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The Jewish holiday of Purim has gone to the dogs
(New York Jewish Week) — The American Kennel Club’s Museum of the Dog, just two blocks south of Grand Central, can boast many things, including an extensive library about dog breeds and one of the world’s largest collections of dog-themed art.
As of this past weekend, it’s also a place where dogs and their owners can celebrate Jewish holidays together.
As part of the museum’s “Furry Fridays” program — a biweekly-ish event in which four-footed friends are welcomed inside the galleries — Sarah Moshenberg, the museum’s manager of learning and engagement, created the institution’s first-ever Jewish event: A “Pawrim” party for Purim, in which humans and canines were invited to dress up in costumes, socialize with one another and eat hamantaschen (yes, there were hamantaschen for dogs).
“Being Jewish myself, I was really excited to do a Jewish event,” Moshenberg, dressed in a bright pink homemade flamingo costume, told the New York Jewish Week. “I would love to do more holidays; more opportunities for all sorts of folks who celebrate all different types of holidays to come here and enjoy them with their their dogs — that’s the excitement.”
“I have three human children,” she said. “My oldest is 8, so I love taking them to the Purim celebration at shul, and then getting to do the parade, watching them in their costumes, showing off… Being able to do that here, but with your dog, is really fun.”
The Purim party, Moshenberg explained, was an outgrowth of an upcoming Furry Friday that happened to fall on St. Patrick’s Day, March 17. In planning the events calendar, Moshenberg had the idea for a “St. Pawtrick’s” party and, from there, the punny themes came easily — Feb. 17, for example, was “Mardi Paws” in honor of Mardi Gras.
Pawrim, as it happens, was inspired by my best girl Shayna Maydele, the adorable Upper East Side-dwelling white coton de Tulear with a charming Instagram account whom the New York Jewish Week called “possibly the most Jewish dog in New York” last year.
“I saw the article on Shayna Maydele and I really wanted to do something with her,” Moshenberg said. With a Furry Friday scheduled just three days ahead of Purim (which begins tonight!) — and once Shabbat availability was cleared with Shayna Maydele’s “manager,” Heidi Silverstone — the party was a go.
On Friday evening, Shayna Maydele, dressed as an aviator for the occasion, took to her first-ever party hosting duties with aplomb. She and her pal Vito, a shih-poo dressed in a penguin costume, gamely posed for the “paw-parazzi” on the museum’s stairs.
“We came for Shayna Maydele!” said Vito’s owner Mina Kim, a dentist who lives in Midtown. “She’s just the sweetest dog.”
Kim, who is not Jewish — “I grew up in Bergen County; I’ve been around Jewish people my whole life!” — added that “doggie hamantaschen” was the second major draw.
Henry, a mixed-breed pup wearing a bark mitzvah outfit, enjoys the Purim festivities. (Courtesy The AKC Museum of the Dog)
As Kim and I chatted, an adorable mutt named Henry — dapper in a very “Wall Street”-esque pinstriped suit — entered the scene and immediately demanded belly rubs. “I couldn’t find his costume,” his owner, Robyn, who declined to provide her last name, told me. “I just grabbed a shirt — he wore it to a bark mitzvah.”
Robyn, who lives in Murray Hill, said she and Henry had previously been to a Furry Friday event before. “He needs to learn his Jewish roots,” she said, adding, “it’s something to do.”
Upstairs, in the museum’s spacious third-floor gallery, klezmer music played quietly in the background as dogs sniffed one another’s tushes and owners gushed over the adorable panoply of costumed canines. Among them was Finley, a papillon who was dressed as an airplane — unintentionally twinning with the dog of the hour! — and Loli, a tiny shih-poo who was dressed as was Sulley from “Monsters, Inc.”
Liz Karpen and her sister, Rebecca, were there with their Havanese, Allen Bader Ginsberg, who was dressed in a homemade hamantaschen costume. “I was already going to make her a costume, but it was just going to be to wander around in the house — maybe I would strut her around the street in it,” said Liz, who learned about the party from Shayna Maydele’s Instagram. “This gave me an excuse to make something that people are going to see.”
The sisters have additional plans for the holiday, but this was their only opportunity to celebrate Purim with Allen. “I tried finding other things for dogs, but there’s not much,” Liz said. “I also didn’t want to assume this costume would last more than one night.”
Sisters Rebecca, left, and Liz Karpen with their Havanese, Allen, in a homemade hamantaschen costume. (Courtesy The AKC Museum of the Dog)
Shara Safer, a law school student who lives in the Village, had learned about the party while at a dog park with her shih tzu, Clem, and immediately knew they had to attend. “I really need to get more involved in Jewish events,” she said, adding that she’s “not super practicing” right now. For Purim itself, Safer said she may visit her family and make some hamantaschen.
“I would love it if I could bring him to shul,” she said of Clem, who was dressed as Cerberus — the three-headed dog that guards the underworld in Greek mythology. (The clever costume, handmade by Safer, took “too long” to make, she said.)
Indeed, much like Moshenberg pointed out, being able to celebrate the Jewish holiday with their dog — instead of having to leave him or her at home — was a draw mentioned by several partygoers. Upper West Siders Andres and Nicole Gannon said they came to the party because they were excited by “the opportunity to have him in costume and celebrate Purim,” said Andres Gannon. Their pug, Monster, had been dressed as the Beast from “Beauty and the Beast,” but they had removed his costume before heading out into the drizzly evening.
When asked about other plans they had for the holiday, they said: “This is our Purim celebration.”
As for Shayna Maydele, Silverstone said in an email after the event that her pup “loved interacting with the other dogs. It was very different than her regular playing in a dog park — all of the dogs were leashed, and it was in a museum setting. Since it was new to her, she had so much fun exploring.”
“It definitely made me feel good about what I am doing on social media, since sometimes I wonder whether it is a productive use of my time, posting photos of my dog,” Silverstone said. “However, when I see the happiness it brings to people, and the awareness it brings about the goodness of Judaism, I realize that it is definitely worthwhile.”
As for future Jewish events at the museum, Moshenberg said she’s open to departing from the Furry Fridays routine. “I would love to do this again,” she said. “I also think I wouldn’t have it on Shabbos next year — I would plan something around it so we wouldn’t have a conflict in that case, and we could definitely invite more of the Jewish community.”
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The post The Jewish holiday of Purim has gone to the dogs appeared first on Jewish Telegraphic Agency.
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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.”