RSS
This Jewish actor plays Richard Dreyfuss in Broadway’s ‘The Shark Is Broken’
(New York Jewish Week) — In 1974, three men — Roy Scheider, Richard Dreyfuss and Robert Shaw — spent countless hours together aboard the Orca, a converted fishing boat docked in the open ocean east of Martha’s Vineyard. The trio, all actors, were filming “Jaws,” the Steven Spielberg-directed blockbuster whose filming schedule famously went 100 days over schedule.
The Orca is also the setting, and the men the cast of characters, of the play “The Shark Is Broken,” now playing at Broadway’s Golden Theatre. The play chronicles the tense relationships between the actors as they sit onboard, day after day, waiting — with decreasing amounts of patience — for the film’s mechanical shark (nicknamed “Bruce”) to be repaired so filming can continue. Like any group of near-strangers forced together in close proximity for a prolonged period of time, they bicker, bare their souls and play mindless games to pass the time.
Alex Brightman, 36, a Tony-nominated actor best known for originating leading roles in “Beetlejuice” and “School of Rock,” plays Dreyfuss, the Jewish actor who himself played the movie’s earnest marine biologist, Matt Hooper.
“The Shark Is Broken” keeps its three-person cast onstage for nearly the entire 90-minute show, and much of it centers around Shaw’s distaste for Dreyfuss. (Shaw is played by his son, Ian Shaw, who co-wrote the play based, in part, on his father’s drinking diary from his time on set.) Shaw — embittered, ill-tempered and frequently drunk— has no patience for Dreyfuss, a Brooklyn native who is anxious, eager and, according to the script, caught the acting bug after auditioning for a play at Los Angeles’ Westside JCC.
Dreyfuss’ Jewish identity is made clear from the play’s start, primarily through his own self-deprecating humor. He jokes about how his skin “bypasses tan and goes directly to sunstroke,” and how Spielberg nearly cast the emphatically non-Jewish looking John Voigt in the role of Hooper. Expressing his dislike for the ocean, Dreyfuss says, “Jews should stay away from water. Nothing good ever happened to any Jews on the water.” (Turns out that’s a sentiment with which Brightman, not a huge fan of the ocean himself, wholeheartedly agrees.) Later, as the characters dive into their childhoods, Dreyfuss reveals how his “typical Jewish father” wanted him to become either a lawyer or a doctor; this sliver of backstory helps the viewer to understand the anxiety Dreyfuss is feeling about achieving success as an actor.
Like Dreyfuss, Brightman is Jewish. He approaches his character with a fast-talking vulnerability, throwing his full physicality into the role. The New York Jewish Week caught up with Brightman in between shows to hear about his own Jewish identity, what it’s like playing a real person and how he relates to Dreyfuss’ Jewishness.
This interview has been lightly edited for length and clarity.
Actor Alex Brightman at the opening night of “The Shark Is Broken” on Aug. 10, 2023. (Michaelah Reynolds, Courtesy Polk & Co.)
You’re playing Richard Dreyfuss, who’s a real actor, and who’s also still living. What was it like preparing for this role?
I think I was ignorant to the idea that it was strange when I was first auditioning for it, which I guess is a good thing. But as it’s gone forward, the pressure started to build a little bit because he’s alive and probably knows about it. I watched interviews of him, pretty much only from the year or two surrounding the filming of “Jaws,” because that’s before he was the Academy Award winner [in 1977, for “The Goodbye Girl”]. He was nervous, he had imposter syndrome, and he had this huge ambition to be not only a successful actor, but to be famous. I can empathize with so many things that he went through. But it was really the voice, the mannerism work and the posture. It’s been really fun for me to figure out that real human beings can also be characters to inhabit.
There are so many jokes throughout the play about Richard Dreyfuss’ Jewishness. Does that help you feel a sense of kinship with him?
As he says in the show, “The people of Martha’s Vineyard, they look at me like they’ve never seen a Jew before.” I think it’s about the ostracizing, or even the sort of loneliness or isolation that comes from being something a lot of people didn’t, and really don’t, understand. I can relate to his anxiety about being someone that doesn’t inherently belong, or has been persecuted in the past. He has his walls up. And I think that was an interesting thing to play, because being in theater is about being vulnerable. And he isn’t, until he has to be. He’s full of loudness and bravado, but I think only later on does he feel comfortable enough to be vulnerable around strangers. And I totally understand that as a Jewish person.
