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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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The Jewish Bund Was Popular — But It Couldn’t Save Lives Like a Jewish State Could
Participants with Israeli flags look at the landmark Birkenau extermination camp gate in Auschwitz Museum – former Nazi German Concentration Camp during the International March of the Living (MOTL) in Oswiencim, Poland on April 14, 2026. Photo by Dominika Zarzycka/Sipa USA via Reuters Connect
If you are a fan of klezmer music, you may be familiar with a catchy up-tempo Yiddish song “Barikadn” (barricades), recorded by the popular band The Klezmatics. The song is about a strike by workers in the Polish city of Łόdź, in which men, women, and children join together to erect barricades in the streets of the city.
Barikadn was popular with the Bund (General Jewish Labour Bund), a secular Marxist Jewish political movement established in 1897 in Vilna (then in the Russian Empire), just two months after the First Zionist Congress was held in Basel, Switzerland.
The Bund was one of the first socialist political movements in Russia. It played an important role during the lead up to the Russian revolution, but disbanded in the early 1920s, in response to pressure from the Communist Party. However, it continued to be an influential Jewish voice in Poland and Lithuania until the outbreak of World War II.
The Bund promoted the use of Yiddish, rather than Hebrew as a Jewish national language. The concept of “doikayt” (Yiddish for “hereness”) was a central feature of Bundist ideology. It discouraged Jewish nationhood (Zionism), advocating instead for Jewish communities to remain dispersed but culturally autonomous and politically engaged within their host countries.
Before the outbreak of World War II, the Bund was the most popular Jewish political force in Poland, with a party membership of close to 100,000. Its members were central to the vibrant secular Yiddish cultural life of pre-war Poland. However, as recorded by Yad Vashem, the Bund suffered the same fate as all the Jews of Poland. Only 1,000 members survived the war.
Today, in the aftermath of October 7, and now the Iran war, the Bund is enjoying something of a revival, as exemplified by Molly Crabapple’s new book Here Where We Live Is Our Country: The Story of the Jewish Bund. The book highlights the universalist hope of Bund ideology, versus the perils associated with following the Zionist plan, including eternal war with Israel’s Arab neighbors and an increasingly chauvinist agenda.
Crabapple’s book has received a number of positive reviews, including one in The Forward and another in The Guardian (“For Leftist Jews the Bund is a Model”). However, one reviewer in Commentary Magazine has pointed out the fatal flaw in the Bundist program. He writes “We’ll never know if the Holocaust would have happened as it happened had there been a State of Israel at the time. Instead, the Holocaust happened during the time of the Bundists. That isn’t to blame them, obviously, for what happened. It is merely to say that Bundism wasn’t a plan for Jewish survival.”
As noted earlier, very few of the Bundists survived the Holocaust, so we don’t really know their views in the aftermath. However, Isaac Deutscher was a prominent Polish-Jewish socialist, writer, and journalist, a biographer of Trotsky.
Before World War II, Deutscher opposed Zionism as economically retrograde and harmful to the cause of international socialism. But after the Holocaust he regretted his pre-war views, saying, “If, instead of arguing against Zionism in the 1920s and 1930s, I had urged European Jews to go to Palestine, I might have helped to save some of the lives that were to be extinguished in Hitler’s gas chambers.”
The Bund wasn’t a plan for Jewish survival. Zionism was, and still is. Unlike other nationalisms, modern Zionism is a survivalist imperative, a rescue mission. In this, it has been remarkably successful; a refuge for Jews from the DP camps of Europe, from the Arab/Muslim world, and from the Former Soviet Union.
Jacob Sivak, a Fellow of the Royal Society of Canada, is a retired professor, University of Waterloo.
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Tidbits: Traces of a ghetto bunker uncovered in Będzin, Poland
Tidbits is a Forverts feature of easy news briefs in Yiddish that you can listen to or read, or both! If you read the article and don’t know a word, just click on it and the translation appears. Listen to the report here:
אַ גרופּע אַרכעאָלאָגן, וואָס האָט געהאַלטן אין מיטן אויסגראָבן אַ בונקער פֿון דער צווייטער וועלט־מלחמה אינעם פּוילישן שטעטל בענדין, האָט אַנטדעקט שפּורן פֿון אַן אונטערערדישן באַהעלטעניש און טונעל, וואָס ייִדן האָבן געניצט קעמפֿנדיק קעגן די דײַטשן אין 1943.
„מיר האָבן אַנטדעקט שטיינערנע טרעפּ, וואָס פֿירן אַרײַן אין אַ באַהעלטעניש אונטער אַן אַמאָליקער געבײַדע,“ האָט די אַרכעאָלאָגישע פֿירמע „וויקאָפּ נאַ פּאָזיאָמיע“ געמאָלדן אויף פֿייסבוק. זיי האָבן אויך אַנטדעקט אַ טונעל, וואָס האָט געדינט ווי אַ זיכער אָרט אונטער ד׳רערד.
די אַרכעאָלאָגן האָבן געזאָגט, אַז זיי האָבן זיך געריכט צו געפֿינען „אַרכעאָלאָגישע עלעמענטן“ אָבער זענען געווען דערשטוינט, וואָס אַלץ האָט זיך אַזוי גוט פֿאַרהיט. אינעם טונעל קען מען נאָך זען די פֿריִערדיקע הילצערנע פּאָדליגע און שפּורן פֿון די ווענט.
