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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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Slovenia’s last Jewish institution endures through desecration and decay
On a Saturday morning last July, Robert Baruh Waltl watched two processions converge on central Ljubljana. From one direction, near the river, came a column of neo-Nazis chanting nationalist slogans chanting “Long live Slovenia.” From the other came pro-Palestinian marchers singing “from the river to the sea”.
The city, he notes drily, is very small. “You could see both demonstrations at the same time,” he told me over a video call from his office. “Far right from one side, far left from the other.”
In Slovenia, this is what the view looks like from the only Jewish institution in the country.
The Jewish Cultural Center Ljubljana, which Waltl has directed since its founding in 2013, is overextended by design and necessity. In the absence of a synagogue elsewhere, it functions as one. It is also a cultural center, a museum, and, increasingly, a one-man operation.
“If I’m not in Ljubljana,” Waltl says, “there is no one to even open the door.” For more than a decade, the center has run almost entirely on donations, German embassy micro-grants, and cross-subsidies from Waltl’s adjacent performance space, the Mini Theater. The Slovenian government has never provided stable funding. Applications to the Ministry of Culture go unanswered. “They tell us the Festival of Tolerance is the most important anti-racism event in Slovenia,” Waltl says, speaking of an open event organized by him and the community, “and we don’t receive a single euro for it.”
Waltl did not grow up Jewish. He was born near the Austrian border and moved to Ljubljana as a young man to study theater. Then came a letter from the local Jewish community: did he know that his grandmother had been Jewish? He didn’t. He began attending events, cautiously at first. A trip to Israel changed things. He started reading, learning Hebrew and collecting Judaica. Eventually, he underwent a formal conversion — a giyur — at a liberal congregation in Frankfurt. “I said, OK, now I’m so deep,” he recalls. “I will never feel truly Jewish if I don’t take this last step.”
The community he joined had only barely survived the 20th century. Before the Second World War, Slovenia’s largest Jewish population lived in the Prekmurje region in the northeast. Most were deported to Auschwitz after 1941; roughly 90% were killed. In Ljubljana itself, Jews had been expelled in 1515, and the postwar communist Yugoslav government did nothing to restore their memory: cemeteries and schools were destroyed or simply left to ruin. By the time Waltl arrived, the standard answer when Ljubljana tour guides were asked about Jewish history was blunt: no Jews after 1515. “They didn’t know anything about the Holocaust,” he says. “Nothing about anything.”
His response was methodical. He installed the first memorial plaque on the site of Ljubljana’s medieval synagogue. In 2014, at a gathering of young Jewish leaders in Berlin, he met Gunter Demnig, the German artist behind the Stolpersteine project, and brought the initiative home. Today, Ljubljana and surrounding cities have 68 stumbling stones and one large stone commemorating 150 Jewish refugees expelled from Croatia who sheltered in Ljubljana. He co-founded the Festival of Tolerance with Branko Lustig, the Auschwitz survivor and double Oscar-winning producer of Schindler’s List and Gladiator, born in Osijek, Croatia, who brought early credibility and international reach to the project before his death.
For years, the center also served as a functioning synagogue, anchored by a wave of Israeli tourism. After the Jewish congregation of Slovenia lost its premises in 2014 and moved into Waltl’s building, the arrangement found its footing through sheer numbers. According to Walt 50,000 to 60,000 Israeli tourists visited Slovenia each summer and many of these came to services organized by a Chabad rabbi from Trieste, Ariel Hadad. Then COVID hit. The tourists vanished. So did the rabbi. The pandemic forced a theological rethinking: Waltl discovered liberal Judaism through the Central Synagogue of New York’s online programming and began working with a rabbi from Luxembourg, who now visits several times a year alongside a rabbi from Vienna. When there is money to bring them, they come.