Can you tell me a bit about your own Jewish upbringing and sense of Jewish identity?
I’m Jewish by genetics. My mom is Jewish, my dad is Jewish, and so I am. I never went to Hebrew school, mainly because I didn’t love regular school. My parents both had bar and bat mitzvahs, and I think they got something out of it; they definitely have some culture still ingrained. But they didn’t want to press that upon me or my brother, mainly because it wasn’t a daily practice for them.
I’m definitely culturally Jewish, even stereotypically. I’m funny. I know that seems odd, it’s not an objective thing, but I think that a lot of Jewish people I know in show business are the funniest people I know. And I know that might be a slight defense mechanism from history. I wasn’t really raised in a way that felt meaningfully Jewish, but I think I feel more Jewish now than ever.
Your character’s Jewishness feels in many ways like a throughline in his tension with Robert Shaw. Do you have a sense of how much that was based on reality?
I can’t speak for how Jewishness played into their feuding. But the reality is that they didn’t get each other — they just fundamentally did not understand each other on a human level, and on a professional level. They couldn’t relate to each other. I think some of it has to be about culture and being Jewish; I think it fuels their misunderstanding. In the show, Richard is persecuted more than anybody else. Richard is beat up, literally. He’s manhandled and thrown around. I can’t help but think under the context of being Jewish, it’s like at this point — then and also now — Jews are kind of through being tortured.
In the play, Dreyfuss is anxious about the impending release of “The Apprenticeship of Duddy Kravitz,” in which he played the titular lead. That means that you are a Jew, playing a Jewish character, who is nervous about playing a Jewish character. Do you ever find yourself getting lost in the layers?
You’ve touched upon something that is a nightly struggle. I feel like I’m in the movie “Inception”: It’s a Jew, playing a Jew, playing a Jew. Where does it end, and where am I in that? Sometimes I do get lost even to the point where when I leave the theater I can’t shake the [Dreyfuss] accent — a sort of Queens, fast-talking, anxious, almost Woody Allen type. I think that might be a big part of who I am. It’s easier to shake off the things that are so anti-you, and I think that sometimes I bring home more of the Jewish anxiety than I anticipated.
“The Shark is Broken” is scheduled to close Nov. 19. What’s next for you after that?
I’m doing “Spamalot” in January on Broadway at the St. James. And I have a lot of writing in the hopper. I wrote a play called “Everything Is Fine” that’s getting a reading this month, and I’m hoping that it will get a production sooner than later. It explores identity, the difference between moving on and moving forward. It’s definitely about trauma but it is a comedy, very pitch black. And other than that, I’m just trying to work on this work-life balance. I’ve done so much work-work, that it’s been really nice to dive back into life-life.
—
The post This Jewish actor plays Richard Dreyfuss in Broadway’s ‘The Shark Is Broken’ appeared first on Jewish Telegraphic Agency.
RSS
A Purim Guide for the Perplexed, 2025
A Hamentashen pastry commonly served during the Jewish holiday of Purim. Photo: Rebecca Siegel via Flickr.
Ahead of this year’s Purim celebrations on Thursday night, here are seven facts you should know about the holiday:
1. Purim is a Jewish national liberation holiday — just like Passover and Hanukkah — which highlights the transition of the Jewish people from subjugation to liberty. It is celebrated seven days following the birth and death date of Moses — a role model of liberty, leadership, and humility.
2. Here is some information on Purim’s historical background:
A Jewish exile to Babylon and Persia was triggered by the 586 BCE destruction of the First Jewish Temple and the expulsion of Jews from Jerusalem, Judea, and Samaria by the Babylonian Emperor, Nebuchadnezzar. Persia then replaced Babylon as the leading regional power.