דער בונקער איז גלײַך לעבן דעם „הויז פֿון די געטאָ־קעמפֿער“, וואָס געפֿינט זיך הײַנט אויף 24 רוטקאַ־לאַסקיער גאַס. בשעת דער צווייטער וועלט־מלחמה, ווען די נאַציס האָבן פֿאַרטריבן די ייִדן אין געטאָ, איז דער בנין געוואָרן דאָס געהיימע פֿאַרזאַמלונג־אָרט פֿון די ציוניסטישע יוגנט־גרופּעס און דער „ייִדישער קאַמף־אָרגאַניזאַציע“. די מיטגלידער פֿון דער אָרגאַניזאַציע, מיט פֿרומקע פּלאָטניצקאַ בראש, האָבן דורכגעפֿירט אַ ווידערשטאַנד אין אויגוסט 1943, בעת די דײַטשן האָבן אָנגעפֿירט מיט די לעצטע דעפּאָרטאַציעס און מיט דער פֿאַרטיליקונג פֿונעם געטאָ. דרײַ טעג האָבן די ייִדן געקעמפֿט, ביז די דײַטשן האָבן דעם ווידערשטאַנד אײַנגעבראָכן.
אין 2024 האָט די צוקערמאַן גייט פֿונדאַציע געקויפֿט דאָס אייגנס, כּדי דאָרט צו בויען אַן אָנדענק־מוזיי. די פֿונדאַציע איז שוין יאָרן לאַנג אַקטיוו אין בענדין און האַלט דאָרט אויף אַ פּריוואַטע שיל אין אַ טעמעמענט־בנין.
לייענט דעם אַרטיקל אויף ענגליש.
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Netanyahu, IDF condemn Israeli soldier’s bludgeoning of Jesus statue in Lebanon
(JTA) — Israeli Prime Minister Benjamin Netanyahu is denouncing an incident in which a soldier bludgeoned a statue of Jesus in southern Lebanon, igniting criticism at a time when some Christians believe Israel discriminates against them.
A photograph of the incident spread widely on Sunday after being shared by a prominent Palestinian journalist, Younis Tirawi. The photograph shows a soldier in an Israel Defense Forces uniform smashing a statue of Jesus, which has fallen from its cross and is lying partially on the ground.
The IDF said it had examined the photograph and determined that it was real. “The IDF views the incident with great severity and emphasizes that the soldier’s conduct is wholly inconsistent with the values expected of its troops,” it said in a statement.
Netanyahu said the photograph had shocked him.
“Yesterday, like the overwhelming majority of Israelis, I was stunned and saddened to learn that an IDF soldier damaged a Catholic religious icon in southern Lebanon. I condemn the act in the strongest terms,” he said in a statement on Monday. “Military authorities are conducting a criminal probe of the matter and will take appropriately harsh disciplinary action against the offender.”
The incident took place in Debel, a Christian village in the region of Bint Jbeil, where Israel said it killed 150 Hezbollah operatives, including a commander, on the day before a ceasefire was imposed last week. A church in Debel posted a picture of the statue when it was intact, along with the line, spoken by Jesus in the New Testament during his crucifixion, “Father, forgive them, for they know not what they do.”
The incident comes comes as Israel fends off criticism from even its allies that it is discriminating against Christians. Tensions flared last month when the Israel Police, citing wartime safety regulations, blocked top Catholic clergy from holding a Palm Sunday service in the Church of the Holy Sepulchre in the Old City of Jerusalem, eliciting oblique criticism from the pope. Netanyahu said in response that he had ordered that the clergy be given full access to the church.
In his statement about the statue incident, Netanyahu emphasized that Christians in the Middle East face danger from Islamic fundamentalists, including in Lebanon.
“Israel is the only country in the region that the Christian population and standard of living is growing. Israel is the only place in the Middle East that adheres to freedom of worship for all,” he said. “We express regret for the incident and for any hurt this has caused to believers in Lebanon and around the world.”
The Lebanon incident adds to a number of incidents in which Israeli soldiers have been photographed or filmed desecrating religious objects or sites in areas where they have been fighting, including in Gaza. (The IDF has urged soldiers not to take or share photographs of their activities.) The Israeli army has denounced the incidents, but even those who have resisted the most strident criticisms of Israel say a pattern is adding up.
“The lack of discipline, professional conduct, and antagonizing of Christians in Lebanon and elsewhere is an entirely unnecessary and deeply harmful behavior that will further erode support for Israel and fuel those who believe this is a religious war of conquest,” tweeted Ahmed Fouad Alkhatib, a Palestinian writer and advocate in the United States who has criticized both Hamas and Israel.
The Lebanon incident also comes amid a number of incidents suggesting growing influence by religious Jewish leadership in the IDF. In recent days, soldiers were jailed for barbecuing on their base on Shabbat, when traditional Jewish law prohibits cooking; women soldiers were penalized for wearing immodest clothing to their discharge ceremonies; and the army was accused of barring women from wearing shorts while running in a race associated with the Jerusalem Marathon.
This article originally appeared on JTA.org.
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