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A Golda Meir biopic starring Helen Mirren avoids politics. It premiered as Israel’s government faces widespread scrutiny.
(JTA) — When a film about a group of Israeli youths who visit former concentration camps in Poland premiered on Sunday at the Berlin Film Festival, its Israeli producer took the microphone after the screening to decry the state of his nation.
“The new far-right government that is in power is pushing fascist and racist laws,” said Yoav Roeh, a producer of “Ha’Mishlahat” (“Delegation”) on stage after the film’s premiere. He was referring to lawmakers in Israel’s government who have long histories of anti-Arab rhetoric and their new proposals to limit the power of the country’s Supreme Court, which critics at home and around the world deem a blow to Israel’s status as a democracy.
“Israel is committing suicide after 75 years of existence,” Roeh added.
The next day brought the premiere of “Golda,” a highly-anticipated Golda Meir biopic starring Oscar winner Helen Mirren about the former Israeli prime minister and her decisions during the 1973 Yom Kippur War. Hours earlier, Israel’s government took another step closer to passing its controversial judicial reforms, and when asked about the political situation, Mirren didn’t mince words.
“I think [Meir] would have been utterly horrified,” she told AFP. “It’s the rise of dictatorship and dictatorship was what has always been the enemy of people all over the world and she would recognize it as that.”
That was the heated backdrop for the debut of “Golda,” which will not hit U.S. theaters until August. But an onlooker wouldn’t know that from the film’s own introductory press conference with Mirren, director Guy Nattiv and other stars from the film. The headlines that have emerged from it have been dominated by the film’s place in the “Jewface” debate, about who should play Jewish characters on screen. Mirren is not Israeli or Jewish.
“Let’s say that we’re making a movie about Jesus Christ. Who’s going to play him?” Mirren’s co-star Lior Ashkenazi stepped in to answer in response to a journalist, eliciting laughter from the press corps.
The film is framed by Meir’s testimony to the Agranat Commission, which investigated the lead-up to the war. As the film shows through flashbacks, Meir appears to have not acted quickly enough on Mossad intelligence about a possible attack from Egyptian and Syrian forces. Israeli forces were surprised on the holiday and initially lost ground; both sides lost thousands of troops, and the war is seen as a major trauma in Israeli history — the moment when the state’s conception of its military superiority over its Arab neighbors was shattered. The film is claustrophobic, shot mostly indoors — in bunkers, hospital rooms and government offices — and offers an apt visual encapsulation of the loss the war would bring.
Mirren walks the red carpet at the Berlin Film Festival, Feb. 20, 2023. She spent time on a kibbutz in 1967. (Courtesy of Berlinale)
Though Meir has historically been lionized as a tough female hero in the United States and in Jewish communities around the world (even non-Jewish soldiers in Ukraine took inspiration from her in the early days of the Russian invasion last year), her legacy is more complicated in Israel and the Palestinian territories. In addition to being associated with the trauma of the war for many Jewish Israelis, she is remembered as an inveterate enemy by Palestinians.
In recent years, the representation of Meir has shifted more favorably in Israel, said Meron Medzini, Meir’s former press secretary and one of her biographers. He said that historians have begun to view her favorably in comparison to some of the political leaders who followed her.
“I consider the film [‘Golda’] part of this effort to rehabilitate her name,” he told the Jewish Telegraphic Agency. “I think she is now gaining her rightful place in the history.”
“Golda” fits into Medzini’s narrative by emphasizing the intractability and pride of her Cabinet ministers as the prime reasons for Israel’s surprise. It affirms Meir’s honor by portraying her as attempting to protect the ministers from criticism — all men — and to promote national unity.
At the press conference, Nattiv gave the briefest of nods to Meir’s complex legacy but like Medzini compared her to Israel’s current slate of leaders, who he reserved brief criticism for.
“Golda is not a super clean character in this movie,” said Nattiv, who is best known for directing “Skin,” a 2018 film about a neo-Nazi. “She had her faults. She made mistakes. And she took responsibility, which leaders are not doing today.”
Meir has long enjoyed a kind of star status in the United States. She was interviewed by Barbra Streisand in 1978, close to the Israeli leader’s death from cancer, for a TV special on Israel’s 30th anniversary.
“She clearly is the great-grandmother of the Jewish people [in the special] and Streisand is very reverential toward her,” Tony Shaw, a history professor at the University of Hertfordshire and the author of “Hollywood and Israel: A History,” said about the Streisand interview. “She just comes across as very humble, slightly out-of-date, out-of-time.”
