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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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His mother is Israeli, his father is Palestinian. His life? Complicated.
Ibrahim Miari begins his one-man autobiographical show, In Between, by spinning in a circle, arms outstretched, his body swaying to the strains of Arabic music and his smiling face lit by the spotlight above.
It’s a lyrical opening that softens up the audience before Miari, who’s a playwright and lecturer, gets to the meat of the play: his identity. His father, we learn, is a Palestinian-Muslim, while his mother is a Jewish-Israeli. (She converted to Islam to marry his father.) Miari doesn’t know how they met, so he concocts a fantasy version, a meet-cute set to a Beatles soundtrack, for this weekday audience at Northeastern University’s Blackman Theater. It’s gooey and romantic, but it prefigures one of the play’s defining motifs — that, political turmoil be damned, all you need is love. If this was perhaps an overly rosy outlook in 2011, when Miari first performed In Between, today it seems positively far-fetched.
Miari’s parents eventually settled in Akko, a mixed Arab-Jewish city on the coast of northern Israel. In the first of a series of episodes from Miari’s childhood, he attends a mainstream Israeli school — over his father’s objections — where he celebrates Israel’s Independence Day and, for a Purim costume contest, dresses up as a garden in bloom, winning first prize. His father tells his son that next year he will dress up as a cactus, the better to let his classmates know they’re on stolen land.
Miari speaks unaccented Hebrew; his teachers and friends call him Avraham. Later, he transfers to a nearby Palestinian-Arabic school, and there he commemorates Independence Day rather differently, as the Nakba, or Catastrophe. His teachers and friends call him Ibrahim.
Such episodes illustrate not just Miari’s duelling cultural obligations, but the difficulties he will face reconciling them — after all, we never see him in an environment where both are equally embraced. (It should be noted we are given his mother’s perspective only too rarely.)
Miari toggles easily, impressively, between his life’s principal characters. Props are only occasionally employed. His eyebrows do much of the heavy lifting: they furrow, and Miari is transformed, no longer a wide-eyed, adolescent Avraham/Ibrahim, but his gloomy father.
At a Canadian summer camp for peace activists, Miari, now an adult, meets and swiftly falls for a Jewish-American woman, Sarah Goldberg — they get engaged, but finding a wedding officiant open to a hybrid ceremony proves difficult. Even a Buddhist cleric (Sarah is a so-called BuJew) turns the couple down. Miari, who has a tendency to over-explain, laments that he’s “not Jewish enough, not Muslim enough, not even Buddhist enough!”
The play’s other set piece is from later in Miari’s life, an airport encounter-turned-interrogation with an El Al security agent suspicious of Miari’s overstuffed suitcase — which he’s borrowed from Sarah. Narrowing his eyes at the suitcase’s name label, the agent says, “You don’t look like a Sarah, and you definitely don’t look like a Goldberg.”
The idea that the agent is an oaf and a bigot is plausible enough, but he’s so much a caricature that the seriousness of Miari’s point, that he’s forever suspended between Arab and Israeli, neither one thing nor the other, gets muddled. Miari gives Sarah’s mother the same treatment: meeting him for the first time, she provides little more than a whistlestop tour of stereotypes of elderly Jewish-American women. It’s grim to watch.
Both characters exemplify In Between’s biggest shortcoming: its lack of subtlety. Sure, it’s a funny play — Miari is a gifted physical comic — but the hijinks don’t really illuminate the challenges of Miari’s Arab-Jewish identity; mostly, they’re a distraction. (Case in point: Miari’s scene partner, when he searches for a wedding officiant, is an eight-foot puppet dressed as an Orthodox Rabbi, which Miari ventriloquizes.)
In short, there’s a poignancy deficit, which is made all the more stark by the play’s standout moment. Near the end, Miari talks directly to the audience about his grandmothers, one Jewish, the other Palestinian, both of whom have passed away. They lived barely five miles from each other, but never met. “I’m sad they won’t see my wedding,” Miari says, “or meet their grandchildren.” He sits glumly on a chair, looking like a lost child. It’s sad and tender, a welcome moment of introspection in an otherwise helter-skelter production.
In Between concludes on an upbeat note, Miari informing the audience that he and Sarah were married in a cross-cultural, officiant-less wedding. Marriage — love — has quieted his existential turmoil, he tells us. He has at last found the belonging he’s coveted for decades.
It’s a sweet message but solipsistic — not least with today’s Middle East as a backdrop. I found it hard to believe Miari’s marriage meant he could forget his decades-long struggle over his split identity, especially when that happy union, at least in the play’s telling, did not address this issue so much as ignore it. Still, it’s an ending in keeping with the play’s broader tone — heavy on humor and shtick, lighter altogether on substance.
