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Satmar Grand Rebbe visits convicted sexual abuser Nechemya Weberman in prison
(New York Jewish Week) — The Satmar “Grand Rebbe” Zalman Teitelbaum paid a visit to convicted sexual abuser Nechemya Weberman in prison last month, according to a Yiddish-language newspaper serving the Satmar Hasidic community that has published a series of favorable articles about the former therapist accused of sexually abusing an adolescent girl starting from when the victim was 12 years old.
The visit, and the weekly series of articles in Kiryas Joel Vochenshrift, have riled advocates for sexual abuse victims in the Hasidic community. They say the community’s leadership has a pattern of downplaying abuse charges and in this case convictions, further traumatizing the victims.
A sexual abuse survivor who lives in Kiryas Joel, the Orange County, New York seat of Zalman Teitelbaum’s Satmar faction, told the New York Jewish Week that abuse victims like her feel they are “being stabbed” when they see support for accused abusers in the Hasidic media and among their leaders.
“It’s retraumatizing victims,” said the survivor, who asked not to be named for reasons of privacy and safety. “It’s being stabbed every week, again and again, and knowing that if you’re ever going to open your mouth you’re going to be kicked out.”
The woman said that other survivors within the community told her “that they are not going to come forward so quick again because they see this every week.”
“It’s the most horrific thing,” the source said. “I am reliving all the hell that I’ve gone through. They are taking a molester, who did the worst thing, and they are promoting him, and calling him holy.”
An article from Kiryas Joel Vochenshrift, which is publishing a weekly series about convicted sexual abuser Nechemya Weberman. (Courtesy)
The newspaper serves the faction of the Satmar community that is loyal to Zalman Teitelbaum. It published an article about his visit on Nov. 11.
A weekly series sympathetic to Weberman has been running since August. The articles are written accounts from organized visits to Weberman’s jail cell by members of the community, including prominent rabbis. They include letters from Weberman himself and letters from people in the community to him.
“They say he’s wrongfully accused,” Shulim Leifer, a member of the Hasidic community who has read the articles, told the New York Jewish Week. “It’s written in a sense that it’s a foregone conclusion, that it’s a lynching that he went through.”
Accrding to the article about Teitelbaum’s visit, the rabbi spent over an hour with Weberman and “offered words of faith and belief in God” while the convicted sexual abuser was at Rikers Island for an appeal, the article said. Weberman is now at Shawangunk Prison in upstate New York. “Thanks to Hashem, after much advocacy, we did manage to prevail and we managed to get a visit from the [Grand Rebbe] who was able to come into the dark walls,” the article reported.
The United Jewish Organizations of Williamsburg and North Brooklyn, whose leaders act as spokespeople for Teitelbaum, declined a request from the New York Jewish Week for comment.
The articles are written by Rabbi Abraham Yehoshua Fraynd. Neither Fraynd nor the newspaper responded to a request for comment.
Weberman, was an unlicensed therapist who served the fervently Orthodox Satmar community, was 54 when he was convicted in 2012 of sexually abusing a young woman over the course of three years beginning in 2007. He was given a 103-year sentence in 2013, close to the maximum permitted by law.
The victim spent 15 hours on the witness stand recalling how she had been repeatedly raped and forced to perform oral sex in Weberman’s counseling office, where she had been sent because of her alleged immodest dress and rebellious behavior.
Many members of the Satmar community stood behind Weberman, who had served as the driver for the late Grand Rebbe Moses Teitelbaum, the father of Zalman Teitelbaum and his brother Aaron, who now lead rival factions of the Hasidic movement. Aaron Teitelbaum went so far as to suggest that Weberman’s accuser was “a zona,” which translates to “whore.” The victim claimed that after going to the district attorney, she received both bribes and threats in an attempt to convince her not to testify. The Hasidic community has long discouraged members from going to outside law enforcement, a practice long decried by advocates for victims of sexual abuse and other crimes.
In an article published Dec. 6, Weberman is quoted saying that his prison trial was “a mesira,” an act in which one Jew informs on another in contravention of Jewish law.
“Yes it’s true that there was a jury trial,” Weberman said in the piece. “It’s true in the course of nature, you can expect to get a prison term from a jury in such a case, but I got something that’s over 100 years. And that is something that’s outside of the ordinary.”
Weberman then laments that he doesn’t have a way to advocate for himself while stuck behind bars.
“I’ve been trying to appeal three or four times, that’s not normal,” Weberman said. “What am I left to believe? Am I supposed to believe that I’m never getting out of here? No.”
In another article, Weberman said, “I’ve accepted that God put me through this for reasons that I can’t understand.”
“Even though I’m wrongfully accused, I think one day, I’ll be out,” Weberman said.
Throughout many of the articles, Weberman is called many honorific names, including “a tremendous Hasid” and “shlita,” an acronym reserved for revered members of the community.
Leifer said that there are sexual abuse survivors within the community who are “beside themselves and disturbed by how this guy is lionized and idolized.”
“Sex abuse victims feel hurt and betrayed by this behavior,” Leifer said. “There is sort of a widespread undercurrent in the haredi community that we don’t do a good job with sex abuse, in terms of exposing it, preventing it, or helping victims.”
A Hasidic community member in Williamsburg who is close with the Weberman family told the New York Jewish Week that “no one really knows what happened behind closed doors,” referring to the abuse charges.
“It’s a pity that he’s been in jail already for such a long time,” the community member said.
The source added that Weberman, 64, is now “an old, broken man, with a family who suffers.”
“The community felt like he didn’t have a fair trial,” the source said. “If it really happened, he’s no longer a threat, that’s for sure.”
The source also said that according to Weberman’s family, the convicted felon is being kept in “inhumane” conditions. “There’s no air conditioning, no heat, no TV, it’s freezing,” the source said. “I’m not sure why we are not allowed to give a voice to someone who is inhumanely treated.”
David N. Myers, co-author of “American Shtetl,” a 2022 book about the Hasidic community of Kiryas Joel, told the New York Jewish Week that Teitelbaum may have visited Weberman in prison due to the rabbinic principle of “pidyon shevuyim,” which translates to “liberating captives.”
“Haredi Jews take this principle seriously,” Myers, a professor of history at the University of California, Los Angeles, wrote in an email. “There is a strong ethos of providing assistance to and seeking the release of fellow observant Jews who are incarcerated — often on the presumption that they, as good Jews, must have been treated unfairly or imprisoned under false pretenses.”
Myers added that there is a growing sense among haredi Orthodox Jews that they are under siege by the media and secular authorities. He noted the community rage over a New York Times investigation in September that reported on Hasidic schools that are not meeting New York State standards in secular instruction.
“Many New York-area haredim feel under siege,” Myers said. “To be sure, the Weberman case precedes this new wave. He has always had some supporters, as well as many accusers and critics. But the current moment is one in which people in the haredi world feel greater liberty to say that the media are biased against them.”
In August 2021, Brooklyn District Attorney Eric Gonzalez wrote to then Governor Andrew Cuomo and asked him to commute Weberman’s sentence. (By then, Weberman’s sentence had been cut in half under a state law that requires a maximum of 50 years for the type of felonies for which he was convicted.) Gonzalez had long sought leniency for people with lengthy prison sentences, but local activists said his request smacked of politics.
Cuomo, who resigned in August 2021 amid a sexual harassment scandal, did not respond to Gonzalez’s request.
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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.”