“Of course, it’s very different from what we now know Golda Meir was really like,” he added, referring to her strong character and political pragmatism, which the film seeks to convey.
Since William Gibson’s critically-panned 1977 play also titled “Golda,” there have been a number of representations of Meir. Most famous among them is Ingrid Bergman’s final performance in “Golda Meir,” a four-hour-long television biopic from 1982. That production “was very much in keeping with Hollywood’s treatment of Israel in that period,” said Shaw, “which was very sympathetic towards Golda Meir, towards Israel and the troubles it was having in the first 30 years of its life.” More recently, Meir appears in Steven Spielberg’s more ambivalent 2005 film “Munich,” in which she helps to recruit the film’s protagonist to track down the figures behind the 1972 Munich Olympics attacks.
Golda Meir meets with Israeli Defense Minister Moshe Dayan and troops on the Golan Heights during the Yom Kippur War, Oct. 21, 1973. (Ron Frenkel/GPO/Getty Images)
Nattiv’s work, which has received mixed early reviews, focuses on the war as reflected in Meir’s character, forgoing engagement with broader politics or history.
“My inspiration was ‘Das Boot,’ in the way that she is in the trenches,” said Nattiv, referencing the revered World War II movie from 1981 set in a German U-boat. “She is very alone in the mayhem of war around these men.”
“This is the Vietnam of Israel,” he explained. “It is a very tough and hard look at the war and every soldier that died…Golda takes it to her heart.”
Despite the “Jewface” questioning, Nattiv compared Mirren to an “aunt” figure who, for him, had the “Jewish chops to portray Golda.” Mirren explained to the AFP that she has long felt a connection to Israel and to Meir, especially after a stay on a kibbutz in 1967, not long after the Six-Day War, with a Jewish boyfriend.
“She was at her happiest on the kibbutz actually,” Mirren said. “Their idealism, their dream of the perfect world. And I did experience that which was great.”
Sanders Isaac Bernstein contributed reporting from Berlin.
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The Army’s only airborne rabbi finds his congregation wherever he lands
FORT BRAGG, N.C. — At dawn on Friday, two soldiers showed up for physical training. Their rabbi was already waiting.
Black T-shirts. Gold ARMY across the chest. Nothing to set them apart. They blended into the formation — hundreds of soldiers under the pine trees as reveille cut through the morning. The flag rose. They saluted, stretched, climbed ropes, ran into the dark.
For 30 minutes, they were indistinguishable. Then everything shifted.
The three men walked into a meeting room inside a battalion headquarters, their shirts still damp with sweat. One soldier held out his left arm. The other draped a camouflage tallit over his shoulders. Rabbi Scott Klein reached into his backpack, removed a pair of black leather tefillin, and began wrapping them around a soldier’s arm — seven times, the way it’s always done, the leather biting just enough to remind you it’s there.
At 36, Klein serves one of the most unusual pulpits in American Judaism. He is one of 140 chaplains at Fort Bragg, the world’s largest military base. And he is the Army’s only Jewish chaplain assigned to an airborne unit — which means that jumping out of an airplane, for him, is not a metaphor for faith. It’s a job requirement.

One of the men praying beside him that morning was Jacob Abrams, 24, a specialist from Manhattan, Kansas. He found out about Jewish life on the base by accident, in the commissary, on a flyer for a challah-baking workshop stapled near the cereal aisle.
“Scott instantly made me feel included in the community,” Abrams said.
On Friday mornings, the two wrap tefillin together after physical training. On Friday nights, they welcome Shabbat together. But the relationship doesn’t end at the chapel door. Klein joins field exercises. He sleeps in tents. He paratroops into combat zones.
“There are days — many days — where you just don’t want to be there,” Abrams said. “Having your chaplain out there, who’s also embracing the suckiness with you, it makes it a lot easier to get through.”
It is an old idea, dressed in new camouflage: that you do not minister from a distance. You jump first.
A congregation with no walls
Later that morning, Klein climbed into his car and began driving across Fort Bragg.
The base stretches for miles, a city unto itself — schools, supermarkets, banks, gas stations, a Chipotle, three Starbucks, all of it sitting inside roughly 250 square miles, a map Klein has long since stopped needing to consult.
As he drove, he pointed things out the way someone points out a childhood neighborhood: the headquarters of the 82nd Airborne Division, the parade fields, the training grounds where soldiers prepare to leave for places he has already been.

