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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 “Fiddlertranslating 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.”


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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Slovenia to Pull Out of Eurovision Song Contest if Israel Participates; Spain Reaffirms Same Position

Yuval Raphael from Israel with the title “New Day Will Rise” on stage at the second semi-final of the 69th Eurovision Song Contest in the Arena St. Jakobshalle. Photo: Jens Büttner/dpa via Reuters Connect

Slovenia’s national broadcaster RTVSLO will compete in the 2026 Eurovision Song Contest only if Israel is excluded from the competition, it announced on Wednesday, a day before the president of Spain’s RTVE reiterated its boycott of next year’s Eurovision if Israel is involved.

The 2026 draft programming plan for Slovenia’s RTVSLO does not include its participation in the 2026 Eurovision or even the broadcast of the competition, set to take place in Vienna, Austria, in May.

“However, if next week, on Thursday, when the European Broadcasting Union (EBU) General Assembly is scheduled to vote on whether Israel will participate in the Eurovision Song Contest or not, it turns out that Israel will not participate in the Eurovision Song Contest, then we will propose to the council a change to the program-production plan and we will of course participate in this festival,” said Natalija Gorščak, president of the RTVSLO board.

Members of the EBU, which organizes the Eurovision Song Contest, are set to convene at the 95th EBU General Assembly in Geneva on Dec. 4 and 5 to discuss next year’s competition, the implementation of new rules for the contest, and Israel’s participation.

Slovenia’s explicit actions this week to boycott the 2026 Eurovision follows its previous threats to withdraw from the competition if Israel is included. They join other countries – such as the Netherlands, Ireland and Iceland – that have expressed opposition to Israel’s military actions in the Gaza Strip during its war against the Hamas terrorist group, which orchestrated the deadly massacre across southern Israel on Oct. 7, 2023.

On Thursday, José Pablo López, president of Spain’s RTVE, appeared before the Senate’s Joint Parliamentary Control Committee and defended the broadcaster’s initial decision in September not to compete in the 2026 Eurovision if Israel is allowed to participate.

“Eurovision is a contest. Human rights are not,” Lopez said, after claiming that a “genocide” has taken place in Gaza during the Israel-Hamas war. He then falsely accused Israel of breaking the rules of the Eurovision competition by attempting to politically exploit the contest and influence voting in the last two years, referring to performances by Eden Golan in 2024 and Yuval Raphael earlier this year. “Any other country that had carried out this use of the contest, I assure you that it would have been sanctioned and temporarily suspended,” he said.

López also challenged Eurovision Director Martin Green, who has previously defended Israel’s participation in the Eurovision.

“Martin Green recently wrote a letter stating that television networks and artists do not represent governments and that this is a cultural competition,” Lopez told the committee, according to a translation of his remarks by Eurovision Spain.I wonder, is Mr. Green considering the return of Russian and Belarusian broadcasters to the festival? I hope not, because we all know that if those networks return, they would use it in a similar way to Israel, because for them, the contest is much more than just a competition and has a very significant political dimension.”

Lopez also addressed recent changes by the EBU to its rules for the Eurovision, in an effort to prevent rigged voting and governmental interference. Lopez believes the new rules are insufficient. “They do not guarantee that interference from a government like Israel’s, or any other government, cannot happen again,” he said.

“The EBU knows that these measures are a step forward, but they are not enough, and above all, as I have said, they leave Israel’s actions during this period unsanctioned,” he added. “More measures are necessary, and that will be the proposal we will take to the next General Assembly, which will be held on the 4th and 5th.”

Spanish Prime Minister Pedro Sanchez, a longtime critic of Israel, has also called for Israel to be excluded from the 2026 Eurovision.

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How Dealing with Difficult Challenges Leads to Spiritual Growth and Leadership

A Torah scroll. Photo: RabbiSacks.org.

They say that “the devil is in the details,” and nowhere has that been more evident than in the corruption scandal currently shaking Ukraine — even as the deadly war with Russia continues to rage. 

Over the past couple of weeks, Ukrainian anti-corruption investigators have been drip-feeding the world with information: wiretaps, redacted court testimony, and sordid specifics of a large bribery saga. The cast of villains includes prominent businessmen and contractors pressured for hefty “commissions,” high-ranking ministers abruptly resigning, and one of President Zelensky’s former business partners fleeing the country just hours before the police raided his home.