The post His mother is Israeli, his father is Palestinian. His life? Complicated. appeared first on The Forward.
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Argentina Blacklists Iran’s Quds Force as Country Marks Death of Nisman, Who Charged Tehran for AMIA Bombing
Argentina’s President Javier Milei attends a commemoration event ahead of the anniversary of the 1994 bombing attack on the Argentine Israeli Mutual Association (AMIA) community center, marking the 30th anniversary of the attack, in Buenos Aires, Argentina, July 17, 2024. Photo: REUTERS/Martin Cassarini
Argentine President Javier Milei has proscribed Iran’s Quds Force — the elite unit responsible for directing Tehran’s proxy militias and overseas terrorist operations — as the country’s Jewish community marks the 11th anniversary of the death of prosecutor Alberto Nisman, who investigated the 1994 bombing of the AMIA Jewish community center in Buenos Aires.
On Saturday, the Argentine president’s office announced that it had designated the Islamic Revolutionary Guard Corps’ Quds Force as a foreign terrorist organization, describing the unit as specializing in “training for the execution of terrorist attacks in other countries.”
“Argentina was a victim of their operations in the 1990s, including the 1992 attack on the Israeli Embassy in Buenos Aires and the 1994 bombing of the AMIA Jewish community center,” the statement read, referring to the Argentine Israelite Mutual Association (AMIA) bombing.
With the designation, “members of the Quds Force and their allies are subject to financial sanctions and operational restrictions aimed at limiting their capacity to act, as well as protecting the Argentine financial system from being used to support their activities.”
Milei “maintains an unbreakable commitment to recognizing terrorists for what they are,” the statement continued.
— Oficina del Presidente (@OPRArgentina) January 17, 2026
The Argentine president has previously designated Hamas, the Mexican Sinaloa Cartel, and the Muslim Brotherhood’s branches in Lebanon, Egypt, and Jordan as terrorist organizations.
US and Israeli officials praised Milei’s latest move in the fight against terrorism, highlighting its significance in combating international extremist networks.
Israeli Foreign Minister Gideon Saar applauded Milei’s decision, describing it as a “significant step that strengthens the international front against Iranian terrorism and honors the memory of the victims of the attacks on the Israeli Embassy and the AMIA.”
On Sunday, Argentina commemorated the 11th anniversary of Nisman’s death. Nisman died on Jan. 18, 2015, while investigating the 1994 AMIA bombing — the deadliest terrorist attack in Argentine history, which killed 85 people and wounded more than 300 — as Argentine Jews renewed calls for justice after more than a decade without resolution.
“Eleven years after the assassination of prosecutor Alberto Nisman, we reaffirm our steadfast demand for justice,” the Delegation of Argentine Israelite Associations (DAIA), the country’s Jewish umbrella organization, wrote in a post on X.
Last year, prosecutors handling the case released a report as part of the ongoing, still unresolved trial, confirming that Nisman was killed for trying to expose the Argentine government’s role in covering up the 1994 AMIA bombing.
In 2006, Nisman formally charged Iran for orchestrating the attack and its Lebanese terrorist proxy Hezbollah for carrying it out. Nine years later, he accused former Argentine President Cristina Fernández de Kirchner of attempting to cover up the crime and block efforts to extradite the suspects behind the AMIA atrocity in return for Iranian oil.
The alleged cover-up was reportedly formalized through the memorandum of understanding signed in 2013 between Kirchner’s government and Iranian authorities, with the stated goal of cooperating to investigate the AMIA bombing.
One day before Nisman was set to appear before the Argentine Congress to present evidence supporting his allegations against Kirchner and several of her colleagues, he was found dead in his apartment, with a gunshot wound to the head and a pistol at his side.
An official investigation into his death initially concluded that the prosecutor took his own life. However, a federal judge later reversed this decision, stating that Nisman’s gunshot wound could not have been self-inflicted.
Investigations are still underway to identify both those who carried out the act and those who ordered it.
Kirchner is set to stand trial for the allegations against her, though there is no set date.
As for the AMIA investigation, an Argentine federal judge ordered last year the trial in absentia of Iranian and Lebanese nationals suspected of orchestrating the 1994 bombing.
The 10 suspects set to stand trial include former Iranian and Lebanese ministers and diplomats, all of whom are subject to international arrest warrants issued by Argentina for their alleged roles in the terrorist attack.
Lead prosecutor Sebastián Basso — who took over the case after the murder of his predecessor, Nisman — also requested that federal Judge Daniel Rafecas issue national and international arrest warrants for Iran’s Supreme Leader Ayatollah Ali Khamenei over his alleged involvement in the attack.
