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On stage and in the classroom, Mikhl Yashinsky is stoking the flame of the Yiddish revival
(New York Jewish Week) — In the Yiddish classes Mikhl Yashinsky teaches for the YIVO Institute for Jewish Research and the Workers Circle, he begins by asking students to explain why they decided to learn the language.
Often, a student will describe attending a performance of “Fiddler on the Roof in Yiddish,” the smash hit from the National Yiddish Theatre Folksbiene.
This is literally music to the ears of Yashinsky, who not only teaches conversational Yiddish, translates Yiddish literature and writes Yiddish plays and videos, but who also played a beggar and innkeeper in the latest run of “Fiddler” in Yiddish, which closed on Jan. 1.
“Many thousands of people have seen Yiddish ‘Fiddler’ by now and it’s had a real impact on them and how they see the language,” he told the New York Jewish Week. “It makes me happy that one thing feeds into another.”
The 32-year-old Chelsea resident is in some ways the future of Yiddish, at least of the secular, artistic and academic variety that is spoken and studied outside of the haredi Orthodox community, where it is often the first language. While some Yiddishists bristle at the notion that the language of Ashkenazi Eastern Europe is undergoing a “renaissance,” figures like Yashinsky are making sure the language continues to flourish in communities beyond the yeshiva.
”Mikhl has played a very big role in my Yiddish journey,” said Judith Liskin-Gasparro, a retired linguistics professor from the University of Iowa. Liskin-Gasparro had four grandparents who were native Yiddish speakers but who never spoke the language in front of her. She estimates that over the course of her career she’s watched 1,000 people teach a language class. After studying with Yashinsky remotely from Iowa City for five semesters, Liskin-Gasparro said: “I have rarely seen anybody as good as he is.” His YIVO course has been so popular that YIVO had to create a second section.
Liskin-Gasparro now describes herself as obsessed with the language. In November, she made the trek to New York to see Yashinsky perform in “Fiddler.” During her visit she joined about 15 people from Yashinsky’s YIVO class to meet her teacher in person.
Yashinsky, who grew up outside of Detroit, credits his late maternal grandmother, Elizabeth Elkin Weiss, with putting him on the path to becoming a Yiddishist. Weiss and her husband Rube were veterans of Yiddish theater, performing on stage and the radio. His grandmother also performed in English-language radio dramas, and her ability to do accents and characters earned her the nickname “The Woman of 1,000 Voices.” A radio ad in which Weiss imitated the Hungarian Jewish actress Zsa Zsa Gabor convinced customers of an Italian restaurant in the Detroit area that Zsa Zsa herself had done the commercial.
Talent ran in the family, sometimes in unexpected ways: Yashinsky’s uncle, David Weiss, was one-half of Was (Not Was), a major funk-rock band in the 1980s and ’90s. David’s partner, Don Was, is celebrating his 30th year as a record producer for The Rolling Stones.
Yashinsky studied modern European history and literature at Harvard, attended the Vilna Yiddish Language Institute and in 2015-16 worked as a fellow at the Yiddish Book Center in Amherst, Mass. In 2018, Yashinsky performed in the held-over runs of Yiddish “Fiddler “at the Museum of Jewish Heritage in Lower Manhattan, then left New York for a steady gig teaching Yiddish at the University of Michigan in Ann Arbor. He rejoined the musical when it was staged in 2019 at Stage 43, the largest off-Broadway theater in the city.
Joel Grey, the director of Yiddish “Fiddler,” wrote in an email: “Mikhl is one of the most resourceful and delightful actors I’ve ever had the pleasure to work with. He has more ideas for a moment than most actors do in a lifetime.”
Jackie Hoffman, the comedian and Broadway veteran who played Yenta the matchmaker in earlier runs of Yiddish “Fiddler,” said Yashinsky “is a truly Yiddish soul. He’s like someone who could’ve crept out of the 19th century. It’s like Yiddish is in his blood.”
Mikhl Yashinsky, center in gray apron, played Mordkhe the Innkeeper in “Fiddler on the Roof in Yiddish,” the smash hit from the National Yiddish Theatre Folksbiene. (Jeremy Daniel)
Steven Skybell, who played Tevye in in the latest Yiddish “Fiddler,” attended Yashinsky’s classes for a few semesters, which enabled him to converse with Yashinsky in the mamaloshn (mother tongue) backstage.
Yashinsky’s mother in Michigan, who did not grow up speaking Yiddish, has attended all five semesters via Zoom. Debra Yashinsky, who said she can’t begin to count the number of times she’s seen Yiddish “Fiddler,” used her maiden name in the Zoom interface for the first two semesters.
“Mikhl once asked me, ‘Mom, are you taking the class to learn Yiddish or do you just enjoy seeing me teach?’” she recalled. “I didn’t know the right answer. The truth is I love seeing his punim [face] for an hour and a half and kvelling [being proud] while I watch him teach.”
In addition to teaching and acting, translation has been a big part of Yashinsky’s devotion to the language (and need to earn a living).
