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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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A farewell to Hampshire College, site of my Yiddish awakening
Zay gezunt Hampshire College. That’s where as an undergrad student worker, I first studied Yiddish at the OG Yiddish Book Center of Amherst, Massachusetts, down the road from the genteel Lord Jeffrey Inn, across the street from uber-sensitive poet lady Emily Dickinson’s alte heym.
In nearby Holyoke, in an old mill turned Yiddish book storage loft, away from the genius of Dickinson’s dybbuk, I earned my way shelving the Book Center’s staggering amounts of the collected works of Sholem Aleichem — most likely purchased as a subscriber premium by turn of the century Forverts readers — and only surpassed by the unspeakable numbers of Yiddish volumes of Guy De Maupassant. I hoisted those onto shelves as well while getting educated about Nico and the Velvet Underground which blared from speakers. Back in the 1980’s that was multitasking.
And dayge nisht, no worries — I got my klezmer awakening there too, via a Walkman and audio cassettes while laboring as a photo history slide librarian for my advisor and favorite professor, filmmaker Abraham Ravett, who is set to retire next month (can you retire if your workplace closes?).
Splayed out across acres of stunning apple orchards that once belonged to the Stiles family, Hampshire College had neither a Hillel chapter nor a Chabad nor any organized sports nor fraternities — but there was a coed sauna, plenty of rolfing on the snow outside said sauna, a successful student run food coop, an acclaimed ultimate frisbee team and a beloved outdoor program that led to my first heron sightings just like in the movie On Golden Pond.
It also had Len Glick, Elvis’ former induction physician who co-taught modern Jewish history, along with his younger historian colleague Aaron Berman, whose office door was anointed with a poster that offered a Marxist view of baseball. It was 1984 and I was hot off seeing Streisand’s film version of Yentl. I’d polished off most of Bashevis’ tomes back home, memorized my Bubby’s photo album of Eastern European Jewry as envisioned in Visniac’s A Vanished World, and collided into Marlene Booth’s documentary about the Yiddishists of Raananah who took up space in an audacious dream of a utopian summer community in Orange County, New York. Tayere Leyener, dear reader, that’s all it took.
I knew my final paper was going to be about women and Yiddish. Well, I recall Len saying, if you want to investigate Bashevis’ inspiration for his Yentl and research women writers and women’s lives in Yiddish, you’re going to have to learn Yiddish; there isn’t much about that available in translation. Why don’t you go over to the Yiddish Book Center, he continued, and talk to them. And just like that, I found myself on the top floor of an old elementary school in Amherst, spending evenings learning Yiddish and my days trying to grasp enough of it to complete my assignment.
I’d love to tell you that just like Yentl, I too spent hours bent over tomes, deep in study, but as previously disclosed, Hampshire had much to distract and much to offer. And besides, I had books to shelve, boxes to unpack and roads to travel, joining the center’s trips to pick up YET MORE Yiddish books. My mazel was that Hampshire hosted the Book Center’s first summer seminars. Once longtime staffer Frieda Howards and I finished inspecting attendees’ dorm rooms, making sure the beds had hospital corners, I was warmly invited to attend lectures.
Hampshire hosted artists and activists like Yippie founder Abbie Hoffman. When Hampshire alum and Yiddish Book Center founder Aron Lansky talked about him, he highlighted all the Yiddish influences in Hoffman’s Steal This Book, as well as the Yiddish-inflected tensions of the Chicago 7 trials. All this came to a head when I met Yiddish lesbian poet, child survivor and hero to Jewish feminists Irena Klepfisz. A Bundist descendant, keeper of the flame, she — vu den — called a hastily gathered group into action. If we wanted Yiddish women’s writing to be translated, we were the translating liberators we were waiting for, so to speak. It was on us.
Tayere leyner/dear reader, I could, like so many Yiddish authors, go on in depth without so much as a break for a comma or a paragraph, such was the depth of my mazel at Hampshire. Ok, a bisl more. There was the weekend trip with Lansky and local poet and Book Center staffer Gene Zeiger to the Newport Folk Festival to hear Joan Baez sing. There was the summer Yiddish genius Naomi Seidman was a fellow at the Book Center — thanks to Seidman, that was my summer of Nico, the Velvet Underground, of reading Ginsberg’s “Howl,” and much much more. That was the summer I interned for the filmmaker Marlene Booth who was making a film about that Yiddish newspaper everyone talked about, the one I recalled picking up for my bubby. I spent time in my cooperative household on campus, bent over an audio transcription machine, typing out interview after interview with Forverts readers, spellbound by their love for it and activism on its behalf as it fell on hard times.
And reader, though Hampshire will likely close for good, you and I now know that if not for Hampshire College, where now upon a nice parcel of that former apple orchard sits the Yiddish Book Center in all its well earned koved, I and many like me, would not spend our days bending over our morgue of Forverts photos, back issues and more, reaching back over time to keep remembering our past and making it available for future generations.
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Moderation cuts leave most extremist, antisemitic content on Instagram unchecked, ADL finds
(JTA) — White supremacist networks, terror group supporters and Nazi merchandise vendors have gone largely unchecked on Instagram amid weakened content moderation by its parent company Meta, according to a new analysis by the Anti-Defamation League.
Instagram failed to remove 93% of hateful and extremist content reported by the ADL’s researchers, a figure the watchdog said demonstrated a “systemic failure” to protect users, according to the report published on Wednesday. The content included accounts and posts linked to white supremacist networks, groups that are designated as foreign terrorist organizations by the U.S. government and vendors selling Nazi merchandise.
