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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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The post ‘The Gett,’ a play about Jewish divorce, stems from an unlikely marriage between a Brooklyn synagogue and a theater company appeared first on Jewish Telegraphic Agency.
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Trump Says US Will Intervene if Iran Kills Protesters Amid Regime Crackdown: ‘Locked and Loaded’
US President Donald Trump attends a press conference, as he makes an announcement about the Navy’s “Golden Fleet” at Mar-a-lago in Palm Beach, Florida, US, Dec. 22, 2025. Photo: REUTERS/Jessica Koscielniak
US President Donald Trump threatened on Friday to come to the aid of protesters in Iran if security forces fire on them, days into unrest that has left several dead and posed the biggest internal threat to Iranian authorities in years.
“If Iran shoots and violently kills peaceful protesters, which is their custom, the United States of America will come to their rescue, he said in a social media post. “We are locked and loaded and ready to go.”
The United States bombed Iranian nuclear facilities in June, joining an Israeli air campaign that targeted Tehran’s atomic program and military leadership.
Responding to Trump’s comments, top Iranian official Ali Larijani warned that US interference in domestic Iranian issues would amount to a destabilization of the entire Middle East. Iran backs proxy terrorist forces in Gaza, Iraq, Yemen, and Lebanon, among other places.
“Trump must realize that US intervention in this internal matter will lead to destabilizing the entire region and destroying American interests,” Larijani posted on X. “The American people must know that Trump is the one who started this adventure, and they should pay attention to the safety of their soldiers.”
Ali Shamkhani, a senior adviser to Iranian Supreme Leader Ayatollah Ali Khamenei, similarly warned on social media that Iran’s national security was a “red line, not material for adventurist tweets.”
“Every hand of intervention that approaches Iranian security under any pretext will be cut off with a regrettable response before it arrives,” he posted.
The comments came as a local official in western Iran where several deaths were reported was cited by state media as warning that any unrest or illegal gatherings would be met “decisively and without leniency,” raising the likelihood of escalation.
TRUMP COMMENTS
This week’s protests, sparked by soaring inflation and other economic hardships, are so far smaller than some previous bouts of unrest in Iran but have spread across the country, with deadly confrontations between demonstrators and security forces focused in western provinces.
State-affiliated media and rights groups have reported at least six deaths since Wednesday, including one man who authorities said was a member of the Basij paramilitary affiliated with the elite Revolutionary Guards.
The Islamic Republic’s clerical leadership has seen off repeated eruptions of unrest in recent decades, often quelling protests with heavy security measures and mass arrests. But economic problems may leave authorities more vulnerable now.
This week’s protests are the biggest since nationwide demonstrations triggered by the death of a young woman in custody in 2022 paralyzed Iran for weeks, with rights groups reporting hundreds killed.
Trump did not specify what sort of action the US could take in support of the protests.
Washington has long imposed broad financial sanctions on Tehran, in particular since Trump’s first term when, in 2018, he pulled the US out of Iran‘s nuclear deal with world powers and declared a “maximum pressure” campaign against Tehran.
US presidents have been wary of engaging militarily in Iran, but in June, Trump ordered airstrikes against Iranian nuclear facilities. Trump at the time ruled out sending any ground force into the Islamic Republic.
GUNSHOTS, PROTEST CHANTS
Video verified by Reuters showed dozens of people gathered in front of a burning police station overnight, as gunshots sporadically rang out and people shouted “shameless, shameless” at the authorities.
In the southern city of Zahedan, where Iran‘s Baluch minority predominates, the human rights news group Hengaw reported that protesters had chanted slogans including “Death to the dictator.”
Hengaw has reported 29 arrests so far over the unrest, mostly in the west, and including 14 members of Iran‘s Kurdish minority.
State television also reported the arrest of an unspecified number of people in another western city, Kermanshah, accused of manufacturing petrol bombs and homemade pistols.
The deaths acknowledged by official or semi-official Iranian media have been in the small western cities of Lordegan and Kuhdasht. Hengaw also reported that a man was killed in Fars province in central Iran, though state news sites denied this.
Reuters could not verify all the reports of unrest, arrests or deaths.
