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The Conservative movement youth group was already struggling. Then came COVID.
This article was produced as part of JTA’s Teen Journalism Fellowship, a program that works with Jewish teens around the world to report on issues that affect their lives.
(JTA) — Weeks before United Synagogue Youth’s International Convention in December 2021, Alexa Johnson picked out some of the exciting seminars she wanted to attend. It would be her first big USY event and the current high school sophomore was excited to visit Washington, D.C. from her home in Los Angeles.
But then the Omicron variant hit and the event was canceled. She was disappointed but figured she would go the following year. Then she learned that there would be no 2022 convention and she started questioning her affiliation with the national organization. Why should she stay affiliated with the Conservative movement youth group if they failed to provide her with engaging programming?
“I just feel there really hasn’t been enough programming as a whole,” said Johnson, who was looking forward to meeting other Conservative Jewish teens like her. Overall the programming dissatisfaction from her and other members of the 35-person chapter at Pasadena Jewish Temple and Center started after the pandemic. “We just feel like it’s really hard to get people involved because there isn’t much programming at a regional or international level that people want to go to or look fun to them,” said Johnson.
United Synagogue Youth serves almost 8,250 Jewish youth from 3rd to 12th grade as the primary Conservative youth group since its founding in 1951. Through local, regional and international events, generations of Jews have participated in USY, but for some, this may be the end of the road for their involvement.
For decades now, Conservative Judaism has seen their numbers fall as members flock to other denominations like Reform and the United States becomes increasingly less religious. In the 1950s and 1960s, Conservative Judaism — which, despite its name, is a centrist movement between more liberal Reform and the traditionalist Orthodoxy — was the largest Jewish denomination. Now, only 15% of American Jews identify as Conservative, according to the Pew Research Center.
With Conservative numbers on the decline, United Synagogue Youth is struggling to stay on its feet. Julie Marder, the interim senior director of teen engagement, was open about the organization’s membership struggles. “Coming out of the pandemic, numbers just weren’t where they used to be,” Marder said. “They were lower than we can continue to sustain.”
While the membership decline predated the pandemic, COVID undid a lot of their work to gain back members.
Stacey Glazer, associate director of synagogue support, who also oversees the southwest region of USY, said that the southwest region was successfully building up their membership pre-pandemic, but once COVID hit, the region’s progress was erased.
A staff shortage also led to reduced international and regional programming across the organization. As of publication, there were seven events listed for the 15 regions.
The challenges the staff face turn into frustration and disappointment for the teenage members.
Dan Lehavi, a high school senior who serves on the USY board of his Los Angeles synagogue and on the Far West Regional General Board, witnesses the changes firsthand. He said in 2018 and 2019, his region filled a banquet hall for the annual regional convention, but coming back after the pandemic, the group could fit into a much smaller room. “They did their best to make it a memorable weekend as possible, but it just doesn’t have the same energy when there are so few people,” said Lehavi.
As someone who has grown up with USY, Lehavi is disappointed by the decline in attendance and engagement. “It’s just really sad,” Lehavi said. “Generally, I think that USY has been an invaluable resource for the Conservative movement as a whole. I hope that the future of the Conservative movement is a lot brighter than the present.”
Despite serving a large Jewish community spanning across southern California, Hawaii, Arizona, Nevada, and more, the region did not organize many region-wide events. During the last school year, Far West offered five events, including a regional dance that was canceled due to low registration. This year, Far West is currently only offering one regional event, in partnership with the Southwestern region. The region hopes to announce another region-wide event later in the year.
“It has just made our chapter not feel like a USY chapter,” said Samuel Svonkin, a member of Far West USY from Los Angeles. “I don’t feel like we have any connection to USY itself.” Svonkin said that regional programming lacks a pull for his fellow members and the association with USY doesn’t attract teens.
Svonkin has been a member of USY since he was 13. He grew up with teens at his synagogue going to USY events and making friends and great memories. Now, he feels like his generation is being ignored. “I feel like they’re not focusing on what their youth want. And they’re instead trying to make something that works well for them. I think they’re struggling as a result of their own incompetence of looking at what teens actually want,” he said.
USY staff acknowledge that there are fewer events overall but say they are working to improve the teen experience. Glazer, associate director of synagogue support, who also oversees the southwest region of USY, suggests that Svonkin reach out to a local staff person. “If we don’t, we don’t hear from the teens —which, at the end of the day, this is who we’re here to serve — then it’s hard to know what they want,” she said.
