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This Purim, a space for queer Jews to celebrate their identities — and dance the night away
(New York Jewish Week) — Stuart Meyers grew up in the heavily Jewish Philadelphia suburb of Voorhees Township, New Jersey. Yet, even though he was Jewish, being queer meant that he often felt like an outsider in Jewish spaces.
Fortunately, as an adult, Meyers — a dancer, artist and nightlife events producer — realized that, instead of abandoning one identity in lieu of another, he could create a vibrant space for queer Jews to celebrate both aspects of their identities.
“I didn’t have an experience [growing up] of being able to bridge my queer and Jewish identities — I just was made to feel like they couldn’t coexist,” Meyers, 32, told the New York Jewish Week. “I started to have this desire and longing to understand what it meant to be Jewish and bring these two identities together.”
In 2021, the Bushwick, Brooklyn resident developed “Flaminggg,” a queer Jewish nightlife experience that aims to bring Jews of all gender expressions and sexual orientations together to loudly and proudly celebrate their Jewish and queer identities. (The name, Meyers said, stuck around after he threw his first Hanukkah party. “It was easy to affirm: We are a fiery, bright burning bunch whose light, despite it all, is eternal.”)
Flaminggg parties, of which there have been four so far, include DJ sets that incorporate pop music, house music and Jewish music, as well as drag performances, dancing, conversation and Jewish rituals. Next week, Flaminggg will host “Flamingggtaschen,” its second-ever Purim party on March 4, at 3 Dollar Bill, a queer club in East Williamsburg. These days, the winter holiday, when cross-dressing and role-playing are commonly a part of even traditional festivities, is often associated with queer pride and a celebration of coming out,
“It’s a sensitive thing,” Meyers said. “People who are queer but secular often say, ‘I do not want to be in a Jewish space.’” Some queer Jews had experiences growing up where they didn’t feel like they belonged, while others were unsure of what to expect, he said. Still others have participated in — and not enjoyed — queer Jewish events that are “not sexy” and felt antiquated, he said.
“I think being queer and Jewish is sexy, magnificent and magical and so related and I want to share that,” Meyers said. “That is the driving belief in what I’m trying to create.”
A drag performer at Flaminggg’s Hanukkah party in December 2022. (Afrik Armando)
Meyers believes that Flaminggg is the first intentionally Jewish nightlife experience for queer adult Jews that is unattached to a synagogue or larger Jewish organization. “It felt like no one was doing this kind of programming, that was artistically and thoughtfully making queer Jewish space in a way that was not just a ‘bright fluorescent lights, community hall,’ kind of Judaism, which I feel like a lot of people want to steer clear from because it just doesn’t feel meaningful,” Meyers said, adding: “Those bright overheads don’t flatter a queen’s skin!”
Of course, there are other organizations and companies that create events for LGBTQ Jews, such as Hebro and Jewish Queer Youth. While Meyers has worked with both in the past, they serve different demographics — cisgender gay men and younger adults mostly with Orthodox backgrounds, for instance. New York City synagogues and Jewish spaces like Congregation Beit Simchat Torah and Lab/Shul are also queer-driven, but, again, secular Jews may still be turned off by some of the synagogue and Jewish ritual aspects. (Meyers is also producing and hosting Lab/Shul’s Purim party extravaganza at House of Yes this year, which will feature drag performances, a Purim spiel and a dance party.)
Flaminggg, by contrast, aims to draw a diverse crowd — participants represent all sexualities and genders, and the parties are open to any level of religious observance (or not). Meyers hopes that his events will reach people who have previously not entered Jewish spaces and want to learn more about and celebrate Judaism and queerness in all its forms and nuances.
And, of course, Flaminggg differs from other queer, Jewish events in that it is a nightlife-oriented, night-long party. Quoting Jewish anarchist political activist Emma Goldman during a Zoom interview, Meyers joked: “If I can’t dance to it, it’s not my revolution.”
