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The mysterious disappearance of Yemenite children in Israel is the focus of a new play
(New York Jewish Week) — Shortly after the State of Israel was founded, Shanit Keter-Schwartz was born on a dirt floor, in a hut made of aluminum siding outside the burgeoning town of Tel Aviv. She was the second of six children, the daughter of Yemenite Jews who had recently immigrated to the new country. They’d faced discrimination and violence in their country of origin, so when Jewish emissaries turned up in 1949 to bring 50,000 Yemenite Jews to Israel as a part of “Operation Flying Carpet,” they were all in.
Unfortunately, Keter-Schwartz’s upbringing in Israel was no magic carpet ride. “[Yemenite Jews] were seen as savages, primitive, inferior in the eyes of the Ashkenazi Jews,” Keter-Schwartz recalled in an interview with the New York Jewish Week. “They were not sophisticated or educated. It was a cultural domination, a collective trauma in Israel. They faced war, hunger, poverty, and living in very harsh conditions.”
The worst, though, wasn’t near-starvation due to rationing, or the harsh conditions of the shanty towns that these new immigrants were placed in, or the way European children wrinkled their nose at her and called her smelly. No, the worst was when the government stole her sister, Sarah, whom Keter-Schwartz never saw again.
In what has become known as the Yemenite Children Affair, more than 1,000 children of Yemenite, Mizrahi and Balkan descent were separated from their children during the first decade of Israel’s existence. The families and their advocates have long insisted, over denials by officials, that the children were taken from their families by the Ashkenazi government during the first decade of Israel’s existence. More often than not, parents were told their children had died when they had, in fact, been given to families of European descent for adoption, according to Amram Association, one of several organizations dedicated to documenting these abductions and advocating for victims’ families.
Now, Keter-Schwartz — a writer and performer who lives in Los Angeles, and a mother to two grown daughters — has brought to life her family’s story and her search for her missing sister in the form of a one-woman show. Premiering on Thursday at New York City Center, and running through May 15, “Daughter of the Wicked” chronicles her family’s journey from the Yemenite ma’abarot (refugee camps) to shikunim (government housing projects), where they lived in a tiny two-room apartment amid a melting pot of Jewish immigrants who were often at odds with one another.
“It is overcrowded, and the people who live here come from many different places. In their countries they were… respected by their communities,” she says in the show, which is named after one of the many Yemenite curses her mother would hurl at her when she’d done something wrong. “But here [in Israel] they are forced into stereotypes.”
“Israel had no choice but to bring the Jews from the Arab countries because the European Jews population had been greatly diminished after the Holocaust, but they didn’t want us,” Keter-Schwartz told the New York Jewish Week. “They took control of our lives, tried to assimilate us, wanted the whole country to be secular and uniform. They made all the decisions for us.”
One such “decision” made by the government, she said, was to remove her oldest brother, Yossi, from the family home to “re-educate” him at an Ashkenazi kibbutz. It worked: Yossi returned as a proud secular farmer, disdainful and ashamed of his spiritualist, religious family and their traditional ways.
The disappearance of her baby sister, Sarah, inspired Keter-Schwartz’s play, which is also informed by the kabbalistic teachings of her father. (Russ Rowland)
In the case of Keter-Schwartz’s sister, the abduction occurred directly after she was born. “When my father went to the hospital to pick up the twins, my siblings, he returned only with David. They told him that the girl, Sarah, was sick, and he should come back the following day. But when he came back, they told him that she had died,” Keter-Schwartz said. “Being naive, he didn’t question this. He didn’t ask to see a death certificate. He didn’t even know [a certificate] existed. He didn’t demand to see her body, didn’t think to bury her or give her funeral rites. He never suspected for a minute they could deceive him.”
This story, and others, is conveyed in “Daughter of the Wicked” through a series of monologues, each tied to an idea from Kabbalah,the Jewish mystical tradition. Keter-Schwartz defines each concept — like ahava (love), metsuka (hardship), busha (shame) — then tells a personal story that relates to the topic.
With this framework, Keter-Schwartz pays homage to her father, a spiritualist rabbi who spent his days poring over holy texts and divining the true meaning of the universe. She reads from his writings — which were collected and published towards the end of his life as a book, “Nachash HaNechoshet” — detailing her complex relationship to a man who was both an inspiration and, at times, inscrutable to all around him.
