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New Yorkers protesting Israel’s government say they’ll keep up the fight for the country’s democracy
(New York Jewish Week) – Hundreds of people gathered in front of the Israeli consulate in New York yesterday to stand in solidarity with Israelis who have been protesting Prime Minister Benjamin Netanyahu’s proposed changes to Israel’s judiciary, mere hours after a delay in the reforms was announced.
The protesters, who assembled on Second Avenue between 42nd and 43rd Streets, carried Israeli flags, sang Hebrew songs and chanted “Democracy will stand” in between music and speeches from local rabbis and political leaders.
The rally was held the day after Asaf Zamir, the Israeli Consul General in New York, resigned, following Netanyahu’s firing of Israel’s defense minister, Yoav Gallant. “The past 18 months as Israel’s Consul General in New York were fulfilling and rewarding, but following today’s developments, it is now time for me to join the fight for Israel’s future to ensure it remains a beacon of democracy and freedom in the world,” Zamir said in his resignation letter, which was posted to social media.
A majority of the crowd were Israelis living in New York, though cohorts from Park Slope’s Congregation Beth Elohim and supporters of T’ruah, The Rabbinic Call for Human Rights, also showed up.
For Israelis, even those who have immigrated to New York, the moment is a crucial one: Even though the legislation has been put on hold until May, it was important to many in the crowd to nonetheless make their voices heard. Attending protests in New York is an opportunity to both show solidarity with friends and family in Israel, some said, as well as impart a sense of urgency on American Jews.
The New York Jewish Week spoke to some of the protesters about what inspired them to protest Israel’s government in New York on a rainy Monday afternoon:
Israel and Hanana are a couple doing a housing exchange in New York. (Julia Gergely)
Israel and Hanana, who declined to provide their last names, are Israelis who have been living in New York for the last year doing a housing exchange with an American family. “We are concerned about what is happening,” Israel said. “It’s disturbing and the country is turning into a dictatorship.”
The couple has not hashed out their plan for when their housing exchange ends. Israel feels that he has to go back to his country. As for Hanana, “I don’t want to go back,” she said. “I can’t live in a dictatorship.” She would like to move to somewhere like Greece or Cyprus, she said.
Hanana carried a Hebrew sign that read “Our hope is not yet lost,” a line from the Israeli national anthem. Israel’s sign read “It’s good to protest for your country,” which is a play on the Hebrew phrase, “It’s good to die for your country,” allegedly said by a Zionist activist who died defending a Jewish settlement in Palestine in 1920.
Lior and Shiran, Israelis who moved to New York 18 months ago, hold signs protesting Prime Minister Netanyahu. (Julia Gergely)
Shiran and Lior, who declined to provide their last names, have been in the United States for a year and half. Last week, they visited friends in Israel but didn’t have time to attend protests, so it was important to them to make their voices heard in New York. “We are married, so for us this has been a really big deal,” Shiran said. At this point, they are planning to stay in New York for good, they said.
Susan Lax, the co-owner of an Israeli shoe company, holds a sign that reads “We must resist.” (Julia Gergely)
“I think that this is going to destroy Israel if we don’t come out in the streets, and my children and grandchildren will not have a country if I’m not out here,” said Susan Lax, who splits her time between the Upper West Side and Tel Aviv.
The co-owner of Naot, an Israeli shoe company, Lax feels the threat on a personal and professional level. “We are shoes of peace. It’s part of what we do,” she said.
If the reforms pass and things continue to deteriorate, “they could come and say you can’t have non-Jews working for you,” she said. “They can destroy everything that the generation above me fought for.”
American support is crucial to the cause, Lax said, whether by visiting Israel or by attending protests like these. “With no Israel, Jews have nothing in the world,” she said. “By not going there, we’re telling them ‘you’re on your own.’”
For Lax, the worst thing Israeli and American Jews could do is to give up hope, or to ease pressure on the government now that the legislation has been put on pause. She’s planning to return to Israel in a week. “Do not despair,” she said. She carried a sign reading, “We must resistance.”
Noa is frustrated with the hypocrisy she feels coming from American Jews who support Israel despite the government’s dangerous policies. (Julia Gergely)
“A lot of American Jews are saying that it’s important to have a Jewish country so they have a refuge if something happens,” said Noa, who declined to provide her last name, who left Israel in 2014 after the Gaza War.
“But it won’t be the case soon,” she said. “Unless they act, unless they stop funding the government that is very far-right, they won’t have a refuge. They won’t have a place to go to if something happens.”
Noa criticized what she sees as the hypocrisy of American Jews, many of whom support the Israeli government no matter what. “They need to understand that next time they go to visit Israel, their wives might have to wear a head cover and men and women might be separated in many places, and maybe gay people won’t be able to live there,” she said there, presenting a worst case scenario should the haredi Orthodox parties continue to wield power in a right-wing government. “They really need to think about it and act accordingly.”
The Israeli government’s rightward shift confirmed her decision to move away, Noa said. Nonetheless, the country will always be her home. “My heart is still there,” she said. “But I don’t really see a future. It’s either dictatorship or democracy.”
Noa Osheroff believes this is also a moment to fight for Palestinian Liberation, carrying a sign suggesting as much in Hebrew, English and Arabic. (Julia Gergely)
Noa Osheroff, an Israeli who has lived in New York for eight years, is using this moment to fight for democracy and representation for both Israelis and Palestinians.
“A group of friends and I have decided to collaborate around the protests and create a more radical group,” Osheroff said. “I always joined demonstrations and was vocal about my opinions, but I don’t work for any political organizations and I can’t even say I’m a big activist.”
In recent weeks, though, it’s become increasingly important to her to make sure that Palestinian liberation is included in the call for democracy, as well as to call out the United States government for enabling Netanyahu’s policies. The sign she carried, “From the river the sea — democracy for all,” repurposes a slogan often used by the pro-Palestinian movement to call for a single democratic state — neither Jewish nor Palestinian — in what is currently Israel and the territories. “The protests are so Zionist,” she said. “It kind of bothered me, especially in the U.S., because the U.S. funds a lot of what’s going on in the settlements. People don’t necessarily see the connection, but what’s happening now is in part a result of the occupation.”
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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.”