MAXIMUM US PRESSURE
Trump spoke a few days after he met Israeli Prime Minister Benjamin Netanyahu, a longtime advocate of military action against Iran, and warned of fresh strikes if Tehran resumed nuclear or ballistic work.
A spokesperson for the US State Department said Washington would “continue to put maximum pressure on the regime” in Iran, accusing Iranian authorities of “squandering billions on terrorist proxies and nuclear weapons research.”
The Israeli and US strikes in June last year have cranked up the pressure on Iranian authorities, as have the ousting of Syria’s Bashar al-Assad, a close Tehran ally, and the Israeli pounding of its main regional partner, Lebanon’s Hezbollah.
Iran continues to support groups in Iraq that have previously fired rockets at US forces in the country, as well as the Houthi group that controls much of northern Yemen.
IRAN‘S PRESIDENT ACKNOWLEDGES FAILINGS
During the latest unrest, Iran‘s elected President Masoud Pezeshkian has struck a conciliatory tone, pledging dialogue with protest leaders over the cost-of-living crisis, even as rights groups said security forces had fired on demonstrators.
Speaking on Thursday, before Trump threatened US action, Pezeshkian acknowledged that failings by the authorities were behind the crisis.
“We are to blame … Do not look for America or anyone else to blame. We must serve properly so that people are satisfied with us … It is us who have to find a solution to these problems,” he said.
Pezeshkian’s government is trying a program of economic liberalization, but one of its measures, deregulating some currency exchange, has contributed to a sharp decline in the value of Iran‘s rial on the unofficial market.
The sliding currency has compounded inflation, which has hovered above 36% since March even by official estimates, in an economy battered by Western sanctions.
Conservative cleric Ayatollah Ahmad Alamolhoda said protests over the economy were legitimate, but warned demonstrators they “should not be used as a pretext by the enemy to incite sedition.”
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Yemen’s Southern Separatists Call for Path to Independence Amid Fighting Over Key Region
A flag of the UAE-backed separatist Southern Transitional Council (STC) flutters on a military patrol truck, at the site of a rally by STC supporters in Aden, Yemen, Jan. 1, 2026. Photo: REUTERS/Fawaz Salman
Yemen’s southern separatist movement said on Friday it aimed to hold a referendum on independence from the north in two years, following its seizure of swathes of the country last month in a move that triggered a major feud between Gulf powers.
Southern Transitional Council leader Aidarous al-Zubaidi called on the international community to sponsor talks between concerned parties in the south and north on a path and mechanisms that “guarantee rights of the people of the south.”
The announcement comes as the Saudi-backed internationally recognized government moved to recapture the crucial region of Hadramout from the STC, which is backed by the United Arab Emirates.
RIFT BETWEEN SAUDI ARABIA AND UAE
The STC’s sudden seizure of swathes of southern and eastern Yemen from the government in early December revealed a bitter rift between Saudi Arabia and the UAE and caused a major fracture in the coalition fighting the Iran-backed Houthi movement, which holds Yemen’s capital Sanaa and the heavily populated northwest.
Earlier on Friday, the Hadramout governor under the internationally recognized government said he had launched a “peaceful” operation to restore control over the area.
Saudi airstrikes hit an airport in Hadramout, according to a spokesperson for the province’s tribes, and the governor said his forces had taken control of the most important military base in the area.
Oil-producing Hadramout borders Saudi Arabia and many prominent Saudis trace their origins to the province, lending it cultural and historical significance for the kingdom. Its capture by the STC last month was regarded by the Saudis as a threat.
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What’s funny about living next to a Nazi?
This article contains spoilers for the film My Neighbor Adolf.
In the oddball fiction film My Neighbor Adolf, a Holocaust survivor living in 1960s South America believes his new neighbor is Adolf Hitler; in fact he’s so sure, he sets out to prove it. As he researches and compares notes, we learn a lot about Hitler — his aversion to drinking and smoking, his short temper, his love for chess. Yet somehow, the film has little to say about the Holocaust itself.
The film, directed by Leon Prudovsky, opens in 1934; title cards tell us, vaguely, that we are in Eastern Europe, but savvy audiences will be able to recognize it is Poland from the language. There, our protagonist, Marek Polsky (David Hayman), is a champion chess player with a big loving family. Then, the film flashes forward to 1960; now, he lives alone in South America — exactly where is unclear — the sole survivor of his family.
