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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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Chicago Jewish theater drops Naomi Ragen play, saying actors feared repercussions of working with the Israeli writer
(JTA) — Naomi Ragen, the New York-born Israeli novelist and playwright known for her portrayals of Orthodox Jewish women in crisis, says the cancellation of a planned Chicago revival of one of her plays represents a “return to McCarthyism” in the American cultural scene.
Ragen, 77, has revealed that plans by a Jewish arts company in Chicago to revive her 2001 play “Women’s Minyan” have been shelved. In a post shared with her thousands of followers on Facebook, Ragen included an email from the company’s artistic director saying that she had been inundated by messages from actors, directors and designers who feared that working with a “a pro-Zionist Jew/Israeli” like Ragen could damage their careers.
Ragen told the Jewish Telegraphic Agency that Chicago-based Arts Judaica first approached her in July with a request to stage her play about a haredi woman trying to flee her abusive marriage. Elayne LeTraunik, the company’s artistic director, told Ragen they intended to stage 13 performances next March.
Happy to collaborate, Ragen asked for a contract. She heard nothing until this week when she received a reply from LeTraunik, saying she “must sadly withdraw my intent to do the show.”
LeTraunik’s email continued: “People were seeing you were a pro Zionist Jew/Israeli and I was bombarded with actors, directors and designers who were actually afraid that doing a show with you as playwright would hurt their careers. I never have faced this before and I was stunned about all the accusations of ‘genocide’ flying around.”
The episode stands in contrast to Arts Judaica’s stated mission: Its website says that “American audiences need Jewish stories on stage more than ever.”
“In the past I have done plays about suicide bombers and never had a peep from anyone,” LeTraunik told Ragen. “This world is getting insane. Perhaps once all this dies down (if it ever does) I will try again. I am so sorry.”
Born in New York, Ragen emigrated to Israel in 1971, where she settled in Jerusalem. In addition to best-selling novels like “Sotah” and “The Sacrifice of Tamar,” she regularly writes opinion pieces sharing her hawkish views on Israel. On her website and on social media, she shares dispatches from her “Israel War Diary,” expressing strong support for Prime Minister Benjamin Netanyahu and IDF military action against Hamas. She has also spoken against what she describes as a worldwide “climate of hatred, fear, and intimidation.”
Some people, she said, have suggested the play was canceled because she is a right-wing Zionist. “Are we now back to McCarthyism, where you have to check the political credentials of an artist [before deciding] whether or not to promote their work?” she said.
“I thought all the progressives were against McCarthyism. Now we’re back there where I have to pass some kind of political test in order to have my work shown.”
LeTraunik told JTA she could never have predicted the pushback or the cancellation when she first approached Ragen. “This situation is one I have never faced before after a lifetime in theater,” she said.
“Since the play has nothing to do with politics I didn’t anticipate any problems,” she continued. “But unfortunately people had done research on Naomi and felt so triggered by her politics it appeared that there were concerns from would-be actors, etc. and even the person who had offered to put up some of the funding was not comfortable.
“As for me, I am almost 80 years old, [a] lifetime American and Jew and I have long decided not to get involved in the current political turmoil. I just want to do interesting theater.”
Ragen told JTA that while it is “strange to get such a response from a Jewish venue,” particularly one whose mission statement includes Holocaust education, she is not angry at LeTraunik.
“I have only sympathy for her,” she said. “I think all these Jewish cultural organizations are now under fire and what we need is not to criticize them because they’re not brave enough, but to understand the pressures they’re under.”
Earlier this month the Anti-Defamation League published a report alleging “the systemic exclusion and marginalization of Jewish and Israeli artists across American cultural life.” In its examination of museums, publishing and live entertainment, the ADL said it found that Jewish, Israeli and Zionist artists have “faced growing scrutiny, organized protest activity, online targeting, event disruptions, reputational campaigns and, in some cases, cancellations or institutional distancing.”
Ragen said her play, originally commissioned by Habima, Israel’s national theater, has previously been staged in the United States. She is not taking the cancellation personally, she said, but as a symptom of a far greater problem.
