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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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‘Demolishing Gaza’: How the New York Times Rewrites the Story on Instagram
The New York Times building in New York City. Photo: Wikimedia Commons
Since Hamas’ brutal takeover of the Gaza Strip, the terrorist organization has made it part of its modus operandi to embed itself in any civilian infrastructure.
In the aftermath of the October 2025 ceasefire, Israel has taken considerable steps to remove existing terrorist infrastructure in areas that fall under IDF control, all within the realms of the agreed terms.
Despite this, The New York Times would like to have its audience believe that Israel is systematically destroying the Gaza Strip, even after the signing of a ceasefire.
In “Israel Is Still Demolishing Gaza, Building by Building,” the Times highlights satellite imagery showing that thousands of structures have been demolished since the October 2025 ceasefire, presenting this as ongoing destruction despite the truce. The framing casts Israel as the all-encompassing villain, while Hamas is effectively granted a free pass.
Perhaps worse, when the New York Times transferred the article to its Instagram feed of nearly 20 million followers, the misleading narrative was blasted with even larger gaps in the story.
The Instagram version omits even the limited factual caveats included in the full article, leaving audiences with a one-sided story that excludes Hamas’ role, its terrorist infrastructure, and the realities driving Israeli operations. What remains is not comprehensive reporting, but a carefully curated narrative designed for maximum emotional impact and minimal accountability.
While the Times portrays the ceasefire as “respite” solely for Palestinian civilians after a “punishing” two-year war, nowhere do the journalists acknowledge that ceasefires are intended to apply to both sides.
More importantly, it was Hamas’ invasion of southern Israel — which was accompanied by rockets and the slaughter of innocent civilians — that began this war. In presenting the war as one against Gazan civilians rather than a campaign against a terrorist organization embedded within civilian areas, the New York Times empties the ceasefire of its reciprocal meaning.
Following Israel’s offensive in Gaza, it became increasingly clear the extent to which Hamas has embedded itself and its military infrastructure within civilian locations.
In fact, the very end of the article quotes a Gazan that blames Hamas for having “militarized civilian spaces.” Naturally, a quote blaming Hamas was omitted from the Instagram carousel and hid until the bottom of the article, ensuring the fewest eyes so as not to sway too far from the narrative of absolving Hamas of wrongdoing.
The New York Times is also acutely aware of the terrorist infrastructure in the Gaza Strip, having visited tunnels on a tour with the IDF during the war.
Still, when the IDF showed the Times classified maps displaying Hamas’ tunnel system — particularly in Shejaiya, within the Israeli-controlled area beyond the yellow line — the newspaper claimed it could not “independently verify” their accuracy. The context of Hamas’ vast tunnel network is missing from the Instagram post entirely.
What Instagram users are left with are two satellite images taken in two different locations in the Gaza Strip, both of which show IDF-controlled areas beyond the yellow line. While the photos are described ever so slightly more in depth in the article, the Instagram post hopes to use them as the concluding evidence that Israel is acting against the ceasefire to continue its ruthless destruction of civilian infrastructure. However, because they are beyond the yellow line, not only are there no civilians there, but Israel is within its full right under the ceasefire to remove any existing terrorist infrastructure.
The New York Times‘ Instagram post presents itself as a case study in media literacy — or, more accurately, its absence. Designed for audiences with short attention spans who are unlikely to click through to the full article, the post strips away essential context, leaving users without any meaningful understanding of why or how the IDF has continued military action against Hamas in the wake of the October 2025 ceasefire.
While the article itself omits critical facts, the Instagram post goes even further. By removing what little context remains, it actively misleads its audience, inviting millions of followers to fill in the gaps with assumptions rather than facts. This is not journalism adapted for social media. It is narrative curation that sacrifices accuracy for maximum impact.
The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.
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Fatah Spokesman: Gaza Was ‘Paradise’ Before Oct. 7, and Massacre Wasn’t a Problem — Only Its Scale
Rockets are launched by Palestinian into Israel, amid Israeli-Palestinian fighting in Gaza, August 7, 2022. Photo: Reuters/Mohammed Salem
While the Palestinian Authority (PA) and Hamas may argue among themselves over tactics, timing, and optics, they are united on the core issue — the legitimacy of terror.
In a single radio interview, the Fatah spokesman in the Gaza Strip — representing the ruling party of the PA, which is now positioning itself as a future governing authority in Gaza — revealed three truths that Palestinian leaders usually avoid stating so openly: that Gaza was not an unlivable hell before October 7, that the mass murder of Israelis is not rejected in principle, and that the internal Palestinian debate is about how much terror is useful, not whether terror is acceptable at all.
Fatah Spokesman in the Gaza Strip Mundhir Al-Hayek: ” … The Gaza Strip before Oct. 7 was a paradise. The situation was very good.