The film’s writers have an aversion to specifics. Most of Marek’s experience during the war is obscured, with the exception of a few small hints. When he’s in the shower, a number tattooed on his arm is visible. He asks his neighbor Hermann Herzog (Udo Kier) to keep his dog — a German Shepherd, of course — under control, because, he says, “I don’t like dogs,” an allusion to guard dogs in concentration camps. That’s about it.
Not all Holocaust films go into graphic details about the horrors their characters experienced. But they generally provide enough basic details to give the story some substance, like what camps they were at, when they were separated from their family, how they ended up in their new country or what kinds of emotional scars they now bear. My Neighbor Adolf skips all of this, making the Holocaust more of a rushed plot point than a source of emotional depth. Even Marek’s Jewish identity feels sidelined; it’s primarily limited to his visits to the Israeli embassy — where he is trying to convince officials that Hermann is Hitler — his penchant for homemade pickles and a few books he owns in Hebrew.
Still, whatever unspecified horror Marek went through in the Holocaust, it made him bitter and paranoid. He decides Hermann must be Hitler after seeing the man’s eyes, which he usually hides behind sunglasses; Marek believes he met Hitler at a 1934 chess tournament and tells the Israeli embassy he could never forget those eyes. While doing intensive research on Hitler — including buying a copy of Mein Kampf — Marek also notes that Hermann shares other qualities with Hitler, such as being left-handed and enjoying painting.
In order to get closer to Hermann and prove he is Hitler, Marek strikes up a friendship with his neighbor. In a series of events that feel more fitting for a buddy comedy than a film about Hitler, the two play chess, share pickles and even spy on an undressing woman together (coincidentally). For the sake of finding the truth, it makes sense that Marek would be willing to play a chess game or two with the person he believes is responsible for the Holocaust. But it seems improbable that it would go as far as sharing heartwarming conversations.
The film’s eventual big reveal is as underdeveloped as the rest of the film: Hermann tells Marek that he was forced to be a Hitler impersonator and now makes money from Nazi fanatics around the world. But he doesn’t quite explain how or to what end. Did the Nazi government force him? Did a non-governmental Nazi fan club see a way to market Hitler?
If the premise wasn’t already confusing enough, Hermann also reveals it was actually him, not Hitler, at Marek’s long-ago chess tournament. Is the film suggesting Hitler died before 1945, and a body double was used to keep the Reich alive? Or was Hermann just a stand-in for Hitler at events the Fuhrer didn’t want to actually attend?
Either way, this implies Hermann was cooperating with the Nazis. Yet for some reason, this revelation seems to win Marek over. Though at the beginning of the film Marek mutters “Bloody Krauts” under his breath multiple times every time he sees his neighbor, even before suspecting he is Hitler, by the end, Marek has become fond of Hermann, even going so far as to warn him that the Israeli Embassy is sending officials to his house.
It seems as though the movie wants us to think that, in the end, both men are victims of the Third Reich in their own ways. They have more in common than they have differences. It’s a lesson in empathy and humanity.
Except for one problem: Hermann is an antisemite.
In what is apparently meant to be a heartwarming moment, he tells Marek: “You may be a Jew, Mr. Polsky, but you are a good neighbor.” But, of course, this indicates that Hermann shares the prejudices that led to the slaughter of Marek’s family. Yes, he’s not the Fuhrer, but how much does that actually matter when the ideology is the same? Even Hitler had Jewish friends — that doesn’t negate his actions. Perhaps Hermann is meant to be the embodiment of the culpability of every German, that they all could be Hitler no matter how congenial they are. But even if that’s the case, it’s unclear how Marek, after losing his whole family due to the culpability of everyday citizens, is able to ignore the man’s prejudices and continue the friendship.
The expectation that Marek would ignore Hermann’s antisemitism trivializes the harm such beliefs can cause. An antisemite that likes homemade pickles is still an antisemite.
My Neighbor Adolf opens in theaters on January 9.
The post What’s funny about living next to a Nazi? appeared first on The Forward.