“You had a situation in Germany in 1938 where you couldn’t produce a Jewish play or any play which didn’t toe the Nazi line,” she said. “Are we going back to that?”
In her conversation with JTA, Ragen called on “American Jews and good people” to “be a little brave,” adding: “It’s not time to build another Holocaust museum — it’s time to wake up, smell the coffee, and put your money and your time and your effort where your mouth is.
“If you are a person who wants to promote Holocaust education, well, you’re living in the middle of it.”
This article originally appeared on JTA.org.
The post Chicago Jewish theater drops Naomi Ragen play, saying actors feared repercussions of working with the Israeli writer appeared first on The Forward.
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Jewish New Yorkers fault Mamdani on antisemitism but back his police commissioner, poll finds
Nearly two-thirds of Jewish voters in New York City disapprove of Mayor Zohran Mamdani’s handling of antisemitism, according to a new poll released on the third anniversary of the Oct. 7, 2023, Hamas attack on Israel. Jewish voters also said Mamdani, a fierce critic of Israel, should not hold or attend an official city event marking the anniversary.
The Honan Strategy Group survey of 503 Jewish voters across the five boroughs, shared exclusively with the Forward, found that 65% disapprove of Mamdani’s handling of antisemitism, including 47% who strongly disapprove. Just 34% approve. Among 1,167 non-Jewish respondents, 46% approve of his handling of antisemitism and 43% disapprove.
The poll was conducted Oct. 2 through Oct. 6 via text-to-web and analyzed Jewish and non-Jewish respondents separately. The overall margin of error is plus or minus 2.8 percentage points, while the Jewish sample has a margin of error of plus or minus 4.3 points.
The survey offers a broader snapshot of Jewish opinion than previous polling on Mamdani. A Honan survey at the beginning of his term included only 131 Jewish respondents, while a poll published in July included a sample of 99 Jewish voters. The findings come a week after Mamdani rolled out a citywide strategy to combat hate and antisemitism, amid continued concerns about rising antisemitic incidents across the city and criticism that his rhetoric on Israel is causing harm.
Recent NYPD statistics showed that in the first nine months of 2026, hate crimes rose 13%, and 53% of those hate crimes involved Jewish victims. During the first nine months of this year, anti-Jewish hate crimes increased 1.2%.
Police Commissioner Jessica Tisch gets much higher marks
Jewish voters gave much higher marks to Jessica Tisch, the Jewish NYPD commissioner who was reappointed by Mamdani after serving a year under former Mayor Eric Adams. Tisch, who strongly supports Israel and is widely respected in the Jewish community, has frequently appeared alongside Mamdani to discuss the rise in hate crimes.
The survey showed that 75% of Jewish respondents approved of Tisch’s handling of antisemitism, while just 6% disapproved — the strongest rating of any official tested in the poll.
During a joint briefing on the latest crime statistics with Mamdani on Tuesday, Tisch remarked, “On the eve of the third anniversary of Oct. 7, we renew our pledge to Jewish institutions that they will not be left to protect themselves without a strong partner in the NYPD.”
City Council Speaker Julie Menin, the first Jewish speaker in history who many Jewish leaders see as a check on Mamdani and who has made combating antisemitism a focus of her tenure, received 57% approval and 13% disapproval. Gov. Kathy Hochul, who is running for reelection in November, received 54% approval.
Mamdani released his administration’s citywide strategy to combat antisemitism last week. The plan includes millions of dollars for security, education and hate-crime prevention, but does not adopt a definition of antisemitism — an issue that has divided the mayor and much of the Jewish community in the city with the largest Jewish population outside of Israel. Throughout his mayoral campaign and since, Mamdani has sought to draw a line between his opposition to Israel and Zionism and his commitment to protecting Jewish New Yorkers.
The new plan mentions the Oct. 7 Hamas attack and the war in Gaza that followed as part of the rise in antisemitism, but does not directly link them.
New York Jews don’t want Mamdani at an Oct. 7 event
Wednesday’s poll found that 64% of Jewish voters said Mamdani should not hold or attend an official city event marking the anniversary of the Oct. 7 attack. Twenty-four percent said he should. Mamdani is expected to attend a vigil in remembrance of Oct. 7 on Wednesday evening, according to his daily public schedule, followed by a meeting with Palestinian New Yorkers.