He has a deadline looming at the end of January for his translation of the memoirs of Ester-Rokhl Kaminska, the Polish-Jewish actress considered the “mother of Yiddish theater.” He’s been working on the project for a few years and could often be found backstage at “Fiddler” translating a couple of sentences at a time between scenes.
Yashinsky has also been translating short stories by the Nobelist Isaac Bashevis Singer for a forthcoming anthology of the author’s early works. He describes them as “little gems” Singer wrote when he was a young writer that have never been translated into English. Yashinsky said he has translated three or four of the short stories so far.
Yashinsky is also a playwright whose Yiddish play, “Vos Flist Durkhn Oder” (“Blessing of the New Moon”), was performed at the Lower East Side Play Festival last summer. One of six plays chosen from more than 100 submissions, it was the only non-English play in the festival. The one-act play, set in a Lower East Side yeshiva in 1912, deals with the tradition of pranks that take place during the month in which Purim falls.
His full-length play “Di Psure Loyt Chaim” (“The Gospel According to Chaim”) will get a public reading this winter at the New Yiddish Rep in Manhattan. The play is based on the true story of Henry Einspruch, a Baltimore Jew who in the 1940s found Jesus and translated the New Testament into Yiddish for the purpose of converting his fellow Jews. Yashinsky said no Yiddish publisher would help Einspruch in his quest.
“I just thought that this was a very curious bit of history,” said the playwright. “It was really insidious in some ways. He was trying to convert Holocaust survivors in some cases. He would preach outside synagogues on Shabbos mornings.”
Yashinsky will be working on a Yiddish musical in 2023, thanks to a LABA Fellowship for Jewish artists. He plans to write the musical in collaboration with Mamaliga, a klezmer band based in Brooklyn and Boston. Yashinsky said he may write something about the underworld of Jewish life in Eastern Europe.
Another bright spot on the horizon: On Jan. 26 he’ll make his Carnegie Hall début, singing in a concert titled “We Are Here: Songs from the Holocaust,” which will feature Broadway stars Harvey Fierstein, Chita Rivera and Shoshana Bean. Yashinsky will perform “Zog nit keynmol” (“Never Say”), the anthem of the Vilna partisans.
And somehow Yashinsky will make time to produce more videos for the Workers Circle #YiddishAlive series on YouTube. Among the 11 videos he’s done so far are a Yiddish rendition of Tom Lehrer’s song “Hanukkah in Santa Monica” and a music video shot in Michigan to celebrate the strawberry harvest. That video featured “Trúskafke-vals” (“Strawberry Waltz”), a Yiddish song he wrote, as well as a strawberry cake baked by his mother.
He also produces humorous Yiddish music videos, including one based on Screamin’ Jay Hawkins’ demented, spooky classic, “I Put A Spell On You.” In his version, Yashinsky performs in drag as Bobe Yakhne, a sorceress he played in Folksbiene’s 2017 revival of the classic Yiddish operetta “The Sorceress.”
“This art form continues,” he said of Yiddish theater. “It’s a tradition that hasn’t evaporated and it’s nice to feel that I’m part of the continuity.”
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The post On stage and in the classroom, Mikhl Yashinsky is stoking the flame of the Yiddish revival appeared first on Jewish Telegraphic Agency.
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Gaza ‘Board of Peace’ to Convene at WH on Feb. 19, One Day After Trump’s Meeting with Netanyahu
US President Donald Trump speaks to the media during the 56th annual World Economic Forum (WEF) meeting in Davos, Switzerland, January 22, 2026. Photo: REUTERS/Denis Balibouse/File Photo
i24 News – A senior official from one of the member states confirms to i24NEWS that an invitation has been received for a gathering of President Trump’s Board of Peace at the White House on February 19, just one day after the president’s planned meeting with Israeli Prime Minister Benjamin Netanyahu.
The meeting comes amid efforts to advance the implementation of the second phase of the Gaza ceasefire, following the limited reopening of the Rafah crossing, the expected announcement on the composition and mandate of the International Stabilization Force, and anticipation of a Trump declaration setting a deadline for Hamas to disarm.
In Israel officials assess that the announcement is expected very soon but has been delayed in part due to ongoing talks with the Americans over Israel’s demands for the demilitarization of the Gaza Strip. Trump reiterated on Thursday his promise that Hamas will indeed be disarmed.
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If US Attacks, Iran Says It Will Strike US Bases in the Region
FILE PHOTO: Iranian Foreign Minister Abbas Araqchi meets with Omani Foreign Minister Sayyid Badr Albusaidi in Muscat, Oman, February 6, 2026. Photo: Omani Ministry of Foreign Affairs/ Handout via REUTERS/File Photo
Iran will strike US bases in the Middle East if it is attacked by US forces that have massed in the region, its foreign minister said on Saturday, insisting that this should not be seen as an attack on the countries hosting them.
Foreign Minister Abbas Araqchi spoke to Qatari Al Jazeera TV a day after Tehran and Washington pledged to continue indirect nuclear talks following what both sides described as positive discussions on Friday in Oman.
