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This Upper West Side appetizing shop stands apart by standing still
(New York Jewish Week) — Paul Klausner, a native Upper West Sider, has clear memories of shopping with his mother as a young boy at Murray’s Sturgeon Shop, a store on Broadway and 89th Street known for smoked fish. In Klausner’s family, when it came to buying lox and all the fixings, Murray’s was the place.
Now, some 60 years later, Klausner is still a devoted fan. Although he no longer lives in Manhattan, his beloved Murray’s remains very much the same as the Murray’s of his childhood — in fact, little has changed there since it first opened in 1946. As for Klausner, he and his wife, April Stewart Klausner, keep their freezer in Litchfield County, Connecticut, stocked with Murray’s sliced center-cut nova, which they pick up whenever they are in the city.
In the changing retail world now dominated by chain stores and online shopping, Murray’s is a unicorn. Even among other renowned, longstanding New York appetizing stores like Barney Greengrass, Zabar’s and Russ & Daughters, Murray’s stands apart by standing still. Except for one short move in the 1940s — half a block uptown to its present location — it has always occupied the same tiny piece of real estate. Throughout its 77 years of existence, Murray’s has never expanded its brick and mortar store, nor have its owners opened an adjacent restaurant or cafe. It is a small, narrow slip of a shop, more similar in size to a subway car than a food emporium.
“We are one of the oldest continually running stores on Broadway,” said 65-year-old Ira Goller, the third owner of the shop. “There is nothing else like this anywhere.”
Numerous aspects make Murray’s stand out — the lack of in-store seating, for one, as well as the care in which every customer’s order is hand-filled. Varieties of smoked fish are sliced with surgeon-like precision — so finely that each piece is practically transparent — and, perhaps most notably, said fish is wrapped, origami-like, in heavy white waxed paper, never plastic. Wax paper “absorbs any oils and grease,” said Goller. “If you put the appetizing in a little plastic bag, it is not fresh in a day or two.”
At Murray’s, the smoked fish is still sliced by hand and wrapped in wax paper. (Talia Siegel)
Stewart Klausner describes the shop as “stepping into a time machine where there’s a real connection between merchant and customer.” The countermen, who greet each customer warmly, have all been at Murray’s for at least 10 years. Ecuador-born, Yiddish-speaking Oscar Leon, whom Goller considers his right-hand man, is now in his 45th year. “It’s a family here,” Leon told the New York Jewish Week.
Even the decor is nearly the same as it always was: stainless-steel refrigerators and counters, mirrored side wall, tilework from the 1940s. Of course, over the years, there’s been some nods to modernity: A clock that hangs on the back wall was installed in the 1960s, and somewhere along the way, air conditioning was installed. These days, Murray’s has an online presence — and the store takes many phone orders, especially since the pandemic — but about half of its business is from people who walk in, Goller said.
One regular customer is 54-year old baker Jen Daniels. “Despite the fact that it is actually kind of old, it is immaculate,” Daniels told the New York Jewish Week. “You could eat off the floor there, it is so clean.”
Goller, who previously worked as a Wall Street commodities analyst, bought the store in 1990 from Artie Cutler, founder and owner of several popular Upper West Side eateries, including Artie’s Deli, Ollie’s Noodle Shop and Carmine’s Italian Restaurant. Cutler took over Murray’s in 1974 from the original owners and founders, brothers Sam and Murray Bernstein.
In passing the torch, Cutler stipulated that Goller would find a partner with experience in the food business. There was also an understanding that nothing would be changed in the first year.
After that 12-month learning period, Goller untethered himself from his partner and got to work making a few — just a few! — changes, with an eye on the bottom line. “I had notes to pay, mortgages to pay, mouths to feed,” Goller recalled. No longer would the store be closed on Mondays, as were so many of the stores on Broadway in the 1980s, when Monday was considered the slowest day of the week. Going forward, Murray’s would be open 363 days a year — the store closes only on the first day of Rosh Hashanah and on Yom Kippur.
Although previous owners shut the store during the eight days of Passover, Goller decided to keep it open, and even to sell bagels over the holiday, during which the consumption of bread is forbidden. Goller said he knew he made the right decision when a longstanding customer came in during Passover, wagged his finger at him for selling bagels — and then purchased a dozen.
All of the fish is smoked according to Goller’s specifications in a local smokehouse; the soups and salads are made in house. The food emerges from the tiny kitchen at the rear of the long, narrow shop. It’s not much to speak of: There’s a walk-in refrigerator — for storing pickles; matjes, schmaltz and pickled herring, coleslaw and smoked fish — and a 36-inch electric Garland oven with four burners, used for making soups made from recipes passed on to Goller by his mother-in-law. The crumb cake, baked apples and dairy noodle pudding are baked in that single oven. You won’t even find a dishwasher — everything is hand washed.
While waiting for their orders, customers might overhear the sound of music — what’s perceived as a steady beat is actually the sound of onions being hand-chopped. What you won’t hear is the sound of a food processor: When making whitefish salad, the cooks use tweezers to pluck out the bones from the smoked fish, then crush it by (gloved) hands so that chunks of fish remain in the finished product.
All the salads at Murray’s are made in-house. (Talia Siegel)
Perhaps the biggest change Goller made was in 1995, when he decided to add sliced deli meats to Murray’s menu. “You would have thought I shot the pope,” he joked. “It was the first thing I did that caused an uproar.” The kerfuffle eventually died down, and now, alongside creamed herring, lox and Waldorf salad, items like sliced roast beef and turkey breast are available. All of the meat is kosher and sliced on a dedicated meat slicer so that, in deference to the laws of kosher food, there is no mixing of meat and dairy. (There is no ritual oversight in the store other than Goller, who takes the kashrut of the place seriously.)
But you don’t have to keep kosher — or even be Jewish — to love Murray’s. ”When I first came here, 95% of the customers were Jewish,” Goller told the New York Jewish Week. “Now it’s probably 70%.”
He credits Russ & Daughters, in part, for this expansion of Ashkenazi appetizing foods into the general, and younger, population. “Russ & Daughters has introduced people to bagels, lox and cream cheese,” he said. “Exposure of this type is good for everybody.”
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The post This Upper West Side appetizing shop stands apart by standing still appeared first on Jewish Telegraphic Agency.
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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”