Meanwhile, City Council Speaker Menin and Jewish councilmembers Inna Vernikov and Eric Dinowitz, who lead the legislative body’s bipartisan task force to combat antisemitism, are expected to join other elected officials in Brooklyn to call for a permanent public memorial in Brooklyn to the victims of Oct. 7.
Mamdani has condemned violence and expressions of support for terrorist organizations, called the Hamas attack a “horrific war crime,” but also defended the constitutional right to protest.
Israel’s consul general in New York, Ofir Akunis, invited Mamdani on Monday to watch the 47-minute compilation of raw footage assembled by the Israeli military documenting the Oct. 7 attack. In a letter to the mayor, Akunis said he hoped seeing the footage would convey “the reality of what happened on October 7th in a way that words alone cannot.”
Members of New York City’s Young Democratic Socialists of America have promoted a demonstration at City Hall, accusing the mayor of capitulating to pro-Israel pressure since taking office. The chapter is the student offshoot of the DSA, in which Mamdani is a member. Mamdani’s spokesperson has said the group organizing the protest is separate from the local DSA chapter with which the mayor is affiliated, but declined to comment when asked by the Forward about the planned protest and whether Mamdani had a message for the protesters.
Worsening relations
The poll found an even broader sense of concern among Jewish New Yorkers about the city’s climate for Jews since Oct. 7.
Seventy-nine percent said antisemitism has increased since Oct. 7, including 55% who said it has increased “a lot.” And 86% said relations between Jewish and non-Jewish New Yorkers have gotten worse since the attack. Just 1% said they have improved, while 12% said they have stayed about the same. Among non-Jewish voters, 51% acknowledged that relations have gotten worse.
There was a larger divide when respondents were asked to compare antisemitism and Islamophobia. A majority of Jewish voters – 57% – said antisemitism is the bigger problem, while 10% said the two are equally serious. Among non-Jewish voters, 66% said antisemitism and Islamophobia are equal problems.
The post Jewish New Yorkers fault Mamdani on antisemitism but back his police commissioner, poll finds appeared first on The Forward.
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They survived Oct. 7. At Rock Camp, they found a way to feel alive again.
(JTA) — ”They tried to kill us. We survived. Let’s eat.”
Alan King’s joke about Jewish holidays gets to the essence of Jewish persistence in the face of horror. He might have added “Let’s sing.” Music has accompanied the Jewish people for millennia through periods of joy and sorrow. Moses and the Israelites praised God for His salvation from the Egyptians in the “Song of the Sea.” Weddings, the Shabbat table and kumsitzes all come with joyous soundtracks.
In times of overwhelming devastation, songs have served as expressions of survival, determination and memory. During the Holocaust, Jews continued to compose and perform it in ghettos and concentration camps, including Theresienstadt. ”The Partisan Hymn,” “Zog nit keyn mol” (“Never Say”), was composed in the Vilna Ghetto.
Three years ago this week, music and tragedy once again intertwined when Hamas-led terrorists attacked the Nova Music Festival as part of the Oct. 7 assault on Israel. Approximately 1,200 people, including 364 civilians at the Nova festival, were killed that day, and 251 were abducted to Gaza.
Two months later, David Fishof, who founded Rock ’n Roll Fantasy Camp, saw music and trauma bound together at the funeral for Yotam Haim, the red-headed hostage who escaped with two others but was killed by friendly fire.
“Yotam’s brother, Tuval, and father, Raviv, are drummers,” said Fishof, an L.A. sports agent and entertainment producer. “They performed a 20-minute drum solo in Yotam’s honor, after which Tuval threw the sticks in the grave. At that moment, it hit me: I wanted to bring Tuval and nine other Oct. 7 survivors to Rock Camp in L.A.”
With the help of Sam Grundwerg, former world chairman of Keren Hayesod – United Israel Appeal, the 10 survivors were flown to Los Angeles in March 2024 to participate in the sold-out camp.