Despite Argentina’s longstanding belief that Lebanon’s Shiite Hezbollah terrorist group carried out the devastating attack at Iran’s request, the 1994 bombing has never been claimed or officially solved.
Tehran has consistently denied any involvement in any of these attacks and has refused to arrest or extradite any suspects.
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Miami Nightclub Says It Doesn’t Condone Antisemitism After Playing ‘Heil Hitler’ Song for Far-Right Influencers
Group of Nazi sympathizers and far-right online influencers partying at the Vendôme nightclub in Miami Beach, Florida while singing “Heil Hitler” by Kanye West. Photo: Screenshot
A nightclub in Miami Beach, Florida expressed regret over playing the Kanye West song “Heil Hitler” on Saturday night at the request of a group of Nazi sympathizers and online influencers, including Nick Fuentes, who were partying there.
Footage of the incident circulated online over the weekend, showing Fuentes, as well as Andrew Tate, Myron Gaines, “Sneako,” and others, dancing and singing along to the song at Vendôme while in the company of dozens of fellow patrons.
“We want to be unequivocally clear: Vendôme and our hospitality group do not condone antisemitism, hate speech, or prejudice of any kind,” the nightclub said in a statement, responding to criticism from Jewish civil rights groups and lawmakers. “Our ownership and leadership reflect a diverse group of partners, backgrounds, and faiths including members of the Jewish community, and we are deeply disturbed by the harm caused by this incident and the circulation of this footage.”
It added, “We are evaluating additional safeguards and procedures to ensure our venues are not used as platforms for offensive or harmful behavior. We take this matter seriously and will continue to act thoughtfully and responsibly as we complete our review.”
West, the rapper who now goes by Ye, released “Heil Hitler” last year, amid other efforts to promote Nazism. He tried to sell shirts emblazoned with a swastika and made a series of antisemitic comments on X earlier in year. Those social media comments included repeated praise and admiration for Adolf Hitler, the leader of Nazi Germany who oversaw the murder of six million Jews in the Holocaust. West even declared “Im a Nazi [sic]” and “I love Hitler.”
Several of the online influencers have promoted antisemitic conspiracy theories, expressed animus toward Israel, refused to condemn Hitler, and mocked Jewish victims of the Holocaust.
The weekend outing in Miami was noticeably incongruous with the message of Fuentes, a Holocaust denier and white nationalist who advocates a style of asceticism based on a medieval interpretation of Catholicism which, for him, has called for total abstention from romantic relationships with women, applying religion to the secular legal code, and embracing other traditional values which would imply a rejection of the nightlife.
Lawmakers and Jewish civil rights groups have reacted with alarm to the incident, calling it “sickening.”
“Vendôme Miami not only permitted the entry of these modern day Nazis … but proceeded to play ‘Heil Hitler’ upon their request,” StopAntisemitism, which tracks antisemitic incidents across the world, said in a statement.
Meanwhile, Miami Beach Mayor Steven Meiner, said, “These ‘influencers’ who spread hate should never have been welcomed into this club or allowed to play a song with ‘Heil Hitler’ lyrics that have been universally condemned. I have and will continue to fight against hate speech against any group. Antisemitism, hate speech, or the normalization of extremist ideology has no place in our Miami Beach community, our nightlife, or any public setting.”
On Monday, StopAntisemitism reported that Vendôme’s owner, David Grutman, banned the influencers from his properties.
Antisemitism is surging across the US.
Earlier this month, a 19-year-old suspect, Stephen Pittman, was arrested for allegedly igniting a catastrophic fire which decimated the Beth Israel Congregation synagogue in Jackson, Mississippi. According to court filings, he told US federal investigators that he targeted the building over its “Jewish ties.”
“This latest deplorable crime against a Jewish institution reminds us that the same hatred that motivated the KKK to attack Beth Israel in 1967 is alive today,” the Florida Holocaust Museum said in a statement shared with The Algemeiner following news of Pittman’s arrest. “Antisemitism is still trying to intimidate Jews, drive them out of public life, and make houses of worship targets of violence instead of place of safety and community.”
The Anti-Defamation League (ADL) recorded 9,354 antisemitic incidents in 2024 — an average of 25.6 a day — across the US, providing statistical proof of what has been described as an atmosphere of hate not experienced in the nearly 50 years since the organization began tracking such data in 1979. Incidents of harassment, vandalism, and assault all increased by double digits, and for the first time ever a majority of outrages — 58 percent — were related to the existence of Israel as the world’s only Jewish state.
Follow Dion J. Pierre @DionJPierre.