In 538 BCE, Xerxes the Great, proclaimed his support for the reconstruction of the Jewish Temple in Jerusalem, the resurrection of national Jewish life in the Land of Israel, and the recognition of Jerusalem as the exclusive capital of the Jewish people. In 499-449 BCE, King Ahasuerus established a coalition of countries — from India to Ethiopia — which launched the Greco-Persian Wars, aiming to expand the Persian Empire westward. Persia was resoundingly defeated (e.g., the 490 BCE and 480 BCE battles of Marathon and Salamis), and Ahasuerus’ authority in Persia was gravely eroded.
3. “Purimfest 1946” yelled Julius Streicher, the Nazi propaganda chief, as he approached the hanging gallows in Nuremberg. On October 16, 1946, ten convicted Nazi war criminals were hanged, similar to Haman’s ten sons, who were hanged in ancient Persia. An 11th Nazi criminal, Hermann Goering, committed suicide in his cell, similar to Haman’s 11th child, who committed suicide following her father’s demise (according to the Talmud’s Megillah tractate 16a).
Julius Streicher’s ranch served as a camp for young Jewish Holocaust survivors on their way to Israel following World War II.
4. Remembrance is at the core of the Purim holiday. The Scroll of Esther — which narrates the Purim saga — is also named The Book of Remembrance. The pre-Purim Sabbath is called The Sabbath of Remembrance (Zachor in Hebrew), commemorating the deadly threat of the Amalekites (the ancestors of Haman), who aimed to annihilate the Jewish people following their deliverance from Egyptian bondage.
Deuteronomy 25:17-19 commands the remembrance of the Amalekite’s attempt to annihilate the Jewish people following the Exodus from Egypt, on the way to the Land of Israel. These verses are read in synagogues/temples on the Sabbath preceding Purim.
5. Queen Esther is Purim’s heroine. The Scroll of Esther is one of the five Biblical scrolls, which are highlighted on Jewish holidays: Song of Songs (Passover), Scroll of Ruth (Pentecost), Lamentations (the 9th day of Av – destruction of the Jewish Temple), Ecclesiastes (Feast of Tabernacles), and The Scroll of Esther (Purim).
Esther symbolized the centrality of women in Judaism, as did Sarah, Rebecca, Rachel, and Leah (the Matriarchs), Miriam (Moses’ older sister), Batyah (who saved Moses’ life), Deborah (the Prophetess, Judge and military leader), Hannah (Samuel’s mother) and Yael (who killed Sisera, the Canaanite General).
Esther was one of the seven Biblical Jewish Prophetesses: Sarah, Miriam, Deborah, Hannah, Abigail, Huldah, and Esther. Sarah lived 127 years and Esther was the Queen of 127 countries. The Hebrew name of Esther was Hadassah, whose root is Hadass, which is the Hebrew word for the myrtle tree. The myrtle tree features prominently during the Feast of Tabernacles. It is known for its pleasant scent and humble features, including leaves in the shape of the human eye. Greek mythology identifies the myrtle tree with Aphrodite, the Greek goddess of love.
6. Mordechai, the hero of Purim and one of the deputies of Ezra the Scribe, was a role model of principle-driven optimism in defiance of colossal odds.
The first three Hebrew letters of Mordechai (מרדכי) spell the Hebrew word “rebellion” (מרד). Mordechai did not bow to Haman, when the latter was the second most powerful person in the Persian Empire. Mordechai was a member of the tribe of Benjamin, the only son of Jacob who did not bow to Esau.
Mordechai was a descendant of King Saul, who defied a clear commandment to eradicate the Amalekites, sparing the life of Agag, the Amalekite king, thus precipitating further calamities upon the Jewish People. Mordechai learned from Saul’s crucial error and eliminated Haman, a descendant of Agag the Amalekite, thus sparing the Jewish people from a major disaster.
7. Purim’s (פורים) Hebrew root is “fate” as well as “casting lots” (פור), commemorating Haman’s lottery, which determined a designated day for the annihilation of the Jewish People. It also means “to frustrate,” “to annul” (הפר), “to crumble,” and “to shutter” (פורר), reflecting the demise of Haman.
The author is a commentator and former Israeli ambassador.
The post A Purim Guide for the Perplexed, 2025 first appeared on Algemeiner.com.
