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‘The Gett,’ a play about Jewish divorce, stems from an unlikely marriage between a Brooklyn synagogue and a theater company
(New York Jewish Week) — Despite being named for a Jewish bill of divorce, ‘The Gett” is a new off-Broadway play that began as a marriage between a Reform synagogue in Brooklyn and a West Village theater company that specializes in “diverse, challenging and provocative” works.
At Park Slope’s Congregation Beth Elohim, Associate Rabbi Matt Green had been trying to expand programming for “cultural Jews” — those who don’t necessarily feel religious or connected to a denomination, yet know they are Jewish and want to be Jewish.
Meanwhile, at the Rattlestick Theater, artistic director Daniella Topol had just put on a play about the Catholic nuns who started downtown’s St. Vincent’s Hospital in the 19th century, and wanted to direct a play about Judaism for her next project.
When Topol and Green were introduced in 2018 by Rosalee Lovett, who sat on the boards of both institutions, co-commissioning a play seemed like a natural fit — however unconventional.
The result is “The Gett: Or How a Woman Created Herself,” an original play produced by Congregation Beth Elohim and showing at the Rattlestick through Dec. 11. The 95-minute production — written by and starring Liba Vaynberg — centers on Ida, a recent divorceé navigating her relationship with herself, her mother, her ex-husband Baal, Judaism and God. With the plot points structured around the seven days of creation, Ida’s relationship with her Baal (in Hebrew the word can mean “master” or “husband”) is laced with a double meanings. The viewer can see the couple’s sometimes dangerous and sometimes loving relationship as a metaphor for the Jewish people’s relationship with God.
“These are organizations that have gone deeply into what they do and do it well,” Vaynberg told the New York Jewish Week. “CBE is bringing the best it has and Rattlestick is bringing the best it has — as opposed to a situation where everybody’s bringing half. It’s a very full marriage.”
“What’s powerful about this play is that it has been a really community-based development and a really thoughtful development in partnership between a synagogue and a theater,” said Topol, noting that this is the Rattlestick’s first-ever Jewish play, and first partnership with a synagogue.
Despite the biblical trappings in “The Gett” — which also stars Jennifer Westfeldt, Ben Edelman and Luis Vega — the play is funny and modern. “We’ve tried a number of different things, but so far, this is one of our greatest successes to offer content that’s serious for people who call themselves culturally Jewish,” Green told the New York Jewish Week. “It’s really important to me that this play fosters a broader conversation, even in some small way, about what our institutions can be doing differently.”
Performances have been full so far at the 99-seat theater, with CBE encouraging congregants to see the show by offering group trips and programming surrounding the play, including talkbacks with Rabbi Green that explore the Jewish themes in the show. On Friday night performances, CBE holds Kabbalat Shabbat gatherings with the audience before the show.
Ben Edelman and Liba Vaynberg in “The Gett.” (The Chamber Group)
“We tend to deride cultural Judaism as if it’s somehow flimsy, or unserious, but if you look at the Pew study, it’s the fastest growing self-identified demographic in our community,” added Green, who also leads Congregation Beth Elohim’s “Brooklyn Jews” cohort, which is a community of younger congregants who are looking to engage Judaism through culture, food and ritual. “Yet we spend very little time as a Jewish establishment trying to really understand what cultural Judaism is.”
Other recent efforts to include these “cultural Jews” include reading and discussion seminars on queer Jewish writers, a meditation group and, perhaps most notably, an “intergenerational mixer” held in partnership with the lifestyle brand “Old Jewish Men of New York,” which got a write-up in the New York Times Styles section.
As for theater, the play really stemmed from CBE and Rattlestick’s desire to work together after realizing their mutual ambitions and interests.
At the Rattlestick, “We really focus as a theater on finding ways to look at stories that deal with the complexity of our culture,” Topol said. “I had been thinking for a while that we wanted to do something that related to the complexity of the American Jewish experience.”
It was something the theater community clearly was interested in as well: When Topol and Green opened a call for submissions, they received over 100. Vaynberg’s play was selected in early 2020.
For Topol, who is Jewish but always saw her Judaism as separate from her directing career, it was a theme close to her heart. “In terms of what Jewish stories are represented on the stage, it feels like there’s some room to really explore some of those key questions that American Jews are wrestling with: identity, intermarriage, having children, ritual, how much do you carry on ritual or not, what your affiliation is or isn’t with Israel, with the Holocaust, with politics,” she said.
