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A 1990s Israeli play is the feminist production NY needs right now
(New York Jewish Week) — When Anat Gov’s play “HaChaverot Hachi Tovot” (“Best Friends”) premiered in 1999, it was an anomaly among Israeli works of theater. In fact, Gov wrote it with anomalous intentions: In an interview before it opened, she called the piece a form of “compensation for the fact that there are no good roles for women.”
To remedy this, Gov wrote a play with no male roles — a 100-minute romp down memory lane which calls into question the very nature of friendship and whether or not the love between BFFs can stand the test of time.
At the time, the play was a smash, winning the Israel National Theater Award for best comedy of the year, and playing over 700 times during its initial run at the acclaimed Cameri Theatre in Tel Aviv. “Best Friends” was then rewritten as a TV miniseries for HOT, a popular Israeli TV network, and re-staged in 2013, after Gov’s death the previous year.
Today, the play is enjoying a new imagining here in New York: Through April 2, it’s being performed at the Rattlestick Theater in Manhattan, in alternating performances in both Hebrew and English, by the team at the Israeli Artists Project, a non-profit that presents Israeli theater, music and art in the greater New York area.
“Best Friends” is ostensibly about friendship but touches on broad themes of jealousy, fertility struggles, betrayal and much more. And yet, intentionally or not, its deep dive into the force and fury of the female experience comes at a time when the cause of women’s rights is seeing setbacks in Israel and the United States.
“There are so many facets to our work,” says Yoni Venridger, founder and producing artistic director of IAP. “But to put it simply, we want to be a home where people of any affiliation can come together, enjoy our common culture, and put politics aside. In a way, everything we do is inherently political. We are, after all, representing a country. That said, we’re interested in doing Israeli things, being Israeli people, without automatically politicizing our events.”
The play, which is both hilarious and heartbreaking, centers on three women — Leli, Sophie and Tirtza — who are at a breaking point in their lifelong friendship. In the opening scene, Leli calls her two ex-besties to gather; it’s a matter of life or death, she says, refusing to say which one it is. Despite an extended period of silence between the three and heightened tensions between Sophie and Tirtza, in particular, they come together, and begin to unpack every single piece of emotional baggage they have.
As is the case in actual lifelong friendships, there’s a lot to unpack here: high school crushes, first loves, heartbreak, professional successes and woes, births, marriages — no stone is left unturned. Shouting ensues, and laughter, and some awkward silences.
“We need more plays that give central roles to women,” said Vendriger. “It’s not necessarily about writing plays without any male roles, either. What’s critical is writing more lead roles for women, more well-rounded, rich roles for women.”
“Best Friends” is an extreme version of this, of course, by omitting all men from the cast, and it easily passes the Bechdel Test — that is to say, it includes at least two named female characters who discuss something other than a man — with flying colors. Leli, Sophie and Tirtza certainly talk about men, love and heartbreak, but the primary focus is on how they’ve let themselves, and each other, down.
One of the most effective choices Gov made was to have the drama play out in two decades simultaneously. There are two casts: a young version of the women, in the 1960s, and a middle-aged version, in the 1990s. Beyond the illustrative power of showing friendship instead of telling about it, Gov creates a fascinating dynamic between the two sets of women. At times, the two casts interact, holding one another, reminding one another of their various strengths and shortcomings. Who among us hasn’t wished to warn or encourage our younger selves, or that our younger selves could remind us of who we once were?
This revisited version of Gov’s classic was slated to run in New York in May 2020 — but the pandemic, of course, made that impossible. Instead, it arrives in time for Women’s History Month 2023. “The timing kind of just worked out for us,” explained Vendriger.
From left, Maia Karo, Adi Kozlovsky and Karin Hershkovitz Kochavi play a trio of BFFs in “Best Friends.” (Courtesy)
In Israel, a right-wing government is under siege by rivers of enraged citizens — primarily because of Prime Minister Benjamin Netanyahu’s proposed judicial overhaul, now on pause. But there is pushback among liberal Israelis for other reasons as well. Recently, Betzalel Smotrich, a far-right member of Knesset and the current minister of finance, made sure that Israel would not sign the UN’s International Violence Against Women Act. Prior to this, Smotrich had called himself a “proud homophobe;” he organized a “bestiality parade” as a counter-parade to the Jerusalem Pride march in 2006.
In the United States, women’s rights are also threatened — including by the dismantling of Roe v. Wade, ensuring their right to an abortion.
Against this backdrop, the 1990s of “Best Friends” look downright progressive. To Vendriger, however, this play is about the timeless nature of friendship.