RSS
Palestinian Authority Used International Women’s Day to Celebrate Terrorists and Their Mothers
Students at the Dalal Mughrabi Elementary Mixed School, which was built with funds from the Belgian government. (Photo: Facebook)
As in previous years, the Palestinian Authority (PA) used International Women’s Day to glorify the memory of female terrorists and the value of mothers who knowingly send their sons to die as “Martyrs.”
Senior Fatah leader Abbas Zaki sang the praises of the mothers who publicly celebrate their sons’ deaths. He also lauded the mothers who give their sons the stones to throw at Israelis with the full knowledge that their children will die.
However, sending their sons to their death is not in vain, according to Zaki: “She [the mother] begins to feel that she has gained respect and high status in society when her son dies as a Martyr.”
Fatah Central Committee member Abbas Zaki: “Allah is witness to the fact that there is no woman in the world like the Palestinian woman. The woman who makes sounds of joy for the Martyr and sings songs of the revolution for the groom [i.e., a Martyr’s funeral is considered his wedding to the 72 Virgins in Paradise in Islam].
This woman is the one who gives up her son as he goes to fight with a rock, and she gives him the rock while knowing what her son’s fate will be. However, this woman is placed on a pedestal because she gave oxygen to this homeland, and she begins to feel that she has gained respect and high status in society when her son dies as a Martyr.”
[Fatah Central Committee member Abbas Zaki, Facebook page, March 10, 2025]
The PA also chose International Women’s Day to specifically glorify mass murderer Dalal Mughrabi, who led the Coastal Road Massacre, which was the most lethal attack in Israel’s history prior to October 7, 2023. Mughrabi, along with other Fatah terrorists, hijacked a bus, murdered 37 people, of which 12 were children, and wounded 70.
PA Ramallah Governor Laila Ghannam wrote on Facebook that “on this day … we pray for our female Martyrs and leaders whose blood paved the path of freedom, from Dalal Mughrabi to … the rest of the icons of the struggle.”
In the PA’s official daily, the Ramallah governor continued to extol the role of all Palestinian women as terrorists — the “Martyr, prisoner, and wounded” — and terrorist supporters — “the Martyr’s mother, the prisoner’s mother, his wife, his sister, and his daughter” [Official PA daily Al-Hayat Al-Jadida, March 9, 2025].
When someone is referred to as a “Martyr,” or Shahid in Arabic, it means that the person died while carrying out an idyllic act for Allah, such as the way Dalal Mughrabi murdered children in cold blood.
In yet another article, the official PA daily honored other female terrorists as “icons”: Zakiya Shammout — who planted a bomb in the Afula market in 1969, murdering one and injuring dozens; Shadia Abu Ghazaleh — who prepared bombs for many attacks as a member of the Popular Front for the Liberation of Palestine (PFLP); and Intisar Al-Wazir — the wife of Abu Jihad. Abu Jihad planned numerous lethal terror attacks from the 1960s to the 1980s, in which a total of 125 Israelis were murdered:
In addition to regularly broadcasting that dying for the sake of Allah is the greatest of acts, the PA exploits International Women’s Day year in and year out to focus on women linked to terror. It does this in order to reiterate that the highest form of feminine hero is the terrorist Martyr, or the mother of the terrorist Martyr.
Ephraim D. Tepler is a contributor to Palestinian Media Watch (PMW). Itamar Marcus is PMW’s Founder and Director. A version of this article originally appeared at PMW.
The post Palestinian Authority Used International Women’s Day to Celebrate Terrorists and Their Mothers first appeared on Algemeiner.com.
RSS
A Fascinating Look Into the Rise of Campus Hatred and Antisemitism
Pro-Hamas protesters at Columbia University on April 19, 2024. Photo: Melissa Bender via Reuters Connect
The latest offering from Jewish Quarterly provides a timely and thorough exploration of the state of antisemitism in contemporary universities. It particularly focuses on the rise of campus activism and its implications for academic freedom.
Mindless: What Happened to Universities? features an in-depth essay by Professor Cary Nelson, a respected scholar and former president of the American Association of University Professors. Nelson’s analysis is well-researched and candid, illuminating the ideological shifts within higher education and their consequences for open discourse.