“It’s a swirl of all of those sorts of questions that felt kind of worth some creative expression in terms of the theater,” Topol added. (As it happens, “The Gett” will be the last play Topol directs in her six-year career with the Rattlestick — next, she will switch careers and study to become a nurse.)
Once Vaynberg’s play was selected in early 2020, the playwright unexpectedly had extra time to finesse the show. Due to the COVID-19 pandemic, the Rattlestick closed temporarily and put the production on pause.
Vaynberg used the extra time to increase community involvement. She spoke with several women who are synagogue members who had gone through a divorce. She and Green conducted several roundtable discussions and focus groups to further explore congregants’ Jewish identities and how it has manifested in their relationships.
Vaynberg and Green created a “chavrusa,” a study partnership, to explore biblical and religious implications of the questions she had about creation, Jewish marriage and divorce and how much power a person has in their relationship with God.
Some themes in the play probe the same questions about cultural Judaism that Green had been asking at CBE. Protagonist Ida, for example, deeply cares about her Judaism and Jewish identity, and yet has trouble explaining just why and how it’s so important to her on a date with a non-Jewish man.
“By going to this play, you are engaging with Judaism,” Green said. “It’s not just about inspiring people to be involved with Judaism, but actually, it is a Jewish act to see this play.”
“This isn’t something synagogues do — it’s sort of strange,” Green remarked. “We want to do things differently and we as a congregation, want to inspire other congregations, other Jews, to do things differently.”
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Israel’s election may hinge on whether Netanyahu’s opposition will accept Arab support
Israel’s approaching election is developing into an extraordinary paradox: Prime Minister Benjamin Netanyahu, whose government presided over the catastrophe of Oct. 7 and whose record since has been a succession of security failures, assaults on democracy, capitulations to Haredi interests and international embarrassments, may yet survive politically because his opponents cannot bring themselves to accept the parliamentary support of Israel’s Arab citizens.
The polls have tightened, the opposition has conducted a strangely timid campaign, and U.S. President Donald Trump’s endorsement of Netanyahu over the weekend introduces an unpredictable element into a contest that should by any reasonable accounting be a referendum on utter failure. Yet given the picture emerging in the polls, the decisive question is whether the opposition’s leaders possess the courage to reach out to the one-fifth of Israelis who are Arabs – who are expected to vote in very high numbers on Oct. 27.
Since 1973, Israel’s classic center-left has never secured an election-day parliamentary majority without the seats of Arab parties. Yitzhak Rabin’s victory in 1992, for example, depended on a parliamentary balance that included Arab representatives, whose support later became essential to his government’s survival. By most credible polls, that is the picture that emerges now, and with that support, the opposition could become a comfortable majority of close to 70 of the 120 Knesset seats.
But things are not so simple. In 2020, most of the Joint Arab List – an alliance of Arab parties in Israel – recommended opposition leader Benny Gantz for prime minister, producing a numerical majority that collapsed because several opposition lawmakers simply could not stomach the prospect. But the Naftali Bennett-Yair Lapid government that removed Netanyahu in 2021 included the Arab party Ra’am, demonstrating that cooperation across this divide was possible even among politicians with profound disagreements about national identity and the question of a Palestinian state.
Throughout these episodes, the challenge was the elementary democratic principle that the votes of Arab citizens should carry precisely the same weight as those of Jewish citizens. And yet there are complications with these political alliances: the Arab parties are not “Zionist” – and more relevantly, they have real difficulty in a situation that involves conflict with the Palestinians, who are their non-citizen brothers and sisters.
Netanyahu has spent years exploiting the discomfort of his opponents with this reality, transforming the prospect of Arab political influence into a weapon against anyone seeking to replace him. During this election, his campaign has placed particular pressure on Gadi Eisenkot, the former IDF chief of staff, portraying any government of his, if it’s dependent on Arab parties, as compromised from the outset.
Eisenkot, Naftali Bennett and other opposition leaders are trying to win over former right wing voters who may have tired of Netanyahu’s endless scandals and failures – but those voters also have serious reservations about the Arab parties. So their prevarications are not hard to understand.
There is, of course, a double standard: Netanyahu routinely counts on the ultra-Orthodox parties, whose demands for military exemptions, public subsidies and educational autonomy have profound consequences for Israel’s security, economic resilience and civic solidarity. Their representatives are treated as legitimate negotiating partners whose seats belong automatically in the right-wing bloc, even when, indeed, they call themselves non-Zionist.