“Gov managed to write in a way that makes her work continuously relevant, regardless of the passage of time,” he said. “It’s the humanity of it. There are connections, power struggles, interpersonal attractions — that stuff will never change. Despite the fact that it’s originally from the ’90s, the meditation on the power and fragility of friendship, on the fact that we need to maintain and work on friendships, it all feels immediate and very appropriate for the present day.”
In fact, the IAP team made no changes to the original text.
The play works today, in 2023, because it leans on universal, wide-reaching themes. At the same time, there is a palpable Israeliness to the whole thing, whether it’s the prickly slang or the fact that one character, whose son is serving in the first Lebanon War, is jealous that her friend’s son has asthma, and therefore gets to stay home.
“‘Best Friends’ integrates the complexity of humanity, friendship and Israeli society, and brings them into the realm of humor,” said director Hamutal Posklinsky-Shehory. “It’s funny, but it’s also dramatic and very witty. [In this iteration] the whole staff is female. All the actresses are — six onstage and two understudies — plus the assistant director, play manager, lighting designer, and costume designer. I feel this is very appropriate for the age that we’re living in and really underlines the space we need to give for female identifying artists.”
When Posklinsky-Shehory isn’t directing, she’s a drama therapist at NYC Peace of Mind, a group psychotherapy practice that brings together drama therapists to support and enrich one another’s creative treatment approaches. Her work, she said, informed her directorial choices. “The relationships presented between the three friends are not the healthiest ones,” she said, “and we went through a process, truly trying to figure out and understand the motivations and [emotional landscapes] of the characters.”
To this end, the cast used therapeutic techniques alongside theatrical practices in order to deepen their connections and understanding. “We incorporated some writing activities, with the actors writing to their characters. Another time, we sought connections and differences between our actors and the characters that they play, as a group. In this way, we developed trust and deepened our bond with one another,” she said.
This is, in a sense, the bottom line of the play: the bonds that tie, and how they can unravel under the strains of a lifetime. “As humans, we’re complex,” said Posklinsky-Shehory. “Even in a play that’s all fantastic and sweet and nostalgic, there’s still the complexity and darkness [of life]. I’d like people to leave with an understanding that what we feel is perfect and complex, and that’s OK. We need to accept those parts of ourselves and our society.”
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‘The first time my band ever encountered such hostility’
[On Aug. 2, a performance by the klezmer band Dobranotch at a large folk festival in Galicia, Spain, was cut short when pro-Palestinian members of the audience began heckling the musicians and then throwing stones and other objects at them, targeting the band over recent concert appearances they made in Israel.
Afterwards, the festival organizers released a statement, explaining that they cancelled the concert out of concern for the musicians’ safety. The organizers also condemned the fact that “an event historically rooted in peaceful cultural exchange, community gathering, and musical celebration was disrupted by violence.”]
Dobranotch has a special connection with Galicia. In the early years of the band, we visited and performed there many times and developed a deep affection for its traditional music and culture. After many years away, we were glad to be invited back to perform at Festival de Pardiñas, a large local folk festival.
A few months before the event, the organizers informed us that the festival supported Palestine and that some members of the audience might display Palestinian flags. They asked how we would feel about this, given that our music is associated with Jewish culture. We replied that we had no objection, but did not want to be pressured into making political statements from the stage. This appeared to be fully understood.
We received a warm welcome, and the festival was well organized, with several thousand people in attendance. When we stepped onto the stage, a couple of Palestinian flags were visible in the audience. During our performance, more flags were attached to the barrier in front of the stage, and an enormous Palestinian flag was unfolded. A small but very vocal group at the front of the stage began chanting and held up handwritten signs demanding that we “say something about Palestine.”
I do not usually make political statements from the stage on behalf of the band. However, as the pressure continued to grow, remaining silent no longer felt possible. I therefore decided to share my personal views. I said that we are living through a period of growing polarization and radicalization in many parts of the world, visible in very different contexts, including the Israeli-Palestinian conflict, Russia’s aggression against Ukraine, and political divisions in the United States. My message was simple: We need to be kinder to one another.
But the pressure only intensified. They wanted me to speak more, and they tried to hand me a Palestinian flag to wave from the stage. I tried to explain that, in my view, the Israeli-Palestinian conflict is complicated — and the moment I said the word “complicated,” the crowd erupted.
I wanted to continue my statement, but I was not given the chance to do so.
A group of people shouted, insulted us and made hostile gestures. A person carrying a flag managed to get onto the stage. Objects began flying towards the stage, including stones. One of my fellow musicians was hit by a stone. At that moment, we realized that the situation had crossed a line and decided to stop the concert.
escândalo em Pardinhas, algum sionista no palco pic.twitter.com/yh6JNZDZEY
— maNu 🌰 (@nuMaGz) August 2, 2026
As we were leaving the stage, someone from the festival team, obviously shocked by the situation, suggested that I simply say “Free Palestine” so the performance could continue.