While Araqchi said no date had yet been set for the next round of negotiations, US President Donald Trump said they could take place early next week. “We and Washington believe it should be held soon,” Araqchi said.
Trump has threatened to strike Iran after a US naval buildup in the region, demanding that it renounce uranium enrichment, a possible pathway to nuclear bombs, as well as stopping ballistic missile development and support for armed groups around the region. Tehran has long denied any intent to weaponize nuclear fuel production.
While both sides have indicated readiness to revive diplomacy over Tehran’s long-running nuclear dispute with the West, Araqchi balked at widening the talks out.
“Any dialogue requires refraining from threats and pressure. (Tehran) only discusses its nuclear issue … We do not discuss any other issue with the US,” he said.
Last June, the US bombed Iranian nuclear facilities, joining in the final stages of a 12-day Israeli bombing campaign. Tehran has since said it has halted uranium enrichment activity.
Its response at the time included a missile attack on a US base in Qatar, which maintains good relations with both Tehran and Washington.
In the event of a new US attack, Araqchi said the consequences could be similar.
“It would not be possible to attack American soil, but we will target their bases in the region,” he said.
“We will not attack neighboring countries; rather, we will target US bases stationed in them. There is a big difference between the two.”
Iran says it wants recognition of its right to enrich uranium, and that putting its missile program on the negotiating table would leave it vulnerable to Israeli attacks.
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My university wants me to sign a loyalty oath — am I in America or Vichy France?
As a historian of modern France, I have rarely seen a connection between my everyday life in my adopted state of Texas and my work on my adopted specialization: the period we call Vichy France. Apart from the Texan boast that the Lone Star Republic is bigger than the French Republic, and the small town of Paris, Texas, which boasts its own Eiffel Tower, I had no reason to compare the two places where I have spent more than half of my life.
Until now.
Last week, professors and instructors at the University of Houston received an unsettling memo from the administration, which asked us to sign a statement that we teach rather than “indoctrinate” our students.
Though the administration did not define “indoctrinate,” it hardly takes a PhD in English to read between the lines. Indoctrination is precisely what our state government has already forbidden us from doing in our classes. There must not be the slightest sign in our courses and curricula of references to diversity, identity and inclusion. The catch-all word used is “ideology,” a term Governor Greg Abbott recently invoked when he warned that “Texas is targeting professors who are more focused on pushing leftist ideologies rather than preparing students to lead our nation. We must end indoctrination.”
This is not the first time in the past several months that I have been reminded of what occurred in France during the four years that it was ruled by its German occupiers and Vichy collaborators.
Very briefly, with Germany’s rapid and complete defeat of France in 1940, an authoritarian, antisemitic and collaborationist regime assumed power. Among its first acts was to purge French Jews from all the professions, including high school and university faculties, and to impose an “oath of loyalty” to the person of Marshal Philippe Pétain, the elderly but ramrod straight and clear-headed hero of World War I.
The purpose of the oath was simple and straightforward: By demanding the fealty of all state employees to the person of Pétain, it also demanded their hostility to the secular and democratic values of the French republican tradition. Nevertheless, an overwhelming majority of teachers signed the oath —even the novelist and feminist Simone de Beauvoir, who needed her salary as a lycée teacher, as did the writer Jean Guéhenno, a visceral anti-Pétainist who continued to teach at the prestigious Paris lycée Henri IV until he was fired in 1943.
Vichy’s ministers of education understood the vital importance that schools and universities played in shaping citizens. Determined to replace the revolutionary values of liberty, equality and fraternity with the reactionary goals of family, work and homeland, they sought to eliminate “godless schools” and instill a “moral order” based on submission to state and church authorities. This radical experiment, powered by a reactionary ideology, to return France to the golden age of kings, cardinals and social castes came to an inglorious end with the Allied liberation of the country and collapse of Vichy scarcely four years after it had begun.
The French Jewish historian Marc Bloch — who joined the Resistance and sacrificed his life on behalf of a very different ideology we can call humanism — always insisted on the importance of comparative history. But comparison was important not because it identified similarities but because it illuminated differences. Clearly, the situation of professors at UH is very different from that of their French peers in Vichy France. We are not risking our jobs, much less our lives, by resisting this ham-handed effort to demand our loyalty to an anti-indoctrination memo.
But the two situations are not entirely dissimilar, either. Historians of fascism like Robert Paxton remind us that such movements begin slowly, then suddenly assume terrifying proportions. This was certainly the case in interwar France, where highly polarized politics, frequent political violence and a long history of antisemitism and anti-republicanism prepared the ground for Vichy. In France, Paxton writes, this slow, then sudden transformation “changed the practice of citizenship from the enjoyment of constitutional rights and duties to participation in mass ceremonies of affirmation and conformity.”
As an historian of France, I always thought its lurch into authoritarianism was shocking, but not surprising. After all, many of the elements for this change had existed well before 1940. But as a citizen of America, I am not just shocked, but also surprised by official demands for affirmation and conformity. One day I will find the time to think hard about my naiveté. But the time is now to think about how we should respond to these demands.
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