Arab political leaders are now offering the opposition passive support in parliament for free, meaning they do not even demand a seat at the government table. According to all credible polls, the opposition plus the Arab parties should have a comfortable majority after the Oct. 27 vote.
Mostly Muslim, with Christian communities and the distinct Druze population, these citizens share aspects of the language, culture and historical grievances of the surrounding Arab world while participating in the institutions, economy and daily life of the Jewish state. Two stories convey this complexity.
The first: A wounded Jewish reservist, a new immigrant and Technion engineer, was driving toward a hospital for treatment of a hand injured during service in Lebanon when police stopped him for speeding last year. As the Maariv newspaper’s columnist Ben Caspit reported, the reservist presented documentation of his medical circumstances, yet the officers, who were Jewish, issued a fine and delayed him despite the potential danger to his injured finger, behaving at times with an astonishing lack of consideration.
The case eventually reached a court, where the fine was canceled in a ruling that criticized the enforcement as falling short of reasonable, proportionate and fair administrative discretion. The judge was Rasha Saadi Atamna, an Arab woman whose decision recognized the wounded soldier’s service and circumstances while holding an institution of the Israeli state accountable to its own standards. It was a recognition denied by fellow Jews.
The second: On the morning of Oct. 7, 2023, Youssef Ziadna, a Bedouin minibus driver from Rahat who had dropped off a group of young people at the Nova music festival, showed extraordinary courage.
When Hamas launched its massacre, one of his passengers called desperately for help, and Ziadna drove toward the festival, entering an area where gunmen were murdering civilians and vehicles were fleeing in panic. Near the Gaza border communities, a man running from the slaughter warned him to proceed no further, and moments later gunfire sent Ziadna and others diving into a roadside ditch.
The danger was clear, the route home was available, and every ordinary instinct of self-preservation pointed toward escape. Ziadna instead continued toward the festival, found the people who had summoned him, collected other terrified and wounded Israelis and eventually squeezed roughly 30 passengers into a minibus designed for 14. Drawing on his knowledge of the terrain, he drove across fields and away from the gunmen, with other fleeing Israelis following behind him.
The people Ziadna carried to safety were Jewish Israelis, while his own Bedouin community was suffering murder and abduction in the same assault. Speaking to Israel Radio during Oct. 7 commemorations, he explained his decision in words that deserve to resonate far beyond the immediate story of his heroism: “I could have turned around and did a U-turn, but my conscience wouldn’t let me. I am a human being first. We have to live together in this very fine country of ours.”
The election, of course, will be decided by parliamentary arithmetic rather than inspiring anecdotes, and the stakes extend well beyond the composition of the next coalition.
Consider the government’s continuing failure to confront Jewish terrorism in the West Bank, where extremist settlers have now assaulted an American journalist and European diplomats in successive days. Heidi Levine, a Washington Post photographer whom I have known for decades, was brutally beaten while covering the Palestinian olive harvest, suffering injuries requiring surgery.
The following day, settlers attacked European diplomats and a French mayor near the Christian village of Taybeh. Netanyahu’s response was to question the evidence, emphasize the diplomats’ failure to coordinate with the army and suggest a campaign to smear settlers. Such indulgence of violent extremists disgraces Israel and accelerates its international isolation.
Trump’s endorsement this weekend of Netanyahu may influence some voters, but the fundamental choices belong to Israelis.
Let’s hope they are more thoughtful than to listen to the U.S. president and reelect a leader who would endanger lives by continuing to block an Oct. 7 inquiry, redouble efforts to instill an elected dictatorship, continue to absolve the Haredim of military duty, do nothing to stem the disgrace of Jewish terrorism, and hasten the onset of global economic sanctions upon the Jewish state.
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Bob Dylan is changing his lyrics and his set list; what is he trying to tell us?
Nobel Prize-winning rock poet Bob Dylan once famously wrote, “You don’t need a weatherman to know which way the wind blows” (in his 1965 song “Subterranean Homesick Blues”). That may have formerly been the case, but it didn’t stop Dylan from kicking off his “Lights of Autumn Tour” in Oslo on Saturday, Oct. 17, with a setlist chock full of warnings about floods and extreme weather — a veritable apocalypse of natural disasters. He even rewrote some lines in one of his most famous and beloved songs, “Tangled Up in Blue,” to make the weather a new character in the song.