This year Purim’s party, which is set to run from from 9 p.m. to 4 a.m., will include a spiel (a comic retelling of the Purim story), a DJ set and other diverse queer Jewish performances. Meyers expects around 300 attendees.
“I’ve basically been waiting for this Purim party ever since the Hanukkah party ended,” Yochai Greenfeld, a drag performer who performed at Flaminggg’s 2022 Hanukkah party, told the New York Jewish Week.
That event, he added, was “probably one of the best parties of my life.”
“There are a ton of Jewish spaces to party in, but those tend to be somewhat uninviting for queer people to express themselves within those spaces,” said Greenfield, whose drag persona is named “Abbi Gezunt” (Yiddish for “so long as you’re healthy”). “The queer party scene is also mega-oversaturated, and there are tons of different spaces to explore. However, it can sometimes feel a little uncomfortable to express your Jewishness in those spaces.”
Greenfeld added that being around people with similar backgrounds allowed for empowering conversations on the sides of the dance floor, something he said he’d never experienced at other parties.
In addition to nightlife, Meyers has plans to grow Flaminggg into a more robust programming venture. Funded solely through donations and ticket sales, Meyers hopes to keep it that way so as to remain independent from any political or religious agendas. Currently in the process of establishing Flaminggg as its own LLC, Meyers envisions branching out into Shabbat dinners and queer Jewish study groups.
Ultimately, Meyers hopes that through Flaminggg’s events, attendees will feel more ownership over their Jewish identities. “All the Jewish programming I do is for building a deeper and deeper possibility of people coming into a space and going: ‘I’ve never felt so affirmed in being both queer and Jewish,’” he said. “Creating a platform where we can celebrate all of that is really special.”
Flamingggtaschen: A Queer Purim Party is on Saturday, March 4 at 3 Dollar Bill (270 Meserole St.) Get tickets here.
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The post This Purim, a space for queer Jews to celebrate their identities — and dance the night away appeared first on Jewish Telegraphic Agency.
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The play is about Birthright, but it’s about a lot more than Israel
Towards the end of Birthright, a new play that just made its New York City debut at the MCC Theatre, two characters are arguing over Israel and Zionism in the wake of Oct. 7. The talking points will be familiar to anyone who’s been ensconced in the discourse of the past few years: Izzy says that Zionism is and has always been a colonialist project, and Chaya blames the conflict on Palestinian leaders who rejected early two-state solutions.
As they argue, each is frantically Googling; their phone screens are projected onto the walls of the set. We can see the chasm between their echo chambers: Izzy goes to the Jewish Voice for Peace website, Chaya to The Jerusalem Post. Each time they focus on their own screen, the sound of the argument becomes muffled and indistinct until they resurface to throw a new piece of evidence into the conversation.
It’s a clever piece of production magic that effectively drives home the schism over Israel in the Jewish world, and our inability to hear each other.
Birthright, commissioned by Miami New Drama from Tony Award-winning playwright Jonathan Spector and here directed by Teddy Bergman, is nominally about the eponymous free trip to Israel. But really it’s about a group of six friends that formed on the trip, and their personal journeys — through Judaism, and through life — as the somewhat motley crew diverges and reconnects over the years.
The show is a long one, three and a half hours once you include its two intermissions. Each act depicts a single night, spaced over the course of nearly two decades — first, right after they’ve returned from their trip to Israel in 2006, then in their early 30s as their careers are taking off in 2016, and finally a year after Oct. 7. While the runtime is admittedly long, it allows for well-developed characters, which are essential to approaching such a touchy topic with any nuance, and the fast-paced dialogue keeps things moving briskly. (A reasonable helping of humor, including a Kanye reference in every act, doesn’t hurt.)
And the show does manage an astonishing amount of subtlety for a topic that has become so factionalized. The characters represent a reasonably diverse range of Jewish thought and experience, though certainly leaves some out. (There are no Jews of color or converts, for example, and no true right-wing hawks.)
