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‘Put in Ryan!’: Orthodox NBA hopeful Ryan Turell’s fanbase turns up in Detroit
DETROIT, Michigan (JTA) — Predicting the outcome of a basketball game is tricky business, but one observer prior to the start of the Motor City Cruise’s latest home game made an easy call: “There’s going to be a lot of yarmulkes here.”
As the stands at the 3,000-seat Wayne State University Fieldhouse filled up prior to the team’s Nov. 17 match-up with the Wisconsin Herd, that much soon proved accurate.
Dozens of Orthodox observers, mostly young boys, took up seats in the arena to cheer for this NBA G League team. They boogied for the dance cam, played dress-up games emceed by the team announcer during the time outs and posed with Turbo, the Cruise’s blue-haired mascot. All told, the Cruise’s Orthodox contingent made up around a fifth of the game’s total spectators — and they were certainly the loudest fans in the stands.
For them, the main draw wasn’t the team itself, which is 1-6 on the season, but its new recruit: former Yeshiva University phenom Ryan Turell, 23, who joined the team only three weeks prior and was about to take the court for his second professional home game ever.
“Put in Ryan!” the kids chanted as if they were cheering on a close friend. A grinning Turell, a Detroit Pistons-branded yarmulke perched atop of his signature golden locks, reveled in their dedication, though at various points he tried to redirect the group’s cheers to something more team-oriented: pushing them to repeat “Let’s Go Cruise” or the traditional incantation “De-fense” instead of focusing on him.
But it was clear who these kids, most of them situated in a section flanking the Cruise’s bench directly behind Turell, were there to see. When Turell first entered the game at the bottom of the first quarter, the crowd erupted in cheers. They quickly pivoted their chants to “Pass it to Ryan!” When he sank a three, they erupted.
“They listened to us, put in Ryan, and look what happened!” gushed Daniel Rodner, an 11-year-old student at the prominent local Jewish day school Yeshiva Beth Yehudah, who was at the game with classmates Chaim Indig, Chaim Tzvi Seligson and Yoni Perlman. “We’re up five points. Moral of the story: Listen to Ryan. And the crowd.”
(L-r) Yoni Perlman, Chaim Tzvi Seligson, Chaim Indig and Daniel Rodner showed up early to see Orthodox Jewish athlete Ryan Turell play for the Motor City Cruise in Detroit, Nov. 17, 2022. The four boys are classmates at Yeshiva Beth Yehudah Jewish day school in the Detroit area. (Andrew Lapin/JTA)
In contrast with the antisemitism controversy unfolding elsewhere in the NBA, as Brooklyn Nets point guard Kyrie Irving served a suspension and delivered multiple apologies after sharing antisemitic content online, an entirely different scene was playing out in Detroit: an image of Jewish joy at the thrill of having a rooting interest in the game.
“Jews love basketball. They really do,” Turell told the Jewish Telegraphic Agency after the game. “The Jewish community is incredible, them coming out and cheering me on. It really means the world to me. And it’s special, because it’s bigger than basketball.”
The Pistons franchise has recognized this opportunity, offering kosher hot dogs at their development team’s concession stand. There are plans for an upcoming Jewish Heritage Night on Dec. 4, to feature Hanukkah gelt and menorah giveaways; opportunities for Jewish day school students to high-five and stand with Pistons players during the National Anthem, and a game to be played between two local Jewish day school basketball teams at the Pistons’ practice facility. At the Herd game, staff photographers frequented the Turell fan section, framing images of cheering kippah- and tzitzit-clad children with their favorite player in the background.
It didn’t matter that the Cruise ultimately lost the game 117-105, with the Herd pulling away only in the final minutes. What mattered was that Turell scored five points and saw five minutes of play time — and, in so doing, served as an inspiration to many Orthodox youth. Some of the kids in the stands Thursday said they were fans of the Pistons, or of the NBA more generally, but nearly all of them had followed Turell since his Y.U. days.
“I think that [Jewish] people who would normally, maybe, reject basketball after listening to Kyrie Irving and hearing what he had to say, can find a bright spot with Ryan Turell,” Jonas Singer, who was attending the game with his younger brother Leo, told JTA.
The siblings recalled how they were “freaking out” when they heard Turell would be coming to Detroit: “I was dreaming of him even making the G League,” Jonas said. “And when I heard I was actually going to be able to watch him, I was going insane.”
Motor City Cruise player Ryan Turell (front, right) watches his team from the bench as his Orthodox fans cheer on the NBA G League team from the stands in Detroit, Nov. 17, 2022. (Andrew Lapin/JTA)
Turell isn’t from Detroit, but his well-documented quest to become the first-ever observant Jew to play in the NBA has captured the hearts and minds of the Motor City’s Orthodox population (which includes Gary Torgow, the chair of Detroit Pistons sponsor Huntington Bank). Local synagogues and day schools have organized group outings to see Turell play. He’s prayed with them and made a special appearance at Yeshiva Beth Yehudah’s annual fundraising dinner, which has in the past attracted sitting U.S. presidents and top state figures.
Turell credited Pistons vice chair Arn Tellem, who is Jewish, with ensuring that he had all necessary accommodations to be able to remain Sabbath-observant while he plays. The franchise has accommodated him with hotel bookings within walking distance to away games on the Sabbath and kosher meals. Turell has certainly returned the favor by providing the chance to expand into a new fanbase and score a PR coup in the process. At his Cruise debut Nov. 7, one fan, Gideon Lopatin, showed up with a homemade blonde Turell wig.
Scott Schiff, vice president of business operations for the Cruise, said social engagements for the team are up this season but that attendance numbers with Turell on the team were difficult to compare: Last season was the Cruise’s first ever and Turell has only played two home games to date. Still, Schiff said, there was “a core group of the Jewish population coming out to support him every game.”
Turell has also brought out young Jewish fans on the road, including at a game in Cleveland the following weekend, when local Jewish day schools organized a huge crowd to see him play and speak afterwards.
After the Herd game, Jewish kids mobbed Turell when he came out to sign autographs, including a basketball from Chevy Shepherd, one of the few young Jewish girls who had come out to see him play that night. (“Let’s go Ryan,” Shepherd told JTA.)
He also signed Bodner’s yarmulke, which the boy planned to show off at school the next day.
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The post ‘Put in Ryan!’: Orthodox NBA hopeful Ryan Turell’s fanbase turns up in Detroit appeared first on Jewish Telegraphic Agency.
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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”