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With Israel in turmoil, group of US rabbis visits with a mission: to listen and learn
Over the last few weeks, while Israel has been roiled by demonstrations involving hundreds of thousands, and President Isaac Herzog has warned about the possibility of civil war, American Jews have been watching with grave concern.
Even after Israeli Prime Minister Benjamin Netanyahu announced a delay in the government plan to overhaul the judiciary that sparked the mass protests, tensions in Israel remained high.
It was precisely at this fraught moment that UJA-Federation of New York decided to bring a group of rabbis from the New York area to Israel — to listen, learn and talk with key Israeli figures, and to communicate the nuances of what they heard back to their communities in New York.
“I learned more than I thought was possible,” said participant Rabbi Jonah Geffen, senior Jewish educator and campus rabbi at Hunter College Hillel in New York.
Over four days in March, the diverse group of 24 rabbis met with a wide range of Israelis, ranging from politicians — including architects of the judicial reform and representatives from the opposition — to leading public intellectuals, journalists representing publications from both the left and the right, community activists, and thought leaders. The trip was funded by the Paul E. Singer Foundation.
“UJA has a tradition of getting our community leaders and our rabbis proximate to the issues of the day to help them as they lead their communities,” said Hana Gruenberg, managing director of Jewish life at UJA-Federation, who accompanied the delegation of rabbis. “We’ve brought rabbis to Israel when there have been security issues, we’ve brought rabbis to Ukraine, and most recently, during this time of challenge in Israel around internal domestic issues and judicial reform, we wanted to give rabbis support in leading their communities at this complicated time.”
Among those with whom the rabbis met to discuss the current political situation in the country were leaders of two Israeli civil society organizations, Yozmat Hameah (the Initiative of the Hundreds) and a group called the Israeli Congress, which strives to address the tension between the state’s Jewish and democratic identities.
The delegation also participated in a program with Co.Lab, a collaborative sponsored by UJA-Federation comprised of social influencers from diverse backgrounds. The group is working on initiatives to advance cohesion in Israeli society.
The group heard from Micah Goodman, research fellow at the Kogod Research Center at the Shalom Hartman Institute in Jerusalem; Knesset member Simcha Rothman of the Religious Zionist Party, who as chairman of the Knesset’s Constitution, Law and Justice Committee is trying to advance the judicial reform; Diaspora Affairs Minister Amichai Chikli; and Rabbi Gilad Kariv, a Knesset member from the Labor Party.
The rabbinic delegation met with several journalists, including author Matti Friedman, Times of Israel political correspondent Carrie Keller- Lynn, and Jewish world reporter Zvika Klein of the Jerusalem Post.
Rabbis from the New York area gather in a Knesset meeting room ahead of a meeting with Knesset Member Simcha Rothman, an architect of the proposed judicial overhaul in Israel, March 17, 2023. (Courtesy of UJA-Federation)
“UJA was really thoughtful about our hearing from so many different perspectives explaining to us the complexity of these issues,” said Bracha Jaffe, associate rabba at the Hebrew Institute of Riverdale in the Bronx. “It struck me as such an eye-opener that it’s more than just about judicial reform. All the different societal factions have felt at one time marginalized, coerced on one side, not being seen, not being represented.”
One of the many reasons for this sort of mission to Israel, said Eric S. Goldstein, CEO of UJA-Federation, is to convene rabbis from different denominations and across the cultural spectrum that represent the diversity of the New York Jewish community.
“These trips give prominent New York rabbis the opportunity to have their voices heard by leaders in Israel. They provide the rabbis with the ability to better understand the complex reality there so they can more effectively lead their communities in these challenging moments,” Goldstein said. “And they bring together rabbis from across the denominational spectrum, helping to more closely knit our own New York Jewish community — an ever-more important priority.”
Often, the day-to-day life of a rabbi does not lend itself to reflective moments with colleagues to listen and share multiple viewpoints on complex issues facing the Jewish community and Israel.
“What made this trip significant was that people who love Israel equally can have a varied view about what is in the best interest of the Jewish state,” said Rabbi Elliot Cosgrove of Park Avenue Synagogue in New York City.
With an itinerary that carefully struck a balance between intellectual, spiritual and political leaders, as well as advocates and activists, the group was exposed to a kaleidoscope of viewpoints, Cosgrove said.
“I was engaging with ideas that affirmed my beliefs about judicial reform and also challenged my beliefs,” he noted.
Both during and after the trip, the rabbis discussed the question of what it means to be a spiritual leader at this moment.
“One of our most important roles is to make sure that our people find reasons to maintain that connection both to the Land of Israel and the people of Israel,” said Rabbi Joshua Davidson of Temple Emanu-El in New York. “For me, that is a critical part of my identity as a Jew and my role as a rabbi. I believe that it is going to be a harder and harder but a more and more important
endeavor in these months to come.”
Rabbi Ari Lorge of Central Synagogue in New York said each participant came to the trip with different viewpoints on Israel, but with a common hope to see the country and its citizens flourish.
“Each of us comes with our own dreams for Israel,” he said. “We’re not neutral observers. We must continue to advocate and encourage this kind of dialogue and hold fast to those dreams.”
While any Knesset vote on judicial reform is unlikely before late April, the political tumult in Israel is far from over, and American Jewish leaders intend to stay as involved as possible.
“In this rapidly evolving situation, we’ll continue with these kinds of engagements for rabbis, knowing that we’re still in the middle of this,” Gruenberg said. “We care deeply about what comes next.”
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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.”