The report comes over a year after Meta’s CEO, Mark Zuckerberg, announced that the company would do away with its fact-check program and stop using automation to detect and remove hate speech.
“Instagram is developing into a hub for hate and antisemitism, and our research demonstrates this clearly,” Jonathan Greenblatt, the CEO and national director of the ADL, said in a statement. “Meta’s moderation rollback has created a permissive environment where extremists thrive, bad actors turn Instagram’s own features into amplification tools for hate, and as a result, vulnerable communities suffer.”
While Elon Musk’s decision to permit formerly banned extremist account-holders to return to X has made his platform the most prominent avatar of social media’s abandonment of moderation, Meta has undergone a similar shift more recently. The ADL has sparred with Musk and X in the past as well.
Meta still does not allow “organizations or individuals that proclaim a violent mission or are engaged in violence to have a presence on our platforms,” according to the company’s community standards, which also say the company removes “dehumanizing speech” and “harmful stereotypes.” But it has also scaled back its capacity to enforce the rules.
The changes, which Zuckerberg billed as a “trade-off” between catching hateful content and reducing the number of “innocent people’s posts and accounts that we accidentally take down,” drew criticism from Jewish groups, including the World Jewish Congress and CyberWell.
Of the 253 posts that the ADL’s Center on Extremism reported earlier this year, Instagram removed only 11 accounts and 8 posts, according to the new report, titled “How Meta’s Content Moderation Changes Risk Turning Instagram into a Hub for Hate.” In 20 cases, the watchdog said that Instagram said it lacked the bandwidth to review the reports.
The report also found a number of accounts that were linked or indirectly linked to terrorist groups, including at least 23 accounts that spread Islamic State and Al-Qaida Propaganda, as well as 33 accounts with direct or indirect connections to the Popular Front for the Liberation of Palestine.
While Meta has maintained a ban on official accounts run by Nick Fuentes, the avowed white supremacist and antisemite at the center of a growing divide in the Republican party, the ADL study found that his content is shared on the platform by 105 Instagram accounts affiliated with Fuentes’ Groyper movement, which combined had over 1.4 million followers as of January 2026.
One Southern California-based merchandising company, Curb Stomp MFG, which sells apparel with Nazi symbols including Sonnenrads, Totenkopfs and SS bolts, and its owner had garnered over 3.2 million views on hateful content posted to Instagram, according to the study.
Oren Segal, the senior vice president for counter-extremism and intelligence for the ADL, said in a statement that the lack of content moderation on the platform amounted to a “public safety crisis,” adding that the company’s “decision to gut content moderation puts Instagram at risk of being a megaphone for the world’s most dangerous antisemites and extremists.”
Releasing the report ahead of a Meta shareholder meeting, the ADL is calling on the company to “reinstate proactive moderation measures against violative content.”
This article originally appeared on JTA.org.
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JD Vance heckled over Middle East policy at conservative event
(JTA) — Vice President JD Vance was interrupted by antiwar hecklers during a Turning Point USA event on Tuesday, underscoring growing backlash over U.S. policy in the Middle East among young Republicans.
“Jesus Christ does not support genocide,” one person shouted out during the event at the University of Georgia. Shortly after, a voice yelled out, “You’re killing children! You’re bombing children!”
“I agree,” Vance responded. “Jesus Christ certainly does not support genocide, whoever yelled that out from the dark.”
But he said the audience should be thankful for the Trump administration’s negotiation of a ceasefire between Israel and Hamas.
“You know who’s the person who got a peace agreement in Gaza? Donald J. Trump,” Vance said. “So if you want to complain about what happened in Gaza, why don’t you complain about Joe Biden and the last administration? We’re the administration that solved that problem.”
Vance also addressed criticism of the Iran war later in his remarks during the evening. “I recognize that young voters do not love the policy we have in the Middle East, OK,” he said, adding, “I understand.”
The incident at Turning Point USA, an influential youth organization in conservative politics that was founded by Charlie Kirk, a conservative activist who was killed last September, comes as the Republican party has faced blowback over the Iran war from top conservative activists, including Tucker Carlson.
Carlson, who has disparaged the joint U.S.-Israeli war with Iran and increasingly spread anti-Israel and antisemitic conspiracy theories on his show, has long maintained a relationship with Vance, whose refusal to rebuke the commentator has drawn scrutiny from Jewish conservative leaders.
While roughly seven in ten Republicans support the war with Iran, favorable views of Israel have declined among young Republicans in recent years, with 57% of Republicans ages 18 to 49 having an unfavorable opinion of Israel, up from 50% last year, according to the Pew Research Center.
Vance has defended the war in public despite reports he privately opposed entering the conflict. He urged the crowd to remain politically engaged despite potential disagreement with the administration.
“I’m not saying you to have to agree with me on every issue,” Vance said. “What I am saying is: Don’t get disengaged because you disagree with the administration on one topic. Get more involved, make your voice heard even more. That is how we ultimately take the country back.”
When asked by an attendee which “influencers” he would recommend young people listen to, Vance pointed to the popular podcaster Theo Von, who last June asked the vice president on his show about the “genocide” in Gaza. During that appearance, Vance rebuffed the idea that Israel was committing genocide.
The Turning Point USA event came shortly after Vance sparred with Pope Leo XIV over the pope’s criticism of the war. He said on Friday that “God does not bless any conflict” and that Christians should never be on the side of those who drop bombs.
Vance, who is Catholic, offered a different view. “Was God on the side of the Americans who liberated France from the Nazis?” he said. “I certainly think the answer is yes.”
This article originally appeared on JTA.org.
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