The entire scheme exploited a wartime loophole — a rule under martial law preventing contractors from collecting debts in court from companies providing essential services. Energoatom fits that definition perfectly, as it supplies more than half of Ukraine’s electricity. 

But more fascinating than the scandal itself is the sheer level of detail — the way this scheme evolved from small to big to overwhelming, unfolding slowly, piece by piece, person by person, until you finally step back and see the broad contours of the entire sprawling disaster. 

And oddly enough, all of this brings me straight into the heart of Parshat Vayeitzei, which was my late father’s bar mitzvah parsha. He would always say — with an unmistakable twinkle in his eye — that Vayeitzei was “the most important parsha in the Torah.” We’d nod and smile, convinced he was just having a laugh. 

I mean, yes — Vayeitzei certainly has its blockbuster moments: Jacob’s ladder stretching toward heaven, the extraordinary promises God makes to him, his first encounter with Rachel at the well — one of the great love stories in Jewish history — followed by his marriages and the birth of 11 children who would become the founders of the tribes that became the Jewish people. All of these events are unquestionably consequential, to say the least.

But then you hit the middle of the parsha — the part everyone secretly hopes the baal koreh will speed through. It’s long, it’s intricate, and it’s bewilderingly detailed: the astonishing saga of Jacob’s business dealings with Lavan. 

Wage agreements — and disagreements. Livestock negotiations. Contract revisions. Endless sheep rearing. Sheep with spots, sheep without spots, sheep with speckles, stripes, dark patches — every possible permutation of sheep coloration you can imagine. It’s the Torah’s version of a regulatory audit: too many technical notes, too many procedural details, and far too much information.

Most of us, understandably, wonder what all this sheep drama is doing in a sacred text. Why did the Torah — normally so concise — zoom in on this business relationship from hell? Why give us this level of detail? And whatever the answer might be, surely this story doesn’t belong in “the most important parsha in the Torah.”

But my father always insisted that Vayeitzei’s business section wasn’t a pointless, transitional interruption in the narrative — it was the narrative. And perhaps, as the revelations from Kyiv remind us, the line between spiritual greatness and moral disaster is drawn not in grand theological enterprises like ladders reaching heavenward or celestial dream sequences, but in the slow, grinding, unglamorous world of day-to-day commerce: negotiations, promises, deals, and the quiet ethical temptations that shadow every decision we make.

If you think about it, this strange middle section of Vayeitzei is the Torah’s earliest and most elaborate case study in business ethics — or, more accurately, business un-ethics. Lavan is the Biblical version of a man who smiles broadly to your face while his hand is quietly stealing your wallet. 

He is charming, generous-sounding, and utterly unscrupulous. He cheats at negotiations. He alters contracts retroactively. He weaponizes hospitality. He manipulates family loyalty. If there were a Biblical Consumer Protection Bureau, Lavan would be its full-time subject of interest.

And Jacob — the bookish, scholarly son of Isaac — finds himself thrown into a years-long masterclass with one of the greatest Machiavellian businessmen of the ancient Near East. The holy patriarch of the Jewish nation, the spiritual heir to Abraham and Isaac, sits across the table from a crook arguing over sheep markings.

But that’s precisely the point. Spirituality is easy when you live a monastic life of solitude and separation. Show me how spiritual you are when you need to negotiate with a scoundrel — that’s when your character is truly revealed. 

Judaism doesn’t believe in the mystique of the cloister. Our greatest spiritual heroes aren’t monks; they’re shepherds, merchants, craftsmen, farmers — even warriors and kings. Jacob’s true greatness emerges in the trenches of real life, in the dense and morally dangerous world where money, power, opportunity, resentment, and desperation mingle with our aspirations to become the people God wants us to be.

What Vayeitzei shows, in deliberately excruciating detail, is that Jacob absolutely refuses to become Lavan. Yes, he negotiates, he strategizes, he outsmarts. But he does not become Lavan. He maintains his integrity. 

And here’s the deeper insight — the one my father, with his mischievous grin, seemed instinctively to understand: the Jewish mission from the very outset was never to escape the world; it was to elevate it — from the inside out.