I support the right of all people, including both Israelis and Palestinians, to live in freedom, dignity and safety. But repeating political slogans under pressure would have been both meaningless and unacceptable.
The organizers subsequently announced that the concert was being stopped for safety reasons and reiterated the festival’s support for Palestine.
After the concert, we discovered evidence suggesting that the protest had been planned and coordinated in advance. We found social-media posts published before the festival accusing us of having performed in “occupied Palestine,” apparently referring to a previous concert in Tel Aviv, and calling for a boycott of our performance.
This was the first time Dobranotch had encountered such hostility, whether as a group performing Eastern European Jewish traditional music or as anti-war emigrants from Russia. It is deeply regrettable and disturbing that such a radicalized and hostile atmosphere could have developed at a traditional culture festival.
The incident shows how difficult public discussion has become when artists are expected to repeat prescribed political formulas rather than being allowed to express a thoughtful position — or simply to choose not to make political statements from the stage at all.
We look with deep sadness at the amount of violence and radicalization in the world, and we wish for peace, safety and freedom for everyone. We believe that our music can do more to bring people together than political arguments ever could. This is where we want to focus our energy.
The post ‘The first time my band ever encountered such hostility’ appeared first on The Forward.
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After settling antisemitism claims, Columbia now faces lawsuit from Palestinian students
A group of current and former Palestinian students and faculty at Columbia University filed a lawsuit this week, alleging that the university discriminated against them because of their Palestinian identity and treated them less favorably than other students engaged in political advocacy.
Filed in New York State Supreme Court, the complaint accuses the university of encouraging the mistreatment of Palestinian students by holding “unfair and biased disciplinary hearings” and creating a “hostile and unsafe environment” following Hamas’ Oct. 7 attack on Israel that sparked university-wide protests and tensions on campus. The lawsuit alleges that the university “actively participated in and amplified the racially, ethnically, and politically motivated targeting of Palestinian students, staff, and faculty.”
The case is the latest in a string of legal battles born out of Columbia’s handling of campus protests. In July 2025, the Ivy League university on New York’s Upper West Side agreed to pay $21 million to settle charges by the Equal Employment Opportunity Commission that alleged a hostile work environment for Jewish employees as a part of its federal resolution agreement with the Trump Administration.
In February 2026, the university also settled with a group of Jewish plaintiffs that had alleged the university failed to protect them from antisemitism. As a part of that settlement, Columbia agreed to implement additional programming to address antisemitism.
The new lawsuit alleges that Columbia discriminated against Palestinian students by, among other things, retaining private investigators to surveil students involved in a March 2024 “Resistance 101” teach-in. The event featured Khaled Barakat, whom the U.S. State Department has identified as a leader of the Popular Front for the Liberation of Palestine, which the U.S. has designated a foreign terrorist organization. Following the event, the lawsuit states that six students were suspended from the university and evicted from Columbia housing.
The suit also accuses the university of failing to treat physical assaults of Palestinian students seriously, citing alleged incidents where keffiyehs were forcibly removed from Palestinian students, and an incident where a student sprayed a foul-smelling substance at pro-Palestinian demonstrators in January 2024.
That incident was initially investigated by the New York Police Department as a possible hate crime, with some claiming that the substance was a military grade chemical weapon, but Columbia later announced that the substance was a legal, non-toxic novelty fart spray. The students involved were suspended, but eventually reached a settlement with Columbia after arguing that they had wrongfully portrayed the incident as a chemical attack rather than a “harmless expression of his free speech.”
It also challenges Columbia’s decision to call in New York police to clear protest encampments and arrest demonstrators in the spring of 2024.
Plaintiffs include lecturer and former anthropology student Hadeel Assali, who allegedly canceled her classes so that students could attend Pro-Palestinian protests and who made headlines earlier this year when she gave a talk at the City University of New York’s law school called “The Underground in Gaza.” That lecture, and her dissertation at Columbia overseen by Mahmood Mamdani, father of New York City Mayor Zohran Mamdani, sought to examine “the history and usage of tunnels in Gaza, focusing on land use and social organization in resistance to colonization,” apparently referring to the Hamas tunnel network.
Other plaintiffs include Bahia Munem, a former lecturer at Columbia’s Center for the Study of Ethnicity and Race; Mahdi Sabbagh, a Ph.D. student; Maryam Alwan, who graduated from Columbia in 2025 and was a student leader in the pro-Palestinian movement who was arrested during the encampment protests; and Layla Saliba, who earned a master’s degree in social work from Columbia in 2025.