There’s Chaya (Zoe Winters, best known as Logan Roy’s secretary and mistress on Succession), who grew up Conservadox, but spent college rushing a sorority and dyeing her hair blonde; she ends up working for the Democratic establishment. Noah (Eli Gelb, Tony-nominated for Stereophonic) is a political wonk with a Facebook-addled dad prone to right-wing conspiracy theories. Izzy (Molly Bernard), a queer Jew who eschewed law school, has worked on the Jewish left long before it became buzzy. Lev (Hale Appleman), a lost soul wanderer with a penchant for Jewish philosophy — he name-drops Abraham Joshua Heschel’s The Sabbath and Yosef Yerushalmi’s Zakhor — has family who survived the Holocaust. Alona (Molly Ranson), a sociology PhD who fell for an IDF soldier on the trip, eventually marries an Israeli and moves to Tel Aviv. And Emerson (Nate Mann), a musician, is barely aware that he’s Jewish when he lands on their trip half by accident.
This long summary represents only a smidgen of the events in the group’s lives. The play makes sharp use of production gimmicks, opening the second and third acts by projecting a montage of messages, summarizing the events of the group’s intervening years — and also cleverly reminding us of the quirks of bygone eras. Before the second act, we see wedding invitations and job announcements sent out by email, and then newborn photos posted on Facebook. Before the third, there are group chats on iMessage and then Whatsapp, where we see more birth announcements. Later, they exchange articles about the Israel-Hamas war.
This glut of information is how the show achieves its depth. On paper, one could slot some of these characters into obvious archetypes: The Zionist who makes aliyah, the queer anti-Zionist activist who has made politics her whole identity, the centrist liberal who staunchly supports Israel. But every character has real depth and pathos, and none of the action plays out to its stereotypical end.
When someone asks Izzy, the JVP-type activist, why she hates Israel so much, she doesn’t list out its sins; instead, she’s affronted. “I don’t hate Israel. I love it,” she says. “What it could be at its best.” She doesn’t believe she’s fighting against the nation, but for it.
Meanwhile, Alona, who made aliyah, does not launch into a speech about how Hamas has to be eradicated before the war can end; Bibi, the rest of the Israeli government and settlers, she says, are just as much of a “cancer” as any terrorist group.
Though the political discussions are impressively nuanced, Birthright finds its true success in spending as much time on the rest of the characters’ lives as it does on their political stances. There are the complications of falling for a non-Jewish partner. The ways having children changes life in inalterable ways. Divorces. Substance abuse. The way a dream career can still disappoint. For a topic that is so often turned into a polemic, the play takes a broader view.
In presenting stories of real, believable Jewish lives that are not solely defined by their Judaism, the play demonstrates that Jewishness doesn’t mean just one thing to anyone. Instead, it explores the ways Jewish identity layers on, mingles with and sometimes challenges the rest of one’s choices, values and beliefs.
There are views left out of Birthright, to be sure. No one is right wing (the characters call their group “BirthLeft”), and in the first act they all make fun of their trip as a way to get Jewish kids laid. No one is truly hawkish about the war; in the first act, the characters make fun of George W. Bush and fantasize about working on Democratic campaigns. No one is making an argument, as plenty of people have in the past few years, that Palestinians should be exiled from Gaza or deserve to die.
But the overall point can apply equally: Judaism, and Israel, is not one clear thing. There’s no perfect answer. We aren’t all supposed to agree — but that doesn’t have to tear us apart. It’s a simple message, but one that is hard to believe these days; Birthright makes it feel tangible.
As Lev says when considering their Birthright trip, and his confused feelings about it. “History, Jewish history, it’s never been a straight line, and it’s never meant only one fixed thing. It’s more a thing you interpret, that you find meaning in.”
The new play Birthright is playing at the MCC Theater in Manhattan through Jul 26, 2026.
The post The play is about Birthright, but it’s about a lot more than Israel appeared first on The Forward.