“The play is set in a hotel room, while I’m waiting for my sister to show up,” Keter-Schwartz explains. “As I wait, I tell my life. Behind me, on three screens, there’s archival footage from the 1950s that I got from Steven Spielberg’s archive. That footage tells the story, too, and so does the music.” The accompanying music, which transitions the audience from segment to segment, was written by Israeli composer Lilo Fedida, using traditional Yemenite melodies and instruments.
“We lived with this [tragedy] all my childhood, and I’ve been wondering all these years about my missing sister,” said Keter-Schwartz. “If I see her on the street, will I recognize her? Where does she live? Is she happy? I felt guilty that I never really tried to find her, I was so busy with my own life. But now I need to know.”
As a young woman, Keter-Schwartz said she went to great lengths to distance herself from her family’s tragedies. She lived in Amsterdam, London and New York, finally finding her footing in Los Angeles. She changed her name — from Shoshana to Shanit — and declared herself a new person in a new land. It was only when she lost all but one of her siblings, as well as both parents, that she felt an urge to revisit the past. When her last surviving sibling got so ill he almost died, she swore to search for Sarah. Initially, the idea was just to hire a private investigator to try to locate her. During her search, though, she began to feel an urge to share her story.
“I’d never written a play, so it took me two years [working] with coaches,” says Keter-Schwartz. “I’ve been an actress all my life, I’ve edited other people’s scripts, I produced movies, but to actually write — ha! I had amazing coaches. I’m especially grateful to Yigal Chatzor, the Israeli playwright. He brought the Israeli spice and the humor, which is wonderful now because now the play is balanced. It’s heart-wrenching and it’s hysterical. It’s everything, you know.”
The Yemenite Children Affair has never been formally confirmed by the state of Israel, which maintains the position that most of the babies died of malaria or malnutrition and were not, as some have proposed, sold to Ashkenazi families in exchange for donations to the young country. Several government-led commissions have claimed that there was no official wrongdoing, but testimonies continue to emerge that suggest otherwise. According to a 2016 article in Yediot Ahronot, a prominent Israeli news source, the government has sealed the official records of these disappearances until 2071, despite ongoing demonstrations and demands for actions.
In 2021, the Israeli government authorized tens of millions of dollars in reparations to families whose children disappeared while in government care. Nonetheless, no official admission of guilt or apology has been issued, a fact which caused many affected families to reject the plan, calling it “hush money.” Only a fraction of the affected families are eligible for these payments and, according to recent reporting, very few have claimed the money. Less than 1% of the allocated funds have been distributed thus far.
For Keter-Schwartz, no amount of money could compensate for the loss of her sister. She’s more interested in creating connections with others who lost family members and bringing awareness to this chapter in Israeli history. “Going back to my roots, revisiting the past, is an act of forgiveness,” Keter-Schwartz said in a statement. “By writing this play, I was able to forgive and accept the past. I hope that when audiences see my play they come to terms with their own history, and that they feel a sense of what it means to be free, and the challenges that confront us in maintaining that freedom.”
That is a major throughline of “Daughter of the Wicked”: Keter-Schwartz does not forsake the country that gave her her identity and childhood; rather, she insists on loving it while demanding recognition of past wrongs. Towards the end of her show, Keter Ashkenazi raises both arms to the sky and screams at those who wronged her: “My country! I blame you, shame on you for forsaking us, shame on you!”
But then, she lowers her arms and says, voice cracking with heartbreak: “I love you, I blame you, I love you. My country, I love you.”
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The post The mysterious disappearance of Yemenite children in Israel is the focus of a new play appeared first on Jewish Telegraphic Agency.
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Jewish Chef Eitan Bernath Sets New Guinness World Record for Making Largest Matzah Ball Soup
Eitan Bernath set a new Guinness World Record for making the largest serving of matzah ball soup on Feb. 27, 2026. Photo: Eric Vitale
Jewish chef and cookbook author Eitan Bernath recently set a new Guinness World Record for making the largest serving of matzah ball soup.
The matzah ball soup weighed in at 1,356.9 pounds and was verified by Guinness World Records in Brooklyn, New York, on Feb. 27. The soup contained 847 hand-rolled matzah balls, and it took 10 chefs about 11 hours to prepare the soup, according to the Guinness World Records. All the soup was donated to City Harvest, New York City’s largest food rescue organization, which will serve it to thousands of hungry New Yorkers in food pantries and soup kitchens.