But Hamas exploited this and took over all the economic areas and collected taxes, and unfortunately, the result was moving towards the uncalculated October 7. We needed 10% of Oct. 7 to convey a message to the world that the Palestinian people is persecuted and oppressed, and it needs self-determination. But the political leadership [Hamas] failed.” [emphasis added]
[Radio Mawtini (Fatah radio station), Facebook page, Jan. 6, 2026]
Al-Hayek’s admission that “the Gaza Strip before October 7 was a paradise” and that “the situation was very good” directly contradicts two years of Palestinian claims that October 7 was launched in response to unbearable humanitarian conditions or Israeli “siege.”
According to a senior Fatah official speaking from Gaza itself, life there was not only tolerable, but “very good” until Hamas chose war.
Equally revealing is what Al-Hayek did not condemn.
“I’m not talking about the operation itself,” he emphasized, meaning the atrocities of October 7, but only about what followed. The massacre itself is not rejected. It is treated as a given.
As Palestinian Media Watch has documented consistently, the Palestinian Authority does not morally condemn terror overall, nor October 7 in particular.
Instead, it criticizes October 7 for being politically or tactically mishandled. For Al-Hayek, the failure was not the slaughter of civilians, the rapes, the kidnappings, or the mass atrocities, but that Hamas did not “rescue our people” afterward and failed to manage the consequences of the violence it initiated.
Perhaps the most instructive statement came when Al-Hayek argued that the massacre itself was excessive, not unjustified: “We needed 10% of October 7 to convey a message to the world.”
So, what does “10% of October 7” mean? Does it mean kidnapping 25 people instead of 251? Does it mean murdering 120 people instead of over 1,200? Does it mean raping fewer women or burning fewer families alive?
The answer exposes the PA/Fatah’s true ideology, which does not see terror as a moral question but a quantitative one. Indeed, PA Chairman Mahmoud Abbas described October 7 as an attempt to achieve “important goals,” while his senior advisor Mahmoud Al-Habbash called it “a legitimate thing.”
Al-Hayek’s remarks underscore the PA/Fatah view that terror is acceptable and is constrained only by political utility and cost.
Ephraim D. Tepler is a researcher at Palestinian Media Watch (PMW), where a version of this article first appeared.
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Iran Summons Italian Ambassador Over Push for EU Clampdown on Revolutionary Guards, State Media Says
Members of the Islamic Revolutionary Guard Corps (IRGC) attend an IRGC ground forces military drill in the Aras area, East Azerbaijan province, Iran, Oct. 17, 2022. Photo: IRGC/WANA (West Asia News Agency)/Handout via REUTERS
The Iranian foreign ministry summoned Italy’s ambassador over efforts by Rome to place Iran’s Islamic Revolutionary Guard Corps (IRGC) on the European Union’s terrorist register, state media reported on Tuesday.
Iran‘s foreign ministry warned of the “destructive consequences” of any labeling against the Revolutionary Guards and called upon the Italian foreign minister to “correct his ill-considered approaches toward Iran,” the media report said
Italian Foreign Minister Antonio Tajani said on Monday that Italy will ask European Union partners this week to label the IRGC as a terrorist group.
Until now, Rome had been among the governments resisting efforts to brand the IRGC as a terrorist group, but Tajani said a bloody Iranian crackdown on street protests this month that reportedly killed thousands of people could not be ignored.
“The losses suffered by the civilian population during the protests require a clear response,” Tajani wrote on X, adding he would raise the issue on Thursday at a meeting of EU foreign ministers in Brussels.
“I will propose, coordinating with other partners, the inclusion of the Revolutionary Guards on the list of terrorist organizations, as well as individual sanctions against those responsible for these heinous acts.”
Being branded a terrorist group would trigger a set of legal, financial, and diplomatic measures that would significantly constrain the IRGC’s ability to operate in Europe.
Set up after Iran’s 1979 Islamic Revolution, the IRGC holds great sway in the country, controlling swathes of the economy and armed forces, and is also in charge of Iran’s ballistic missile and nuclear programs.
While some EU member states have previously pushed for the IRGC to be listed, others have been more cautious, fearing that it could lead to a complete break in ties with Iran, harming any chance of reviving nuclear talks and jeopardizing any hope of getting EU nationals released from Iranian jails.
However, Iran’s violent crackdown on protests has revived the debate and added momentum to discussions about adding the IRGC, which is already included in the bloc’s human rights sanctions regime, to the EU terrorist list.
Italian, French, and Spanish diplomats raised qualms during a meeting in Brussels earlier this month about adding the IRGC to the list, EU diplomats told Reuters at the time.
If France continues to object, then the move to sanction the IRGC will fail, diplomats have said.