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New York Times hires Atlantic’s Yair Rosenberg to cover Jewish American life
(JTA) — The New York Times has hired Atlantic staff writer Yair Rosenberg to launch a national beat covering Jewish American life, bringing a widely known journalist on antisemitism and Jewish affairs to a newspaper whose coverage of Israel and the Jewish community has been under unusually intense scrutiny since the Oct. 7, 2023, Hamas attack.
The appointment, announced Monday by National Editor Nestor Ramos, creates a dedicated beat focused on American Jews at a moment when questions of antisemitism, Israel, religious identity and political polarization have moved to the center of public debate.
It is the first time that the newspaper, published in the city with the world’s largest Jewish population, has a beat dedicated to Jews.
“Over the course of 15 years chronicling Jewish life in America and abroad, Yair has taken on the biggest, thorniest stories on the beat,” Ramos wrote in a memo to staff. “Now, Yair will bring that boundless energy and deep expertise to a new religion beat on National focused on Jewish American life, chronicling a period of extraordinary tension but also possibility and reinvention.”
The move brings Rosenberg to a publication that he has occasionally criticized for its coverage of Jewish affairs, but without echoing some critics’ charges of institutional bias.
For the past five years Rosenberg has written The Atlantic’s “Deep Shtetl” newsletter, blending coverage of antisemitism, American politics and Jewish culture with essays on history, religion and popular culture. Before joining The Atlantic in 2021, he spent nearly a decade at Tablet, a magazine of Jewish affairs.
Over the years, Rosenberg has broken or advanced reporting on online extremism and antisemitism while also becoming known for explaining Jewish issues to a broad audience. His work has ranged from investigations into antisemitic disinformation networks to historical features. He has written about antisemitism on the far left and on the Republican right.
During the 2016 presidential campaign, an Anti-Defamation League study found Rosenberg was among the Jewish journalists most frequently targeted with antisemitic abuse on Twitter. Rosenberg became known for responding publicly to trolls and for developing technological tools — including an “Impostor Buster” bot — designed to expose white supremacists posing online as minorities in order to inflame social tensions. The effort drew widespread attention before Twitter eventually suspended the tool.
He later described those experiences in a New York Times guest essay titled “Confessions of a Digital Nazi Hunter,” and has remained a frequent public speaker on combating online hate while preserving free expression.
Ramos’s announcement emphasized that Rosenberg’s beat would extend beyond antisemitism.
“Yair knows better than most that these fraught moments are not all that define Jewish life today—not even close,” Ramos wrote, citing stories on Hanukkah traditions, Jewish representation in popular culture and other facets of American Jewish life.
The Times, through a spokesman, declined to comment beyond Monday’s announcement. Rosenberg did not respond to a request for an interview by press time.
The hire comes as The New York Times continues to navigate a complicated relationship with many Jewish readers.
For decades the newspaper has occupied an outsized place in American Jewish public life, employing prominent Jewish reporters and editors while producing influential coverage of religion, Israel and antisemitism. Yet the newspaper has also faced sustained criticism from parts of the Jewish community over its Israel coverage, criticism that intensified after Oct. 7 and the subsequent war in Gaza.
Media watchdog organizations, some Jewish communal leaders and a number of current and former journalists have accused the Times of factual errors, headline framing and insufficient skepticism toward claims made by Hamas officials in some early coverage of the conflict.
A May 2026 column by Nicholas Kristof, alleging systemic sexual violence by Israeli authorities against Palestinian detainees, was widely criticized for amplifying unverified claims and platforming biased sources. The Times stood by Kristof’s column in an editorial note.
Defenders of the Times argue that accusations of institutional anti-Israel bias often conflate disagreement over editorial judgments with evidence of systemic prejudice.
At Tablet and The Atlantic, Rosenberg occasionally criticized aspects of the Times’ reporting on both Israel and antisemitism. In a 2018 Tablet article he criticized The New York Times Book Review for offering a platform for the novelist Alice Walker to recommend a book by the English author David Icke that was heavily saturated in antisemitic conspiracy theories.