“There’s no food that brings back more memories of being surrounded by family than matzo ball soup,” Bernath, 23, told The Algemeiner in a statement. “So, when I set out to make the world’s largest version of a dish, choosing matzo ball soup was a no-brainer. Every bowl is a bowl of comfort. Being able to create a giant version was both an incredible challenge and a thrill. It meant even more to me that after setting the record, we were able to donate all the soup to New Yorkers in need — sharing the comfort of matzo ball soup even further.”
Bernath — who is also a social media content creator and the principal culinary contributor for “The Drew Barrymore Show” — said the matzah ball soup was comprised of 120 chickens, 300 carrots, and 250 bunches of herbs. The soup also included parsnip, turnip, celery root, onions, parsley, dill, paprika, and salt. Bernath used ChatGPT to scale up his grandmother’s matzo ball soup recipe to a 200-gallon version, and to help him also find the right vessels needed to make such a large portion. To hold more than 160 gallons of hot liquid, he ended up using a water trough, typically used for horses, which was lined with a food-grade liner.
On Instagram, Bernath shared behind-the-scenes photos that show the making of the massive matzah ball soup. In the caption, he explained that creating the record-breaking dish “was one of the most challenging things I’ve ever done.”
“As a proud Jew, creating a record-setting giant version of such an important Jewish dish meant the world to me,” he added. “I couldn’t be prouder of my team and I for pulling this off. I will never look at a bowl of matzo ball soup the same again!!”
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The real reason for the US war with Iran may have nothing to do with Israel
The lack of a clear, coherent reason for this war is bad for the Jews.
Overstatement? Consider that Tucker Carlson is now blaming Chabad — yes, Chabad — for the conflict. Yesterday the watchdog organization The Nexus Project released a series of posts on X clarifying how to have a “robust debate about the U.S.-Israel war with Iran” without veering into antisemitism — because certain parties seem to have come to the consensus that, to put it bluntly, the Jews did it.
Americans need a good reason to shed blood thousands of miles away, and the problem is that while President Donald Trump has taken the United States to war, neither he, Secretary of State Marco Rubio, nor anyone else in his administration has offered a convincing explanation as to why.
So pundits like Carlson are filling the void with poison. As I wrote last summer during the first U.S.-Israel attacks on Iran, if the war goes badly, fingers will point at Israel and its supporters. It’s clear, now, that the blame game is also going to generate a huge amount of antisemitism.
A default explanation
Why strike now? Is it because of the Iranian nuclear weapons program, the one that Trump previously boasted the U.S. “obliterated” last summer? Is it because the Iranian regime has taken American hostages, killed American service personnel and sponsored terror abroad?
All those things are true, but they’ve been true for decades. So why now?
Sen. Tom Cotton, defending the choice to go to war, said on Fox News that “Iran has been an imminent threat to the United States for 47 years.”
That stretch of the word “imminent” only underscored the, um, imminent need for a better reason.
The lack of one has left Israel and its American Jewish supporters as the default scapegoat. Rubio told reporters earlier this week that the U.S. attacked Iran because Israel had decided to do so, and the U.S. had to join in because Iran would then hit back at U.S. targets.
He and the president later tried to clarify that the U.S. was going to attack anyway, and Israel’s intentions only influenced the timing.
Few on the left or right, or around the world, are buying it.
“No war for Israel!” former Marine and Green Party Senate candidate Brian McGuinness shouted during a congressional committee hearing March 4, before Capitol police and Sen. Tim Sheehy dragged him out. (McGinnis claimed his arm was broken in the process.)
“It’s hard to say this, but the United States didn’t make the decision here. Benjamin Netanyahu did,” said Carlson, days before he pivoted to blaming Chabad. The left-leaning investigative outlet The Lever titled its piece on America’s Operation Epic Fury, “Operation AIPAC Fury.”
The China syndrome
The Israeli commentator Haviv Rettig Gur stepped into this mess with a thoughtful and convincing explanation: That the attack is part of a great power game, as the U.S. makes a bid to stop Iran from being a Middle East outpost of Chinese power.
“America is in this fight because of China,” Gur wrote in an essay in The Free Press earlier this week.
After decades of effective American-led economic sanctions, Gur explained, Iran has become economically dependent on China through oil exports, which fund roughly a quarter of Tehran’s budget and sustain its military and internal security. China, which receives 90% of Iran’s crude oil, has used it to build a petroleum reserve that hedges against a potential U.S. naval blockade.