He grew up nearly 900 miles from here, in Skokie, Illinois, where his world, for a while, stayed small. After college, he joined his father’s accounting firm, dedicating himself to fostering local economic development and helping small businesses scale. The work paid the bills, but what he loved most was driving community entrepreneurship from the ground up — the Jewish networking events he organized for young professionals, the restaurant back rooms he’d reserve, the texts he’d send to make sure people showed up, and the strangers he introduced who became business partners, then friends.
“I realized that when you connect people, you aren’t just building networks—you’re building the infrastructure of a community,” he said.
Then, in his late 20s, an Army recruiter asked if he had ever considered serving. Klein had always thought of himself as deeply patriotic. He served on Skokie’s Fourth of July parade committee, loved civic life and believed, as an American Jew, that serving his country was a responsibility.
“If I have the opportunity to serve my country,” he recalled thinking, “I can’t let the door slam shut.”
The United States is marking this week its 250th birthday, what Klein called a “monumental” moment in the life of the “American experiment.”
He spoke of Francis Salvador, the first Jewish soldier killed in the Revolutionary War; Haym Solomon, who helped finance the Continental Army; the Civil War, which produced the country’s first official Jewish military chaplain, Rabbi Jacob Frankel, commissioned by Abraham Lincoln in 1862; the half a million American Jews who served in the two world wars that followed.
“We aren’t passive observers of this 250-year history,” he said. “We are foundational stakeholders.”

Klein commissioned into the Army Reserve. What followed reshaped his life.
During deployments across the Middle East, he became what the military calls a lay leader, the person responsible for holding Jewish life together in places where no chaplain existed to do it. On Friday nights, that meant leading Shabbat services in Jordan, Iraq, Syria, the United Arab Emirates, Bahrain, Saudi Arabia.
During one deployment, he led a Passover Seder in Egypt for soldiers and diplomats, retelling the story of the Exodus on the banks of the river where it happened. He led High Holiday services at Guantanamo Bay. In Iraq, he lit a Hanukkah menorah inside one of Saddam Hussein’s former offices — a small, stubborn flame in a room built for someone who would have extinguished it.
Eventually, the distinction between lay leader and rabbi stopped making sense to him. Klein enrolled in rabbinical school while still in uniform, attending classes online from bases scattered across the Middle East — studying the Talmud in the region where rabbis first argued over its pages, sometimes logging in from bunkers, sometimes losing the connection mid-lesson, the line between ancient text and unreliable internet blurring into one continuous feed.
He was ordained in 2024. Soon afterward, he joined the ranks of more than 100 Jewish chaplains serving across the U.S. armed forces, which have roughly 10,000 active-duty Jewish military personnel. (Out of that total force, Klein is one of only about 10 to 15 Jewish chaplains serving on active duty in the U.S. Army). The Army sent Klein to Fort Bragg. There, he began building something more permanent.
‘Never plateau’
Klein pulls into the parking lot of one of the base’s supermarkets.
Inside, it looked like a large grocery store anywhere in America — wide aisles, fluorescent light, shoppers pushing carts past the produce and the canned goods. Klein headed straight for the bakery.
“See this?” he said, pointing to a stack of challah. “We didn’t have this before.”
When he arrived at Fort Bragg, it wasn’t something easy to find on base. Klein worked with the store manager to bring it in. Today, it helps sustain Shabbat for the more than 200 Jewish soldiers and their families who are stationed here.
He walked a few aisles over to the meat department and pulled open the door to a large refrigerated case with a “Kosher” sign taped to it: brisket, ribeye, ground beef, stew meat for cholent. Before Klein, the options were thin. Now the case stays stocked. When the meat comes in, he posts to a WhatsApp group and a Signal chat, and Jewish soldiers from one end of Fort Bragg to the other know to come get it before it’s gone. It is a community built less on sermons than on supply chains.

None of that, on its own, is unusual for a chaplain. But for Klein, it is not enough.
For the past two years, he has also served as the interim rabbi at Beth Israel, a century-old congregation in Fayetteville, about 15 minutes off base. The synagogue has around 100 members and an active Sunday school. A permanent rabbi has been hired and will move into the parsonage on its 10-acre property in August.
Klein also volunteers his time as a chaplain for the Fayetteville Police Department. He teaches “Torah on tap” classes at a local brewery. He recently finished a two-year fellowship for rabbis serving small-town Jewish communities, the kind of program built for people without a colleague down the hall to ask for advice.

He travels to rabbinical schools to recruit students who assume the only pulpit worth having is a sanctuary, showing them that there’s another version of the job — one that jumps out of airplanes, sleeps in tents, and answers a 3 a.m. phone call that no synagogue board ever will.