The next year he called out the Times for a profile of former CIA officer and would-be congressional candidate Valerie Plame that failed to mention her history of tweets sharing antisemitic theories. He has also regretted that the Times in 1937 dropped its subscription to the Jewish Telegraphic Agency syndication service because of the perception at the time that JTA’s coverage of Nazi Europe was alarmist.
Unlike some Jewish media watchdog groups, however, Rosenberg has not argued that the Times is institutionally or inherently biased against Israel or Jews. Against that backdrop, Rosenberg’s hiring is likely to be watched closely by Jewish readers across the political spectrum.
According to Ramos, Rosenberg will begin work July 20 and will be based in New York while traveling nationally for the beat.
The post New York Times hires Atlantic’s Yair Rosenberg to cover Jewish American life appeared first on The Forward.
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Canadian Museum for Human Rights opens ‘Nakba’ exhibit amid pushback from Jewish leaders
(JTA) — After weeks of backlash from Jewish groups and leaders, the Canadian Museum for Human Rights this weekend opened its exhibit on the Nakba, the narrative of Palestinian defeat and displacement upon Israel’s founding.
The Winnipeg, Manitoba, exhibit is called “Palestine Uprooted: Nakba Past and Present” and features photography, poetry and everyday objects that document the experience of Palestinian-Canadians impacted by the Nakba. Palestinians use the term, meaning “catastrophe,” to describe their mass displacement upon Israel’s establishment.
The exhibit has drawn fierce condemnation from some Jewish groups, including the Centre for Israel and Jewish Affairs.
“Materials that are one-sided and driven by a political agenda can contribute to discrimination, bullying and even assault targeting Jewish students,” the group wrote in a post on X last week. “The federal government must hold the CMHR’s leadership accountable for this egregious mishandling.”
The museum’s only Jewish board member, Mark Berlin, was upset enough by the exhibit to resign.
“Because the museum chooses to proceed with this exhibit in its present form despite repeated concerns raised by myself and members of the mainstream Jewish community and others seeking a more balanced and historically complete presentation, I can no longer, in good conscience continue to serve as a Trustee,” Berlin wrote in a resignation letter dated June 22.
In the letter, Berlin argues that the exhibit omits the context that “hundreds of thousands of Jews from Arab lands” were also displaced during the 1948 Arab-Israeli war.
“A story detached from the surrounding factual details is not the truth, it is just a story,” Berlin continued. “The museum has a statutory and moral obligation to tell the full truth, not to sacrifice it at the altar of politics.”
The museum has vigorously defended the exhibit. In a statement to the Jewish Telegraphic Agency, Isha Khan, the CEO of the museum, said that “focusing in this one exhibit on the human violations faced by of Palestinian Canadians does not negate the human rights violations faced by Jewish people.”
“Sharing the stories of one community in no way minimizes the experiences of another,” Khan continued.
Khan added that the exhibit had drawn “both criticism and support from Jewish Canadians.”
Several progressive Jewish groups in Canada, including Independent Jewish Voices, the Jewish Faculty Network, and United Jewish Peoples’ Order, defended the exhibit in a joint statement Thursday, writing that it was the “result of dedication, persistence, care and advocacy, especially from the Palestinian Canadian community.”
“We are proud to celebrate a Canadian institution that has remained steadfast in the face of unfounded criticism and pressure and chose to move forward with integrity,” the statement continued. “We hope this historic opening, and the ongoing inclusion of the exhibition in the Museum, encourages learning, reflection and action.”
The dispute over the exhibit comes as Jews in Canada have faced a spate of antisemitic attacks in recent months, including in March, when shots were fired at three Toronto-area synagogues. In 2025, there were 6,800 antisemitic incidents in Canada, marking a 9% rise from 2024, according to B’nai Brith’s annual audit of antisemitic incidents.
The post Canadian Museum for Human Rights opens ‘Nakba’ exhibit amid pushback from Jewish leaders appeared first on The Forward.