Furthermore, China has armed Iran with advanced anti-ship missiles, hardened its cyber infrastructure, conducted joint naval exercises, and given it the wherewithal to control global trade through the Strait of Hormuz.
Gur isn’t alone in asserting that what matters to the U.S. isn’t Israel’s immediate needs, but rather the China-U.S. chessboard.
China, wrote Zineb Riboua, a scholar of Chinese-Middle East politics, “bet a decade of foreign policy on Khamenei’s ability to withstand American pressure, and the bet did not pay off.”
Gur, Riboua and others making this argument might be wrong. And their reasoning still raises questions of “why now?” that are hard to answer. But it’s striking that it sounds so much more coherent than anything that’s been offered by our government.
Why we fight
Right now, about 60% of Americans oppose the war. As it drags on, and casualties and costs mount, those polling numbers will get worse — especially without a clear rationale to explain why the suffering is necessary.
One casualty of every modern Mideast war is the standing of American Jews.
After the first Gulf War in 1991, the ADL recorded 1,879 antisemitic incidents — an 11% spike over the prior year. It was the highest number since tracking began, driven largely by “politically related antisemitism” in the war’s opening months.
After the second, far more unpopular Gulf War broke out in 2003, incidents climbed again — reaching 1,821 in 2004, the highest in nearly a decade. Never mind that 70-77% of American Jews opposed the Iraq War, a higher rate than any other major religious group.
Why? Because the right and left converged on the same target: Israel-supporting neoconservatives who supposedly dragged the U.S. into a war for Zionist interests. Researchers called the conspiracy a “Trojan horse” — age-old tropes about Jewish power and dual loyalty wheeled in as foreign policy critique.
And here we are again.
In the scheme of things, now, there are bigger worries. American service personnel, innocent Iranians and their Arab neighbors are in harm’s way, Israelis are once more locked down in shelters, facing the barrages of madmen.
But these sacrifices make it more, not less urgent for the administration to land on a coherent reason for this war, and a clear set of aims.
Just as the U.S. entered into World War II, the director Frank Capa made a series of propaganda films called “Why We Fight”. By then, the title was rhetorical. In early 1941, 68 % of Americans supported the campaign against Japan and Hitler. After the attack on Pearl Harbor on Dec. 7, 1941, support was nearly unanimous.
Now, appropriately for our polarized age, we are fighting over why we are fighting. And so much is riding on the answer.
The post The real reason for the US war with Iran may have nothing to do with Israel appeared first on The Forward.
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Noam Bettan Releases Song ‘Michelle’ He’ll Perform as Israel’s Rep for 2026 Eurovision Song Contest
Noam Bettan in the music video for “Michelle.” Photo: YouTube screenshot
Noam Bettan revealed on Thursday the song he is set to perform when he represents Israel at the 70th Eurovision Song Contest in Vienna, Austria, in May.
“Michelle” is a trilingual song written by Bettan, Nadav Aharoni, Tzlil Klifi, and Yuval Raphael, who represented Israel in last year’s Eurovision and finished in second place. The song features lyrics in Hebrew, English, and French, and premiered during a special broadcast on the Kan public broadcaster.
“‘Michelle’ tells the story of choosing to break free from a toxic emotional cycle. It’s a story about emotional growth and maturity, at the moment when the protagonist realizes they must let go and choose a new path for themselves,” Eurovision stated in its official description of the song.
“Michelle” is largely in Hebrew and French with only one verse in English. “Walking down Florentin/Ocean eyes/Memories/I, I’m losing my mind,” Bettan sings in English. “An angel but it is hell/Trapped in your carousel/Round and round/Under your spell.”
Bettan, who turned 28 on Thursday, was born in Israel and raised in the city of Ra’anana. His parents are French and lived in the French city of Grenoble before immigrating to Israel with their two older sons.
Bettan is fluent in French, Hebrew, and English. He won the Israeli television show and singing competition “HaKokhav HaBa” (“The Rising Star”) in January, which automatically secured him the position of representing Israel at this year’s Eurovision. Bettan will perform “Michelle” during the second half of the first Eurovision semi-final on May 12.
“I’m very proud of the song,” Bettan said in a released statement. “It’s a great privilege to bring such a creation to the Eurovision stage. The song is full of energy and emotion that touches on a wide range of feelings. I feel that ‘Michelle’ will bring us moments of shared joy and pride, and I hope this song can bring a little of that light with it.”
Watch the music video for “Michelle” below.