Playing “Tangled Up in Blue” in concert for the first time since 2018, Dylan revised a few verses. Where he originally sang “I had a job in the great north woods working as a cook for a spell” to kick off the third verse, Dylan instead sang “Way up in the frozen woods, teardrops touch the sky / The leaves are falling one by one, and the moments passing by,” in keeping with the “Lights of Autumn” theme. (It should be noted that Dylan has been rewriting and changing the lyrics to “Tangled” at least since 1984, when he also included the song on his opening concert of a European tour.) “Way up in the frozen woods” may also refer to Dylan’s hometown of Hibbing, Minnesota, which is so far north that you can practically see Canada from there.
On Saturday, Dylan continued to rewrite that third verse with the line “Sometimes I get so tired, sometimes I’m getting away / Lucky you found another, tomorrow’s another day.” In a clever twist, Dylan inserts the new word “lucky” into the number, which recalls the phrase “I can’t help it if I’m lucky” from the song “Idiot Wind,” also found on the 1975 album Blood on the Tracks where “Tangled Up in Blue” originated. “Lucky” also resurfaced as a cryptic moniker for Dylan himself when, in the superstar group the Traveling Wilburys that included George Harrison, Tom Petty, and Roy Orbison — all of whom took new names ending in “Wilbury” — Dylan opted for “Lucky Wilbury.” He can’t help it, indeed!
Dylan kicked off another rewritten verse with the phrase, “Things were gettin’ to cost too much,” leaving one to wonder if this was a pre-midterm election reference to the state of the U.S. economy and therefore an implicit criticism of the MAGA leader and his acolytes. Dylan also revised the music somewhat, slowing the tempo of what was once a mid-tempo rocker to a rubato ballad; he also inserted a minor chord that doesn’t exist in the original.
As noted, Dylan’s 19-song setlist included copious references to weather disasters. “The Man in the Long Black Coast” opens with the line “Crickets are chirpin’, the water is high,” and refers to trees that are “bent over backwards from a hurricane breeze.” The aptly titled “Crash on the Levee (Down in the Flood),” which he performed for the first time in over two decades, includes the lines:
Crash on the levee, mama
Water’s gonna overflow
Swamp’s gonna rise
No boat’s gonna row….
If you go down in the flood
It’s gonna be your own fault…”
Even Dylan’s choice of cover tunes seemed oriented toward the apocalyptic theme. For the first time ever, Dylan sang a Randy Newman song in concert. Keeping with the flood theme, he chose Newman’s “Louisiana 1927,” which recounts one of the worst floods ever to strike the U.S.
What’s happened down here is that the wind have changed
Clouds roll in from the north, and it starts to rain
Rained real hard, it rained for a real long time
Six feet of water in the streets of Evangeline
River rose all day, the river rose all night
Some people got lost in the flood, some people got away all right
Dylan also covered “Share Your Love” — originally recorded by Bobby “Blue” Bland in 1963 but also recorded and performed by Dylan’s former backup group, The Band — which kicks off with the line “Well, it’s an ill wind that blows no good.”
But Dylan didn’t have to go far from his own catalog to rack up mentions of climate insanity. He performed “Tryin’ to Get to Heaven,” which includes the lines “The air is getting hotter, there’s a rumbling in the skies / I’ve been wading through the high muddy water, with the heat rising in my eyes.” In “You Ain’t Goin’ Nowhere,” Dylan sang, “Clouds so swift, rain won’t lift / Gate won’t close, railings froze / Get your mind off wintertime, you ain’t goin’ nowhere.” And on “I’ve Made Up My Mind to Give Myself to You,” the seasonally appropriate narrator says, “I saw the first fall of snow, I saw the flowers come and go.”
Dylan’s tour continues tonight (Oct. 19) in Gothenburg, Sweden, before making its way through Denmark, Germany, Belgium, Switzerland, Italy, Slovenia, and Austria, and concluding in the UK in November and early December. The forecast for Sweden tonight is clear, but later in the week, the weather report says there’s a chance of a hard rain.
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Argentina’s Jewish gauchos museum vows to stay open amid leadership feud
(JTA) — BUENOS AIRES – A museum dedicated to the history of Argentinian Jewish ranchers, farmers and the cowboys known as gauchos remains open and operating despite months of tension between its former director and the local government, the head of the Entre Ríos Jewish community confirmed to the Jewish Telegraphic Agency,
The Villa Domínguez Jewish Museum about the Jewish Colonies drew international attention late last year after visitors reported water damage affecting walls, documents and historical objects. The concerns arose months after the resignation of Osvaldo Quiroga, the local historian who had led the museum for nearly 40 years and was widely associated with its preservation.
