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Why Israel’s new right-wing leaders immediately made plastic plates inexpensive again
TEL AVIV (JTA) — Devora Zien’s tiny apartment in Bnei Brak runs like a factory, but, she admits, not a very smooth one. With 12 mouths to feed three times a day, single-use plasticware is a basic necessity, she says. So when Israel’s then-Finance Minister Avigdor Liberman increased taxes on disposables in 2021, Zien said she was “in total shock.”
“For me, it’s more important than bread and milk,” she said. “It’s about survival. I can’t stand in front of the kitchen sink all day washing dishes — and where would I put a dishwasher even if I could afford one?”
Liberman’s tax on disposable dinnerware, as well as another set of taxes he imposed as finance minister on sugar-filled soft drinks, were viewed by many ultra-Orthodox Israelis as unfairly targeting their lifestyle and cynically using health and environmental considerations to single out their community.
This week, after Benjamin Netanyahu’s government was sworn in, Liberman’s successor, Bezalel Smotrich, in his first move as finance minister, signed orders repealing the tax hikes on disposables and sugary drinks.
Ultra-Orthodox lawmakers hailed the move, as did many in the broader haredi population. Images made the rounds on social media of haredi men celebrating the decision by drinking Cristal Mint, a low-in-price, high-in-sugar soda, from disposable plastic cups. Beyond the relief felt by members of the community, there was also a sense that the balance in Israel’s cultural war is once again tipping in their favor.
MK Uri Maklev of the haredi United Torah Judaism party, said the tax reversal underscored the new government’s policy of “working for the citizens and not against them.”
Israel is either the world’s top or second-biggest consumer of disposable tableware per capita, depending on the analysis, making the goods a natural target for environmental activists. And the taxes were projected to bring in $350 million annually to the country’s treasury, no small amount. That’s nearly twice, for example, what the city of Jerusalem spends each year on sanitation.
But the disposables were Liberman’s only target for environmental taxes, which came as he sought to address Israel’s high cost of living by cutting taxes on other goods. And no environmental activist himself, Liberman is well known for his fierce criticism of Israel’s haredi sector, which he says contributes too little to the country through work and army service.
Avigdor Liberman, center, holds a news conference following the dissolving of the Israeli parliament, in Tel Aviv, May 30, 2019. (Flash90)
“The only thing that matters to him is sticking his finger in our eye,” said Devora’s sister-in-law Yael Zien, a media personality who advocates on behalf of Israel’s haredi population. She went on to cite Liberman’s widely condemned statement that he would send haredi Jews on “wheelbarrows straight to the dumpster.”
“You can’t compare your average, secular, two-car family that orders takeaway, with the haredis. We also host far more family functions than any other sector,” Zien said. “Why not raise taxes on a second car? Or flights overseas?”
“Haredim are actually more green than anyone else. We buy less clothes, we don’t fly abroad, and our communities rely heavily on gmachim and passing things on,” she said, referring to the free-loan establishments that provide anything from baby bottles to evening gowns.
Though the taxation touched on a sensitive nerve and was viewed by both sides as another round in the cultural war between secular and Orthodox Israelis, when the dust settled, it turned out that both sides may actually agree on some important issues.
Despite saying she reacted with “ecstasy” to Smotrich’s moves, Zien is not entirely opposed to reinstating the taxes, but this time with cooperation from the affected parties and a multi-pronged approach. Addressing the sugary drinks, Zien believes that the government should have taken steps in parallel to raise awareness in haredi society about the danger of diabetes and not just enforce acts that could be interpreted as punitive.
Yael Zien, a haredi Orthodox personality and mother, said she opposed the tax on disposables — as it was enacted, not on principle. (Courtesy of Yael Zien)
Meanwhile, environmental activists, who had marveled at the taxation on plastic dishes, are willing to admit that Liberman might have paid too little attention to the needs of haredi communities.
Yael Gini, community director at Sustainable Development Goals Israel, noted that tax hikes are just one way to combat waste, and not necessarily the most optimal. Targeting businesses or public places with a blanket ban on disposables, as France enacted this week in what activists are calling a watershed moment, might have been a more prudent first step, she said.
“It’s a shame it came to this. This isn’t sectorial but it feels like it is. [Politicians] turned it into something political and the haredim are right about that,” said Gini, formerly a program director at Greenpeace.
“But [the haredim] need to understand, it’s not an us-versus-them situation,” she said, adding that the environmental impact of Israel’s use of disposables is “a disaster for everyone.”
Despite the political uproar created by the decision to tax single use dinnerware, anecdotal evidence shows it might have been effective, especially for haredi Orthodox families living on a tight budget. Data published in April 2022 by the Ministry of Environment indicated that purchase of single-use plastics in supermarkets had dropped nearly 50% since the taxes were imposed six months earlier. Critics of this survey noted, however, that it did not take into consideration the haredi community’s tendency to shop at convenience stores and to make large purchases before Jewish holidays.
A man shops for disposable plastic tableware in the Osher Ad Supermarket branch in Givat Shaul, Jerusalem, Oct. 27, 2021. (Yonatan Sindel/Flash90)
For Leah, a Hasidic Orthodox mother of seven living in the cloistered Bukharian neighborhood of Jerusalem, Liberman’s policy worked.
“We finally got around to toivelling a dinner set that we had been gifted years before,” she said, referencing the Jewish practice of immersing dishes and utensils in a ritual pool to ensure that they can be used with kosher food.
She also went to IKEA to buy other multi-use items like casserole dishes and admits that she would not have made the trip had plasticware remained affordable. “Life is fast-paced and that was one less thing to worry about,” she said.
The adjustment took time and there were bumps in the road. “Many plates got broken, the children argued all the time over cups, but we got through it. I bought each child their own set and encouraged them to wash it.” Leah, who asked that her last name not be printed, has very little exposure to current affairs and was not aware of Smotrich’s rollback. While the move means she would probably allow herself to be less frugal about buying plastics in the future, she was unlikely to go back entirely to the way things were before, she said.
“It’s nice to eat Shabbat meals on real plates,” Leah said. “It feels more special.”
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The post Why Israel’s new right-wing leaders immediately made plastic plates inexpensive again 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.”