s new government Thursday. They also include Itamar Ben-Gvir, who has been convicted of incitement for his past support of Jewish terrorists, who will oversee Israel’s police.
The presence of Smotrich, Ben-Gvir and their parties in Netanyahu’s governing coalition has alarmed American liberals, including some in the Biden administration. But insiders say conservatives are feeling spooked, too.
“The conservative right was with [Netanyahu] and now he seems to be riding the tiger of the radical right,” said David Makovsky, a fellow at the Washington Institute for Near East Policy who just returned from a tour of Israel where he met with senior officials of both the outgoing and incoming governments. “And I think that is bound to alienate the very people who counted on him being risk-averse and to focus on the economy.”
In his op-ed published on Tuesday, two days before the new Israeli government was sworn in, Smotrich sought to persuade Americans that the new government is not the hotbed of ultranationalist and religious extremism it has been made out to be in the American press.
“The U.S. media has vilified me and the traditionalist bloc to which I belong since our success in Israel’s November elections,” he wrote. “They say I am a right-wing extremist and that our bloc will usher in a ‘halachic state’ in which Jewish law governs. In reality, we seek to strengthen every citizen’s freedoms and the country’s democratic institutions, bringing Israel more closely in line with the liberal American model.”
The op-ed is at odds with the stated aims of the coalition agreements; whereas Smotrich says there will be no legal changes to disputed areas in the West Bank, the agreements include a pledge to annex areas at an unspecified time, and to legalize outposts deemed illegal even under Israeli law. He says changes to religious practice will not involve coercion, but the agreement allows businesses to decline service “because of a religious belief,” which a member of his party has anticipated could extend to declining service to LGBTQ people.
Netanyahu has alienated the American left with his relentless attacks on its preference for a two-state outcome to the Israeli-Palestinian conflict, which he perceives as dangerous and naive. (He also differs from them on how to prevent Iran from obtaining nuclear weapons.) He has instead cultivated a base on the right through close ties with the Republican Party and among evangelicals, made possible in part because he has long espoused the values traditional conservatives hold dear, including free markets and a united robust Western stance against extremism and terrorism.
But his alliance with Smotrich and others perceived as theocratic extremists may be a bridge too far even for Netanyahu’s conservative friends, who champion democratic values overseas, said Dov Zakheim, a veteran defense official in multiple Republican administrations.
“Traditional conservatives are much closer to the Bushes, and Jim Baker and those sorts of folks,” he said, referring to the two former presidents and the secretary of state under the late George H. W. Bush.
Jonathan Schanzer, a vice president of the Foundation for Defense of Democracies, said the op-ed was likely written at Netanyahu’s behest with those conservatives in mind.
“The Wall Street Journal piece was designed to appeal to traditional conservatives,” he said. “It was designed to send a message to the American public writ large that the way in which Smotrich and perhaps [Itamar] Ben Gvir have been described is based on past utterances and not necessarily their forward-looking policies.”
The immediate predicate for the op-ed, insiders say, was likely a New York Times editorial on Dec. 17 that called the incoming government “a significant threat to the future of Israel” because of the extremist positions Smotrich and other partners have embraced, including the annexation of the West Bank, restrictions on non-Orthodox and non-Jewish citizens, diminishing the independence of the courts, reforming the Law of Return that would render ineligible huge chunks of Diaspora Jewry, and anti-LGBTQ measures.
Smotrich in his op-ed casts the changes not as radical departures from democratic norms but as tweaks that would align Israel more with U.S. values. He said he would pursue a “broad free-market policy” as finance minister. He likened religious reforms to the Supreme Court decision that allowed Christian service providers to decline work from LGBTQ couples.
“For example, arranging for a minuscule number of sex-separated beaches, as we propose, scarcely limits the choices of the majority of Israelis who prefer mixed beaches,” Smotrich wrote. “It simply offers an option to others.”
In the West Bank, Smotrich said, his finance ministry would promote the building of infrastructure and employment which would benefit Israeli Jewish settlers and Palestinians alike. “This doesn’t entail changing the political or legal status of the area.”
Such salves contradict the stated aims of the new government’s coalition agreement, Anshel Pfeffer, a Netanyahu biographer and analyst for Haaretz said in a Twitter thread picking apart Smotrich’s op-ed.
“Smotrich says his policy doesn’t mean changing the political or legal status of the occupied territories while annexation actually appears in the coalition agreement and his plans certainly change the legal status of the settlements,” Pfeffer said.
Danielle Pletka, a senior fellow at the American Enterprise Institute, said foreign media alarm at the composition of the incoming government was premature.
“I suspect that the vast mass of people will maintain the support that they have for Israel because it hasn’t got anything to do with the passing of one government to another and has everything to do with the principle that Israel is a pro-American democracy in a region that’s pretty important,” she said.
That said, Pletka said, the changes in policy embraced by Smotrich and his cohort could alienate Americans should they become policy.
“I think a lot of things can change if the rhetoric from Netanyahu’s government becomes policy, but right now, it’s rhetoric,” she said. “What you tend to see in normal governments is that they need to make a series of compromises between rhetoric that plays to their base and governance.”
Pletka said Netanyahuu’s stated ambition to expand the 2020 Abraham Accords to peace with Saudi Arabia would likely inhibit plans by Smotrich to annex the West Bank. In the summer of 2020, the last time Netanyahu planned annexation, the United Arab Emirates, one of the four Arab Parties to the Abraham Accords, threatened to pull out unless Netanyahu pulled back — which he did.
“It’s not just the relationship with the United States,” she said. “This might alienate their new friends in the Gulf, which, at the end of the day, may actually have more serious consequences.”
Netanyahu has repeatedly sought to relay the impression that he will keep his coalition partners on a short leash.
“They’re joining me, I’m not joining them,” he said earlier this month. “I’ll have two hands firmly on the steering wheel. I won’t let anybody do anything to LGBT [people] or to deny our Arab citizens their rights or anything like that.”
Zakheim said that Netanyahu, who is Israel’s longest-serving prime minister, from 1996 to 1999 and then from 2009 to 2021, has proven chops at steering rangy coalitions — but there are two key differences now.
Netanyahu wants his coalition partners to pass a law that would effectively end his trial for criminal fraud, and so they exercise unprecedented leverage over him. Additionally, Netanyahu in the past has faced the greatest pressure from haredi Orthodox parties, who are susceptible to suasion by funding their impoverished sector. That’s not true of his new ideologically driven partners.
“If you look at his past governments, he has really never been forced into real policy decisions by those to the right of him,” Zekheim said. “Now he’s got a problem because these 15 or so seats of those to his right are interested in policy, not just in money.”
Makovsky said Netanyahu appears to be leaving behind a conservatism that was sympathetic to the outlook of its American counterpart.
“His success has been that he’s a stabilizer. He’s risk-averse. He’s focused on the prosperity of the country, with high-tech success. He’s the one to be seen as the tenacious guardian against Iranian nuclear influence,” he said. “And those are things people could relate to. Now, it just seems like he’s just throwing the playbook out the window.”
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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.”