Now, their experience is chronicled in “The Bridge,” a new documentary produced by “Friends” executive producer Kevin Bright that highlights how music can become a pathway from trauma to healing. Its message: “When tragedy strikes the Jewish people, we play louder.” Ahead of a wider theatrical release in November, the film is now playing at select North American venues.
Rock Camp, founded by Fishof in 1997, brings amateur rockers alongside music legends for four days of mentorship, rehearsals and performances at such iconic clubs as Whisky a Go Go and The Viper Room.
Music, memory and trauma informed Fishof’s upbringing. Music saved the life of his father, Mark, a survivor of Auschwitz and Buchenwald.
“My dad would sing to the Nazis, just to entertain them,” Fishof said. “They would say, ‘Sing this song,’ and he would. Music saved him. It was a way for him to take his mind off of what he was going through.”
His father served as a cantor in Hackensack, New Jersey, for 33 years.
Fishof said his memories of his father’s sufferings made Oct. 7 the worst day of his life.
By contrast, their four days at Rock Camp offered the Oct. 7 survivors a rare respite from their trauma and a chance to reconnect with the joy of making music. The Israelis jammed with rock legends Michael Anthony of Van Halen, Sebastian Bach of Skid Row, Warren DeMartini of Ratt and Tommy Aldridge of Whitesnake, and met Richard Fortus and Slash of Guns N’ Roses.
Among the Israeli rockers was 27-year-old vocalist and guitarist Raz Shifer of Ramat Gan, a Nova Festival survivor who was close friends with two hostages, including Inbar Hayman, who was murdered in captivity.
After that Black Saturday, Shifer says in the film, “I couldn’t sleep. I couldn’t eat. I just sat on my couch, literally in shock, trying to figure out what the f— had happened. I forgot who I was — the happy, smiley, energetic Raz. Rock Camp was my first time getting back on stage and letting it all out. For me, it was a really big step. I was able to remember myself again. Music is my victory. It’s the reason I get out of bed every day and the power that keeps me alive.”
Also among the group was 28-year-old vocalist and guitarist Bar Rudaeff of Tel Aviv, the son of Kibbutz Nir Yitzhak’s former deputy security coordinator Lior Rudaeff, who was murdered while defending the kibbutz on Oct. 7. His remains were returned to Israel in November 2025.
For Rudaeff, performing with Tommy Aldridge, the legendary hard rock and heavy metal drummer who played with Ozzy Osbourne and Whitesnake, was a way of reaching his father — through a joy they shared.
“My dad really liked ’80s rock, like Deep Purple, Bon Jovi, Foreigner and Ozzy Osbourne, so when we played with Tommy, it was really meaningful and emotional,” he says in “The Bridge.” “Rock Camp gave me the opportunity to stop thinking, for a little while, about my dad not being here. Music really helped me cope and pulled out a lot of feelings that I was repressing. It was a ray of hope in the middle of one of our darkest periods and gave me the strength to move on.”
At Rock Camp, Fishof said, “Each survivor played on behalf of loved ones — whether family members or friends who had been killed or were still being held in captivity. Every note meant something to them.”
Bright added, “Music enabled them to take a break from Oct. 7 for a week. I think it was a well-deserved respite from everything that was going on in Israel at the time. One of the survivors says in the film, ‘I’m still living Oct. 7. The trauma doesn’t go away.’ At the time that ‘The Bridge’ was made, their trauma was even stronger, and so their ability just to participate was really impressive.”
Three years after that devastating day in October, the survivors are continuing to do what their people have done in the face of adversity for millennia: sing and make music.
Tuval performs regularly and has released two albums, including “Ahim” (“Brothers”), a nod to Yotam. Bar now produces music, including a fellow camper’s upcoming album. And Raz is touring as a full-time vocalist.
“Music is what kept my father alive during the Holocaust,” said Fishof. “It’s what kept him going, and it’s what keeps me and many others going. Because no matter what happens, no one can ever take away our music. If we have that, we have life.”
They tried to kill us. We survived.
Let’s sing.
And eat.
To find local screenings, visit thebridgedoc.com
This article originally appeared on JTA.org.
The post They survived Oct. 7. At Rock Camp, they found a way to feel alive again. appeared first on The Forward.