Oct. 7 transformed the center’s situation entirely. On November 6, 2023, someone painted a large swastika equated with a Star of David on the center’s front door. The Jewish graveyard was desecrated during the Festival of Tolerance. When Waltl attempted to screen footage from the Hamas attack for the city’s diplomatic corps, hundreds of pro-Palestinian demonstrators gathered outside and tried to set the doors on fire. The screening was cancelled. There is no Israeli embassy in Slovenia, and no other address for the anger. “In their eyes, we represent Israel,” Waltl says. “We represent everything bad happening in the Middle East.”
Today the center carries a 60,000-euro mortgage taken out for emergency renovations after earthquakes damaged the 500-year-old building, leaving water leaking and unsustainable structural issues. Robert thought that he would receive some sort of financial help from the government to keep this, the only Jewish center in the country, running, but he was unpleasantly surprised to have received none. Since Oct. 7 the relationship with the government soured even more: the prime minister and the president used to show up for Holocaust Remembrance Day and Chanukah festivities, but stopped, says Waltl.
This month, Slovenia changed leadership again, with Israel ally Janez Janša returning as prime minister.
Some other signs of hope: The Rothschild Foundation recently awarded a grant for the country’s first permanent exhibition on Jewish history in Slovenia, set to open this September. The German Embassy contributed 3,000 euros. American tourists — a growing presence — help cover operating costs through summer donations. But the structural problem remains unchanged: roughly 150 Jews, one institution, and a government that adopted the expansive International Holocaust Remembrance Alliance definition of antisemitism, which encompasses anti-Israel actions, while declining to fund the sole organization actually sustaining the community.
“If I say I will stop doing this,” Waltl says, “there will be no Jewish life in Slovenia anymore.”
The post Slovenia’s last Jewish institution endures through desecration and decay appeared first on The Forward.
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Volatility, Hit Frequency, and RTP: Why the Number Casinos Advertise Is the Least Useful One
The return to player percentage looks clean as a casino data point. It gives players a neat number, usually around 94% to 97% for many online slots, and that number feels easy to compare. A 96.5% game appears better than a 95.2% game. The problem starts when players treat RTP as a forecast for their next 50 spins or one evening.
You may find the RTP listed on slot pages on a leading online casino in Ontario, but the number only tells part of the story. Two games can share the same RTP and create different sessions: one may return small wins often, while the other may drain a balance before one bonus round changes everything.
The RTP Trap
Return to player (RTP) measures the theoretical share of total wagers a game returns across a very large number of rounds. In plain terms, a 96% RTP slot returns about $96 for every $100 wagered in the long run. That does not mean one player who deposits $100 should expect $96 back.
The trap sits in the word “theoretical.” RTP comes from the game’s math model. It works across huge samples, not personal sessions. A player can finish far above that percentage, far below it, or with nothing left after a short run of poor results.
Is it useless then? No, RTP can still help. It gives a baseline cost of play. Lower-RTP games cost more on average than higher-RTP games. Still, once a game passes a reasonable threshold, the next question matters more: how does it distribute that return?
Hit Frequency: The Number That Shapes Session Feel
Hit frequency tells you how often a game produces a winning outcome. This often misleads players because any win can count. A spin that returns $0.10 on a $1 bet may still count as a hit, even though the player lost $0.90 in real terms.
A game can feel active because symbols connect often, sounds play, and the screen keeps celebrating small returns. The balance may still fall. In many modern slots, “win” does not always mean profit on the spin.
Hit frequency answers one practical question: how much silence can you tolerate? Some players dislike long dry spells. Others accept quieter sessions because they chase bonus rounds or larger payouts.
The educational site Get Gambling Facts gives a useful distinction: RTP concerns the percentage of money returned over time, while hit frequency concerns how often a machine stops on a winning combination.
Volatility: The Risk Label Players Need More Often
Volatility, also called variance, describes how unevenly a game pays. Low-volatility games tend to return smaller amounts more often. High-volatility games hold more value in rare events: bonus rounds, premium symbols, multipliers, or jackpots.