Nelson’s essay is a critical reflection on how academic institutions have evolved in recent years, particularly in response to anti-Zionist activism, antisemitism, and the broader politicization of campus spaces. He examines how university environments, which should be spaces for debate and critical thinking, have increasingly become arenas for dogmatic activism, often at the expense of intellectual diversity. He argues that the Gaza Solidarity encampments that spread across Western campuses in 2024 were symptomatic of deeper issues in academia — specifically, the growing resistance to debate and the framing of complex geopolitical conflicts in binary terms.
Nelson does not claim that student activism itself is problematic. Rather, he critiques the extent to which some protests have crossed the line into intimidation and exclusion for Jewish students. The essay provides extensive and unsettling evidence of antisemitic rhetoric emerging in protests, alongside surveys indicating that over half of Jewish students in the US felt unsafe on campus in 2024. His argument is not that all activism is inherently harmful, but that in many cases, the principle of free inquiry has been overshadowed by ideological conformity and naked political activism in place of scholarship.
One of the strengths of Nelson’s essay is that it does not rely on alarmism; rather, he builds the case methodically. He traces the historical trajectory of academic institutions, illustrating how certain disciplines have gradually shifted toward ideological uniformity, especially in their framing of Israel and Zionism. He also emphasizes how some faculty members have actively promoted activism that extends beyond protest to include calls for exclusion and censorship.
Nelson’s essay is an important contribution for readers looking for a balanced critique. While he clearly finds much of the current campus climate troubling, he avoids sweeping generalizations. Instead, he focuses on specific examples of how anti-Zionist activism has, in some cases, led to exclusionary practices and threats to the psychological safety essential for learning. The result is an essay that invites reflection rather than simply reinforcing entrenched positions.
A particularly valuable aspect of this work is its examination of the role that faculty and administrators play in shaping campus climates. Nelson provides examples of professors who have actively celebrated extremist rhetoric, as well as administrators who have been hesitant to confront antisemitism under the guise of protecting free speech. He contrasts this with past university responses to other forms of discrimination, questioning why antisemitism is often treated differently, especially within the context of a polarizing broader debate over DEI and identity politics.
At the same time, the issue does not present a one-sided view of faculty involvement. There is an acknowledgment that many academics oppose the radicalization of campus discourse but feel unable to speak out due to professional risks. Whilst highlighting increasingly politicized humanities and social sciences departments, his nuanced approach strengthens the essay’s credibility, as it avoids portraying all faculty as complicit or all students as antagonistic.
The past year has witnessed intense debates over free speech, antisemitism, and academic freedom. Nelson’s essay provides an important perspective on how these discussions are unfolding in higher education. Although it does not purport to offer all the answers to antisemitism, it presents a well-argued assessment of the challenges facing universities and offers possible solutions.
Furthermore, the issue underscores how the internationalization of campus activism has influenced these trends. With protests erupting across North America, Europe, and Australia, Nelson places these developments within a global framework, showing that these issues are not limited to any one country or institution. Nelson’s writing is clear and persuasive, and helps frame the discussion within a broader historical and intellectual tradition.
Mindless is an important read for anyone concerned about the future of academic institutions and the principles of free inquiry. While some readers may disagree with Nelson’s conclusions, his work’s strength lies in its commitment to reasoned debate. It does not demand agreement but encourages deeper reflection, which is increasingly rare in today’s polarized discourse.
This issue is well worth reading for those who follow developments in higher education or are concerned about the growing tensions around academic freedom and antisemitism. Jewish Quarterly continues to demonstrate why it is a respected voice in Jewish intellectual and cultural discussions, and Mindless is a testament to its enduring relevance.
Andrew Fox served for 16 years in the British Army (2005-21). He was a senior lecturer at the Royal Military Academy Sandhurst, and is currently a research fellow at the Henry Jackson Society. Andrew provides regular commentary on defense and foreign policy across the media including articles in the New York Post, The Telegraph, The Spectator, and Spiked. He has amassed a large following across his digital platforms, including X (formerly Twitter) and Substack, where he writes on disinformation, defense and security.
Mindless is available at www.jewishquarterly.com
The post A Fascinating Look Into the Rise of Campus Hatred and Antisemitism first appeared on Algemeiner.com.