In an interview, community head Marina Garber acknowledged the tensions that led to Quiroga’s resignation in January 2025, and that since then a successor has not been named.
“We are resolving the situation with an agreement in which the building belongs to the municipality, while the Jewish community is in charge of safeguarding the objects. The museum is still operating,” Garber told JTA, and the partnership between the local municipality and Jewish community would continue.
Villa Domínguez is a rural town of around 2,000 inhabitants located 225 miles north of Buenos Aires, where international tourism centered on the country’s earliest Jewish agricultural colonies brings considerable visibility to the area.
The fate of the museum matters far beyond Villa Domínguez’s nine remaining Jews. The Jewish agricultural colonies of Entre Ríos are a defining chapter in Argentine Jewish history, tracing how immigrants from Eastern Europe built new lives as farmers and gauchos. Its future is a test of whether a legacy that belongs to Argentine Jewry as a whole can be safeguarded.
Although its director was a municipal employee, the museum itself belongs to the Jewish community. This hybrid arrangement, with no clear responsibilities divided between the two, created tensions when the images of damage were spread online. Suggestions that the Jewish museum had fallen into a state of neglect circulated online as far as Europe.
According to some sources, tensions appear to stem from a combination of the government’s limited attention to the site and the apparent resentment by some government officials that Quiroga had received inordinate media attention.
The Jewish colonies of Entre Ríos, established in the late 1890s by Jewish immigrants mostly from Eastern Europe, represent one of the largest waves of Jewish agricultural settlement in the Americas.
The Jewish Colonies Museum was founded in October 1985 to safeguard the region’s documentary and material heritage. Since 1996, it has been housed in the town’s former pharmacy building.
The museum attracts Argentine and international visitors interested in the stories of the Jewish gauchos — the immigrants who blended their Jewish and Eastern European roots with Argentine ranching culture. Heritage tours, family-history trips, academic researchers and Jewish community groups contribute to a steady flow of visitors exploring the landscapes where the Jewish gauchos built their rural lives, a journey that began more than a century ago.
For the descendants of the gauchos — many now scattered across Argentina, Israel and beyond — the institution serves as a touchstone for genealogical research and family history. Its stability is also of concern to Jewish communal organizations and Argentine officials who have promoted the Jewish colonies circuit as a pillar of religious and cultural tourism in the province.
The first ship carrying Jewish immigrants from Europe to Argentina, the SS Weser, arrived in 1889 after sailing from Hamburg to Buenos Aires. Its arrival inspired Baron Maurice de Hirsch, a German Jewish financier and philanthropist, to recognize the potential of agricultural migration and, in 1891, to create the Jewish Colonization Association (JCA) to institutionalize, fund and organize the colonies.
A tourist trail linking the various Jewish settlements has been operating for more than 20 years, made up of four communities: Basavilbaso, Villa Domínguez, Villa Clara and Villaguay. Two- and three-day tours of the area’s main Jewish sites include visits to synagogues, cemeteries, cooperatives, and local museums. Villa Clara — or simply Clara — is a small town founded in 1892 and named after Hirsch’s wife. Its Jewish museum is located inside an old railway station. Another settlement, Lucienville, is named after the couple’s son, Lucien.
The last agricultural colony founded in Entre Ríos by the JCA is Colonia Avigdor, visited regularly by students of Fundación Judaica, a major Buenos Aires network of schools and synagogues, which brings groups there for educational programs, supports local schools, and works on community development.
The national government includes the tourist trail as part of a religious tourism program, and the Buenos Aires Jewish center AMIA has a site dedicated to the colonies’ history in Entre Rios, including Villa Domínguez.
The national government and some local municipalities also include the Jewish colonies among their cultural offerings.
According to Pablo Soskin, the representative in Entre Ríos of the Argentine Jewish political umbrella organization DAIA, the museum’s director stepped down on Jan. 24, but municipal officials initially declined to accept his resignation. He subsequently took an extended leave to use up a large balance of accrued vacation days, with the municipality’s approval. When that time ran out, he was reassigned within the museum to a different, non-directorial role. The director position has remained vacant since then.
“We maintain a close relationship with the government, which has expressed its commitment to making the museum and the Jewish circuit part of the province’s tourist attractions for locals and foreigners,” Soskin told JTA. “We will continue to coordinate community, public, and private mechanisms to ensure the preservation of our heritage sites.
“This is key to understanding the contributions that the Jewish community has made to Argentina,” he added.
This article originally appeared on JTA.org.
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