If Jacob had spent 20 years in a desert cave meditating on the divine, he might have produced beautiful insights — but there would have been no tribes, no family, no nation, and no legacy. Instead, Jacob becomes the spiritual father of Israel the nation even as he ran a household, raised children, and navigated a business partnership with a morally bankrupt relative.

And that is precisely why the Torah dwells on the sheep. Because the sheep are not a distraction — they are the arena. They are the battlefield where Jacob’s greatness is forged. They are the proof that holiness is not found in what we avoid, but in how we behave when we can’t avoid what we would much prefer to have nothing to do with. 

And as it turns out, in the final analysis Jacob was not transformed by his dream of angels — he was transformed by his years in business with Lavan. What we learn from Jacob and the sheep is that building a family, maintaining integrity in business, and dealing with difficult people are not obstacles to spiritual growth; they are spiritual growth. 

Which only goes to prove that my father’s twinkling assertion wasn’t a joke at all. He understood something the rest of us tend to overlook. Maybe Vayeitzei really is the most important parsha in the Torah — not despite the details, but because of them.

The author is a rabbi in Beverly Hills, California. 

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The Dangerous Legacy of the 1840 ‘Damascus Affair’ Blood Libel (PART TWO)

Smoke rises from a building after strikes at Syria’s defense ministry in Damascus, Syria, July 16, 2025. Photo: REUTERS/Khalil Ashawi

Part One of this article appeared here. 

Worldwide Reaction and Coordinated Jewish Response

Western Jews in Europe and America were incensed at what was happening in Damascus. Europeans and American Jews lobbied their governments to intercede on behalf of the Jews in Damascus. In what was then an entirely novel approach, 15,000 Jews in six American cities gathered and protested on behalf of their fellow Jews in Syria.

In response to the advocacy, government leaders condemned the libel and attempted to intervene on behalf of the accused Jews. Among them were Queen Victoria, Lord Henry Palmerston, US Secretary of State John Forsyth, and, as previously mentioned, Klemens von Metternich of Austria.

Among the Jews who were advocating on behalf of the Damascus Jews, Sir Moses Montefiore stood out.

He, along with French lawyer and future French Justice Minister Adolphe Cremieux, Louis Loewe, and Solomon Munk, traveled as a delegation to Egypt to appeal to Muhammad Ali. They requested that the investigation be transferred to Egyptian or European judges to consider the case. Their request was denied, but as a result, Muhammad Ali decided instead to have the Jews released without acquitting them. The liberation order was issued on August 28, 1840. The prisoners who had survived the investigation were freed.

Seeing that the charges would not be dropped and the libel would continue, Montefiore and Cremieux chose to turn to Sultan Abdul Mejid of the Ottoman Empire, since he was the actual leader over the region, albeit largely powerless. They asked the Sultan to issue a decree proclaiming blood libels as false and prohibiting prosecuting Jews based on such accusations.

The Sultan acquiesced and issued his ruling on November 6, 1840. In a noteworthy act, he condemned the blood libel, stating clearly that it was utterly false and that “Muslim theologians had examined Jewish religious books and found that the Jews are strongly prohibited not only from using human blood but even from consuming that of animals. It therefore follows that the charges made against them, and their religion, are nothing but pure calumny.”

Nevertheless, for years to come, and on antisemitic websites until today, the Catholics of Damascus would continue to tell the story of the friar murdered by Jews for his blood, and that the Jews had only been let free due to the influence of powerful Jews from other countries.

What was France Thinking?

In the aftermath of the Damascus Affair, numerous questions arose. How could France, a country that gave civil equality to the Jews in 1791 and gave its Jewish population the most legal rights, openly support the patently false blood libel accusation and even allow torture to be used to extort confessions?

Most historians conclude that the answer was national self-interest. France’s leaders saw it as beneficial to maintain their foothold in Syria, and felt that supporting the accusers against the Jews would work for them. By the same token, countries hostile to France seized the opportunity to denounce France for its actions, as they sought to increase their control in the Middle East and diminish French influence there. So, Metternich, not known to be a friend of the Jews, denounced the blood libel charges, as did the leaders of Great Britain.

The Damascus Blood Libel, which might otherwise have passed unnoticed in Europe, garnered international attention because of the rivalry of Europe’s great powers in the Middle East.