He is already a qualified paratrooper and recently earned his Air Assault wings — rigorous tactical credentials rarely held by military chaplains. Later this summer, he takes that same drive to a special operations unit.
“I set a goal for myself a long time ago to never plateau,” he said. “I’m in the right organization, because the Army has that culture: ‘Great, you’ve achieved this. What’s next?’ Even at 36, I feel like I’m just getting started.”
And it isn’t only about rank or certifications. “I want to continue learning in Judaism, in Torah,” he said. “But also just as a human. I have this itch to keep doing more.”
From phone calls to a first meeting
In the afternoon, Klein returned home.
On base, the houses are nearly identical — modest homes lined up along quiet streets, indistinguishable from one another unless you know which door to knock on. Inside, the living room was sparsely decorated, the furniture simple and functional. Klein shares the house with his wife, Eli, who teaches special education at a school on base, and Buddy, their 11-year-old goldendoodle, who curled up on a chair.
On the couch sat Paul Kenul, a 69-year-old retired U.S. diplomat who had flown in from Europe. Raised Catholic, he was now studying to become a Jew.
Klein balanced a laptop on his knees, scrolling through a passage from Pirkei Avot, a tractate devoted to ethics and moral teachings. Kenul leaned forward, listening closely, a pen in one hand and a notepad in the other.

Kenul grew up on Long Island, in a neighborhood that was almost entirely Jewish, except for him. He spent a career bouncing between Alaska and Heidelberg and Addis Ababa before landing, almost by accident, in Tel Aviv, working at the U.S. embassy. “I felt like I was home,” he said.
He lives in Poland now, with his wife, in a house with an Israeli flag flying in the garden.
For the past year, every Sunday, on the phone, the two men have worked their way through the Torah cycle. The first few months, Kenul said, he was “high” learning with Klein, mesmerized by a tradition he wished he’d found as a teenager.
For Kenul, the lessons had begun to feel like something more. “When I study with the rabbi,” he said, “I feel like I’m feasting.”
This week, for the first time, he flew in to meet Klein in person. “We hugged, and we just kept talking,” Kenul said matter-of-factly.
He talks now about the Torah’s cast of men who failed and were forgiven and failed again the way other people talk about relatives. “They feel like my ancestors,” he said. “They made so many mistakes. I can relate to that.”
Borrowed space, sacred time
The Watters Family Life Center for Counseling and Resiliency does not look like a synagogue, because it isn’t one. It’s a building the Army built for chaplains of every faith to share, and on Friday nights, for about an hour, it becomes one.
Past the kitchen, a walk-in storage room held boxes of Streit’s potato kugel, bottles of grape juice, a stack of siddurs, and “Shabbat in a box” kits donated by a Connecticut nonprofit — a Kiddush cup, a havdalah candle, a challah cover, and, inexplicably, a deck of playing cards. In the corner, leaning against the wall, rests a blue pop-up sukkah.

Klein passed out camouflage kippahs at the door.
About 15 people sat in folding chairs, more arriving until someone had to grab extra seats. Klein stood behind a small pulpit, a menorah on the stage behind him between an American flag and the Army Chaplain Corps flag. He’d traded his fatigues for a gray suit, no tie. The service moved through Hebrew and English, everyone following along in camouflage-covered siddurs.
It was the Shabbat before the Fourth of July, and the week’s Torah reading happened to be Klein’s own bar mitzvah portion — a text that describes the sudden death of Miriam. For Klein, the connection was heartbreakingly close; his own sister, Miriam, had passed away suddenly just a month prior.
He shared with the room how the Torah handles the loss with a striking, quiet brevity, offering no drawn-out account of public mourning. Instead, Jewish tradition teaches that a miraculous well of water traveled with the Israelites through the dry wilderness for as long as Miriam lived — and vanished the moment she died.
Klein’s sister moved through the world with that same quiet, life-giving impact, he said. “She didn’t need the spotlight; she just brought sustenance and life to everyone around her,” he reflected. “She never would have wanted a loud, public display of grief. She would want us to keep moving forward through the desert.”
Then he recited the Mourner’s Kaddish.

A chaplain’s job, as the Army defines it, comes in three parts: nurture the living, care for the wounded, honor the fallen.
The first happens every day — soldiers walking in with money trouble, a marriage coming apart, the slow pressures that build until someone needs to talk to a person who won’t repeat what’s said.