In April 2025, the Columbia office of Institutional Equity investigated Saliba and Alwan for their role in writing an op-ed in the campus newspaper Columbia Spectator that called on the university to stop admitting Israeli students who had served in the Israel Defense Forces. The university later dropped its investigations into the two activists.
The lawsuit seeks monetary damages under New York City Human Rights Law, which prohibits discrimination or harassment based on race, creed, national origin, immigration status, or citizenship.
Columbia University did not immediately respond to the Forward’s request for comment.
The post After settling antisemitism claims, Columbia now faces lawsuit from Palestinian students appeared first on The Forward.
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Francesca Hong, pro-Palestinian democratic socialist, polling far ahead in Wisconsin governor’s race
(JTA) — One week after notching a significant primary victory in a Midwestern purple state, pro-Palestinian progressives are looking to repeat their success in Wisconsin.
The Badger State’s chaotic Democratic primary for governor ends Tuesday with state Rep. Francesca Hong, a democratic socialist, polling comfortably in the lead. Despite the best efforts of the state’s Democratic establishment, and the concerns of Wisconsin Jewish groups, Hong appears well positioned to win the primary — leaving many in the state concerned about her electability in the general.
Hong’s record on Israel and antisemitism is of concern to Wisconsin Jews, as well as Democratic figureheads more broadly. She has appeared on livestream fundraisers with Hasan Piker, the left-wing strident Israel critic who has also rallied with Hong, as well as twice with Michael Beyer, a.k.a. “Mike from PA,” who has called Jewish identity “a constructed ethnicity, this demonic ethnicity, wholly invented.”
On one of her appearances with Beyer, Hong urged constituents to fundraise for people on the “front lines in Gaza.”
A poll of likely voters one week before the race, conducted by nonpartisan outlet State Navigate, showed Hong with a commanding lead. Forty-four percent of those surveyed said they favored Hong, twice the total who backed Milwaukee County Executive David Crowley, the next-closest candidate. Only 17% of the same voter sample said they identified as democratic socialists, possibly indicating that Hong — whose platform has emphasized working families, healthcare, and data centers — has found wider appeal beyond her movement.
The party’s left flank is buoyed by Abdul El-Sayed’s victory last week in the U.S. Senate primary in Michigan, and hopes that a repeat success is possible in a neighboring Great Lakes state with a similarly purple voting bloc. But El-Sayed performed far short of the comfortable victory many polling outlets had predicted, squeaking a winning margin of just under 1%.
That may not be the case this time. Polling from Marquette Law School, considered the gold standard in the state, has also consistently shown Hong with a wide lead. Despite entering the race with little name recognition, Hong has benefitted from both a national progressive populist push and a crowded, musical-chairs Democratic field that burst with seven candidates at its peak.
The race has today whittled down to four candidates, with Crowley having re-entered the field after previously suspending his campaign. The flip came after Lt. Gov. Sara Rodriguez, the preferred candidate of Crowley and many other institutionalist Democrats, dropped out of the race following an accounting scandal. Former Lt. Gov. Mandela Barnes, the party’s 2022 U.S. Senate nominee and a once-promising figure in the state, also dropped out after failing to gain traction.
During her campaign, Hong apologized for having called the police on a vandalized Israeli flag in her district in December 2023, which at the time she had called “highly antisemitic” and urged to be investigated as a hate crime.
Explaining why she now regrets making the call, Hong recently told the Milwaukee Journal Sentinel, “The image was cropped and incomplete to misrepresent anti-Zionism as antisemitism – a distinction I take seriously.”
Hong’s impact on Israel policy as governor of Wisconsin would be limited. But she has called Israeli Prime Minister Benjamin Netanyahu’s government “genocidal” and pushed the state to overturn a ban on government contracts with businesses that boycott Israel. She has also criticized Wisconsin’s current moderate Democratic governor for backing the International Holocaust Remembrance Association’s controversial definition of antisemitism.
Hong’s general-election success may hinge on the broader electorate’s views of the Democratic Socialists of America. This week a co-chair of the DSA drew further concern from Jewish Democrats after appearing in a viral interview on The New Yorker’s podcast. Megan Romer called the Oct. 7, 2023, Hamas attacks in Israel “largely inevitable” and said she “probably would have” joined a pro-Palestinian rally in New York the day after the attacks if she’d been able to attend.
Prior to Oct. 7, Hong’s state house campaigns had expressed some positive feelings toward Jews and Jewish causes. In January 2023 her campaign sold a Hebrew-language shirt, with proceeds going to Jewish Social Services of Madison.
“Team Hong has upped our commitment to uplifting multiculturalism,” Hong’s campaign wrote on Twitter at the time. She included praise of the symbolic significance of the number 18 in Hebrew and of the Hebrew phrase “L’chaim.”
This article originally appeared on JTA.org.
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