The Jewish Reaction

The Damascus Affair has been described as a turning point in modern Jewish history, particularly for French Jews, who were among the most vocal supporters that traditional Jewish nationalism was a thing of the past. They were patriotic citizens for whom religion was a private matter, if it was relevant at all.

Yet, when they were exposed to the antisemitism that France displayed in the Damascus Affair, French Jews were completely shaken up. In fact, all of world Jewry was shocked that the blood libel accusation — a throwback to the antisemitism of the Dark Ages — was initially accepted as fact by almost the entire press in Europe. How could it be that educated citizens and modern leaders could believe and support this baseless and ridiculous accusation? No reassuring answer was forthcoming.

In an act that would reverberate for the next two centuries, in 1846, a two-volume book was published in Paris, written by Achille Laurent (a pseudonym), Relation historique des affaires de Syrie depuis 1840 jusqu’en 1842. It claimed to document the complete protocols of the investigation in Damascus, yet completely omitted any mention of the extensive use of torture and only focused on the Jews as murderers, and that the blood libel was a proven fact.

These protocols were published in German, Italian, Arabic, and Russian in the years and decades to come. This book allowed antisemites to “prove” that the murder accusation had been proven and documented, but that the Jews were released despite their guilt.

In fact, Russian coverage of the Damascus Affair in the media is seen as one of the causes that led to the pogroms of the 1890s. Unfortunately, these protocols continue to be published and publicized, particularly in the Arab-language media.

One of the end results of the Damascus Affair was its awakening of Jewish awareness for the need to cooperate to address Jewish needs and respond to charges and attacks towards Jews around the world. In the following decades, for the first time in modern history, multiple such organizations would form to address these concerns.

One Nation

The subsequent blood libel that made international news was that of Menachem Mendel Beilis in Russia in 1911. The lawyer who headed the defense team, the legendary Oscar Gruzenberg, was sure that the prosecution’s attack would take quotes out of context from the Talmud and use them to accuse the Jews. He had Rabbi Mazeh, Chief Rabbi of Moscow, head a rabbinic advisory team for the defense and prepare answers to the inevitable questions. As Gruzenberg had predicted, at the trial the prosecution quoted the Talmudic statement in Tractate Yevamos 61a, “You (the Jewish people) are called “Adam” (Man), and the other nations are not called “Adam” (Man).”

The prosecutors demanded, “How could the Jews claim only they are called man, and the other nations are not called man?! It must mean that they view non-Jews as subhuman!”

The defense had an answer prepared, provided by Rabbi Meir Shapiro, who was already renowned as a brilliant and eloquent leader of Polish Jewry. He explained that the quote reflects an essential characteristic of the Jews and was not intended an insult to the other nations.

Rabbi Shapiro explained that the Talmud (Shavous 39) teaches that “Kol Yisrael areivim zeh lazeh,” meaning all Jews are responsible for one another. He elaborated that in the court, the fate of a single Jew — Mendel Beilis — was being decided, yet the judgment touched Jewish people all over the world.

Rabbi Shapiro directed the defense team to ask the judge, “If an Italian citizen was arrested in Poland or a Frenchman in Germany, would all of Italy or all of France be praying on his behalf and advocating for his acquittal? Would Italians or Frenchmen all over the world be constantly worried about him and awaiting news of his release? Of course not. Yet, when one Jew in Russia is falsely accused of murder, the entire Jewish nation stands with him, because we are truly one. The Talmud says Jews are called “Adam,” because “Adam” shows the unity of the Jewish nation. We are one, a single unit, just as Adam was one man. The word “Adam” in Hebrew has no plural, and that is why it represents the Jewish people, who are one, and this pronoun is not used to identify other nations, as the Talmud stated.”

This answer was understood, even by the accusers. This message continues to serve as a beacon of light for the connection Jews share with one another. In good times and bad, the Jewish People are one.

Rabbi Menachem Levine is the CEO of JDBY-YTT, the largest Jewish school in the Midwest. He served as Rabbi of Congregation Am Echad in San Jose, CA from 2007 – 2020. He is a popular speaker and has written for numerous publications. Rabbi Levine’s personal website is https://thinktorah.org. A version of this article was first published at: https://aish.com/the-damascus-affair/

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