The third comes without warning. When a soldier dies, in training or in combat, the call goes to the chaplain. Klein has stood with families the moment they find out. He has escorted remains across state lines, sometimes across continents, making sure both military protocol and Jewish tradition are followed at every step. At Dover Air Force Base, where the country’s dead return home first, chaplains are often the ones waiting on the tarmac.
“Escorting a fallen service member home is the most sacred, heavy duty we have,” he said. “It is the ultimate expression of our promise never to leave a fallen comrade.”
After the prayer for peace and a prayer for the country’s soldiers, the room sang Shalom Aleichem and Klein poured Kiddush into plastic cups. There was babka, black and white cookies, and fresh challah baked by a soldier’s wife, still warm when it reached the table.
There was also cake: carrot cake left over from his shloshim service for Klein’s sister, and a cookie cake for the country’s 250th — grief and birthday cake sharing a tablecloth. It was the whole evening in miniature: whatever needed holding, the room found a way to hold it.
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LA Jewish Federation staff picket their office
Employees of Los Angeles’ Jewish federation and three other local Jewish nonprofits are set to picket outside the federation’s building Tuesday, accusing federation management of a bait-and-switch in negotiations for a new contract.
Unionized workers of Jewish Federation Los Angeles, one of the four largest Jewish federations in the U.S. by net assets, say the federation verbally agreed June 25 to a 5% salary increase in the first year of a three-year contract during a bargaining session, only to lower the offer to 4% in the first year after the union withdrew other demands.
“It feels like bad-faith negotiations,” Lilia Arbona, who leads the employee union, said in an interview. “It’s disrespectful and distasteful to the community.”
About three-quarters of the union’s 93 members are employees of the federation itself. The remainder work for the Jewish Community Foundation, which manages more than $1 billion of charitable assets and is closely linked to the federation. The other two agencies, Jewish Big Brothers Big Sisters of Los Angeles and Builders of Jewish Education, partner with the federation and receive federation funding but are separate nonprofits, and the federation negotiates on their behalf.
The union staff, who are members of the American Federation of State, County and Municipal Employees, also picketed the building last week.
Arbona, who has worked for the federation for 35 years and is currently their senior art director, said the union had agreed to withdraw proposals around healthcare, parental leave and severance pay for annual wage increases of 5%, 4% and 4% in the three years of the contract — the same structure it agreed to in 2023, when its last contract was signed. That contract expires Tuesday.
Arbona said management had attributed the missing 1% to healthcare contributions, but alleged that the healthcare increases didn’t make up the difference. She added that the picket was not a strike or a work stoppage; union members will participate during their lunch hour.
The union has the option of filing an unfair labor practices complaint with the U.S. Department of Labor, but Arbona said it could take a year to get a hearing and that a Trump-run department would not give the union a fair hearing.
Rob Goldenberg, who is serving as the federation’s communications lead, did not address Arbona’s claims but described the picket as a “common” occurrence in the bargaining process.
“Every three years, the Jewish Federation, representing several Jewish agencies, negotiates with our local union,” Goldenberg, the federation’s chief creative officer, said in a statement. “An informational picket, conducted during our employees’ non-work time, is a common part of this process. We have engaged in good-faith negotiations and look forward to reaching a conclusion soon that benefits everyone involved.”
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The play is about Birthright, but it’s about a lot more than Israel
Towards the end of Birthright, a new play that just made its New York City debut at the MCC Theatre, two characters are arguing over Israel and Zionism in the wake of Oct. 7. The talking points will be familiar to anyone who’s been ensconced in the discourse of the past few years: Izzy says that Zionism is and has always been a colonialist project, and Chaya blames the conflict on Palestinian leaders who rejected early two-state solutions.
As they argue, each is frantically Googling; their phone screens are projected onto the walls of the set. We can see the chasm between their echo chambers: Izzy goes to the Jewish Voice for Peace website, Chaya to The Jerusalem Post. Each time they focus on their own screen, the sound of the argument becomes muffled and indistinct until they resurface to throw a new piece of evidence into the conversation.
It’s a clever piece of production magic that effectively drives home the schism over Israel in the Jewish world, and our inability to hear each other.
Birthright, commissioned by Miami New Drama from Tony Award-winning playwright Jonathan Spector and here directed by Teddy Bergman, is nominally about the eponymous free trip to Israel. But really it’s about a group of six friends that formed on the trip, and their personal journeys — through Judaism, and through life — as the somewhat motley crew diverges and reconnects over the years.