In previous years, USY’s Marder said, there was no need to heavily advertise regional and international events; teens would just attend with their synagogues naturally. But now, “We can’t just build a regional convention and assume that people are going to come because we created it. We need to take a step back and start doing more local programming and support the chapters and help them build. Then we can build the bigger programs,” said Marder. Attracting more attendees is not an easy fix, but Marder and the rest of USY are working to build the best programs that they can create.
As they continue to regroup, USY is working towards supporting congregations in teen engagement and rebuilding the pipeline to USY. “That means redesigning and rethinking how we are running our regional and international programs to build up to the large programs that we once had,” Marder said. “We want to do it with excellence. To not just throw a program out there to throw out a program. That we are creati
This year, in place of an international convention, USY offered three different summits: a Heschel Summit at the Jewish Theological Seminary in New York City, a Civil Rights Journey based in Alabama and Georgia, and a Teen Climate Activism Retreat set in Maryland. Stacey Glazer wants USY’s events like these summits to focus on what young Jewish teens are interested in, whether that is religion or social justice.
Teens from Pinwheel USY, the Pacific Northwest Region of the Conservative movement youth group, attend an event in July 2022. (Via Facebook)
In addition to these three retreats, USY planned on hosting a Teen Leadership Summit in Denver, but the event was canceled. Glazer did not have an answer as to why the summit was canceled.
Focusing on what teens are interested in proved to be successful for USY. Last December, the official Instagram account reported that the Civil Rights Journey only had seven spots left, four days before the registration deadline. Moreover, over 1,200 teens participated in regional or international programming, according to an Instagram post summarizing some of USY’s successes in the second half of 2022.
On top of rethinking the way USY creates programs, last year, USY also cut membership fees for its individual members, a cost that was absorbed by the synagogue. Synagogues now pay just one fee to have all of its members be associated with the national organization. “I think we had some pretty good success with [cutting fees] this year,” Marder said. USY would not provide specifics to JTA but did say the organization is not losing money because of the pay structure change.
At the end of United Synagogue of Conservative Judaism’s fiscal year in 2022, the parent organization of USY reported that they collected a little over $6.3 million in membership dues, around a $45,000 increase from 2021. But that is still a drop from 2019, when United Synagogue collected over $7 million dollars in membership fees. Despite a recent increase in collected membership fees, the organization did see a stark decline in membership fees between 2019 and 2022, according to published figures.
Nevertheless, Glazer provided statistics that show membership growing. In March of 2018, USY recorded 5,138 members from 3rd grade to 12th grade. In June of 2020, USY recorded 4,408 members across those same demographics. From 2020 to their members now, they recorded an increase of about 3800 members as they now record having over 8,200 members.
Membership numbers are on the rise, but USY is having struggles with staff shortages, a large cause of reduced programming. Marder said that of the 12 regional staff members, only eight work full-time. With 15 active regions, supporting each region equally is a challenge. For regional overnight events this year, many nearby regions combined their events so more attention from staff and youth leaders could be put into the events.
Rather than hiring more staff, Stacey Glazer said that the organization wanted to work with the staff they have and “maybe come up with a new structure where we’re using each of our employees to the best benefit to USY as a whole,” said Glazer. She also said that the lack of staff is not because of financial pressures, but because they are working on restructuring the ways they function as a staff. And Glazer acknowledged that they will eventually need to hire more staff.
Additionally, Marder said that there are fewer full-time chapter directors at synagogues. During the pandemic, when Jewish organizations like synagogues were cutting staff, youth departments were heavily affected. Marder said that synagogues with chapter directors task them with other youth-related jobs as well.
The time USY is taking to rebuild may be causing the Far West region to struggle, but not all regions are dragging behind. Sigal Judd, a teen member of the Central Region — which encompasses parts of Indiana, Ohio, Kentucky, Michigan, Western Pennsylvania and West Virginia — was excited about the current status and future of her region. “We have really grown in the past few years and have had many more events to keep the people coming,” said Judd.
For Jewish teenagers who do not attend Jewish high schools, finding connections with other Jewish youth can be hard. Judd is grateful for the relationships USY gives her. “I am lucky to have these friendships from [Central Region USY] and a pen pal from the Far West region. I love being a part of the Jewish community through USY and growing my Jewish identity surrounded by kids like me,” she said.
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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.”