Here is where RTP becomes less useful on its own:
- A 96% low-volatility slot may give modest returns and longer play from the same balance.
- A 96% high-volatility slot may burn through funds quickly unless the player hits a strong feature.
- A progressive jackpot game may look exciting, but it often places more value on rare top prizes.
The same RTP can hide very different risk profiles. Players who ignore volatility often blame the casino or the game when the session follows its math design.
Why the Same RTP Can Feel So Different
Picture two slots with 96% RTP. Slot A pays small wins on many spins, has a modest top prize, and rarely creates dramatic balance swings. Slot B pays less often but offers a large max win and volatile bonus rounds. The advertised return matches, but the experience does not.
Slot A may suit a player who wants a slower bankroll drop and more regular feedback. Slot B suits someone who accepts sharper losses in exchange for a shot at a heavier payout.
A Better Way to Read a Slot Page
Most slot pages give players more clues than they notice. The trick is to read the details together rather than chase the highest percentage.
Start with RTP. If two games look similar, the higher number has better long-term value. Then check volatility. If the game uses terms such as high, very high, or extreme variance, lower your bet size or expect shorter sessions. Next, look at the paytable. A huge max win usually means the game saves a lot of its value for rare outcomes.
A sensible pre-play check looks like this:
- RTP: What is the average long-term return?
- Volatility: How rough can the session become?
- Hit frequency: How often will the game show any wins?
- Paytable: Where does most value sit?
To Conclude
Casinos advertise RTP because it looks objective, tidy, and easy to rank. Players should read it, but they should not give it more authority than it deserves. For long sessions, volatility may matter more than a small RTP difference. For comfort, hit frequency may explain the feel better than the payback rate.
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Lahmeyer, pastor who says Antichrist will be Jewish, heads to Oklahoma GOP runoff
(JTA) — Jackson Lahmeyer, a pastor who supports Israel and believes the Antichrist will be Jewish, is headed to a runoff in his district’s Oklahoma congressional primary.
The Donald Trump-backed Lahmeyer will face off against Mark Tedford, a member of the state House of Representatives from Tulsa, in the August runoff to decide who will be the Republican candidate for Congress in Oklahoma’s 1st Congressional District.
The runoff will pit candidates with two very different approaches to politics, and Israel, against each other at a time when the Republican Party is divided on multiple lines. Lahmeyer is part of Trump’s MAGA movement, while Tedford is a more traditional conservative. Both men promote a hard line on immigration, but Lahmeyer’s rhetoric has been peppered with incendiary claims about efforts by Muslims to establish “sharia law” in the United States.
While both competitors are also evangelical Christians with training in ministry, Lahmeyer works as a pastor and preaches an end-times theology that includes an Antichrist with Jewish heritage. Lahmeyer is also a vocal supporter of Israel, in keeping with his Christian Nationalist outlook, while Tedford has made few if any public comments about Israel or the war in Gaza.
The two candidates pulled far ahead of the pack in Tuesday’s crowded primary, which attracted 11 candidates to fill an open seat. Tedford received 32.1% of the votes, and Lahmeyer drew 25.9%, according to the Oklahoma State Election Board.
Lahmeyer had been seen as a favorite, but his star fell in the days before the election amid revelations that he had been unfaithful to his wife. (He said the episode, which he confirmed, was a private matter and in the past, and Trump reaffirmed his endorsement following the revelation.)
Few if any of the nine candidates who did not make the runoff are part of the MAGA movement, suggesting that Tedford could see more of their supporters turn to him in November.
“We need everyone who came out today to keep fighting until we succeed,” Lahmeyer said in a statement to local media. “Let’s send a Trump-endorsed warrior to fight for Oklahoma values in Congress.”
The district is solidly red, virtually assuring the primary winner of victory in November. The Democratic candidate, John Croisant, is a Tulsa school board member who has not spoken publicly about Israel or Gaza, issues that are occupying some Democrats.
This article originally appeared on JTA.org.
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