The show is a long one, three and a half hours once you include its two intermissions. Each act depicts a single night, spaced over the course of nearly two decades — first, right after they’ve returned from their trip to Israel in 2006, then in their early 30s as their careers are taking off in 2016, and finally a year after Oct. 7. While the runtime is admittedly long, it allows for well-developed characters, which are essential to approaching such a touchy topic with any nuance, and the fast-paced dialogue keeps things moving briskly. (A reasonable helping of humor, including a Kanye reference in every act, doesn’t hurt.)
And the show does manage an astonishing amount of subtlety for a topic that has become so factionalized. The characters represent a reasonably diverse range of Jewish thought and experience, though certainly leaves some out. (There are no Jews of color or converts, for example, and no true right-wing hawks.)
There’s Chaya (Zoe Winters, best known as Logan Roy’s secretary and mistress on Succession), who grew up Conservadox, but spent college rushing a sorority and dyeing her hair blonde; she ends up working for the Democratic establishment. Noah (Eli Gelb, Tony-nominated for Stereophonic) is a political wonk with a Facebook-addled dad prone to right-wing conspiracy theories. Izzy (Molly Bernard), a queer Jew who eschewed law school, has worked on the Jewish left long before it became buzzy. Lev (Hale Appleman), a lost soul wanderer with a penchant for Jewish philosophy — he name-drops Abraham Joshua Heschel’s The Sabbath and Yosef Yerushalmi’s Zakhor — has family who survived the Holocaust. Alona (Molly Ranson), a sociology PhD who fell for an IDF soldier on the trip, eventually marries an Israeli and moves to Tel Aviv. And Emerson (Nate Mann), a musician, is barely aware that he’s Jewish when he lands on their trip half by accident.
This long summary represents only a smidgen of the events in the group’s lives. The play makes sharp use of production gimmicks, opening the second and third acts by projecting a montage of messages, summarizing the events of the group’s intervening years — and also cleverly reminding us of the quirks of bygone eras. Before the second act, we see wedding invitations and job announcements sent out by email, and then newborn photos posted on Facebook. Before the third, there are group chats on iMessage and then Whatsapp, where we see more birth announcements. Later, they exchange articles about the Israel-Hamas war.
This glut of information is how the show achieves its depth. On paper, one could slot some of these characters into obvious archetypes: The Zionist who makes aliyah, the queer anti-Zionist activist who has made politics her whole identity, the centrist liberal who staunchly supports Israel. But every character has real depth and pathos, and none of the action plays out to its stereotypical end.
When someone asks Izzy, the JVP-type activist, why she hates Israel so much, she doesn’t list out its sins; instead, she’s affronted. “I don’t hate Israel. I love it,” she says. “What it could be at its best.” She doesn’t believe she’s fighting against the nation, but for it.
Meanwhile, Alona, who made aliyah, does not launch into a speech about how Hamas has to be eradicated before the war can end; Bibi, the rest of the Israeli government and settlers, she says, are just as much of a “cancer” as any terrorist group.

Though the political discussions are impressively nuanced, Birthright finds its true success in spending as much time on the rest of the characters’ lives as it does on their political stances. There are the complications of falling for a non-Jewish partner. The ways having children changes life in inalterable ways. Divorces. Substance abuse. The way a dream career can still disappoint. For a topic that is so often turned into a polemic, the play takes a broader view.
In presenting stories of real, believable Jewish lives that are not solely defined by their Judaism, the play demonstrates that Jewishness doesn’t mean just one thing to anyone. Instead, it explores the ways Jewish identity layers on, mingles with and sometimes challenges the rest of one’s choices, values and beliefs.
There are views left out of Birthright, to be sure. No one is right wing (the characters call their group “BirthLeft”), and in the first act they all make fun of their trip as a way to get Jewish kids laid. No one is truly hawkish about the war; in the first act, the characters make fun of George W. Bush and fantasize about working on Democratic campaigns. No one is making an argument, as plenty of people have in the past few years, that Palestinians should be exiled from Gaza or deserve to die.
But the overall point can apply equally: Judaism, and Israel, is not one clear thing. There’s no perfect answer. We aren’t all supposed to agree — but that doesn’t have to tear us apart. It’s a simple message, but one that is hard to believe these days; Birthright makes it feel tangible.
As Lev says when considering their Birthright trip, and his confused feelings about it. “History, Jewish history, it’s never been a straight line, and it’s never meant only one fixed thing. It’s more a thing you interpret, that you find meaning in.”
The new play Birthright is playing at the MCC Theater in Manhattan through Jul 26, 2026.
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