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A jingle inspired a show about dueling lawyers. Two synagogues helped bring it back to the stage.
(New York Jewish Week) — For any New Yorker, the background noise of the 2000s may well have been marked by the numbers 800-888-8888, the ubiquitous jingle for the Buffalo-based personal injury law firm Cellino and Barnes.
The renown of Ross Cellino and Stephen Barnes grew even more when the pair contentiously split up in 2017. Their acrimonious business divorce included clashes over managing the business, a restraining order against Cellino, claims of “bullying” by Barnes and a complaint that Barnes refused to let Cellino hire his own daughter.
Naturally, comedy writers Michael Breen and David Rafailedes needed to write a show about what might have gone down, including a scene about how that infamous jingle came into existence.
Breen and Rafailedes had performed the show, “Cellino v. Barnes,” a handful of times in New York in 2020 before the pandemic shut it down. Breen moved to California and Rafailedes headed to grad school and the play they wrote about a unique New York sensation almost faded into the ether.
But this isn’t that story. This is the story of how two 25-year-old high school buddies and amateur theater producers made sure that didn’t happen — and how they leaned on their synagogues to get the job done.
David Pochapin and Cameron Koffman were 22 when they saw “Cellino v. Barnes.” They loved the show for the way it spoke to their sense of humor, their New York childhoods and their love of niche theater. The pair would eventually take on the task of producing the play and teaming up with Breen and Rafailedes to bring it to a wider audience, this time in a vacant office space in Manhattan to really give audiences the feeling of authenticity.
Now 25 and a year into producing “Cellino v. Barnes: The Play,” Pochapin and Koffman are admittedly amateurs — Pochapin works a day job in FinTech and Koffman in city government.
“When we are trying to get people to come see the show, we say, ‘we’re doing this not because we saw a business opportunity but because we genuinely saw a story that more people needed to see,’” Pochapin said. “It’s hard to imagine finding another project quite like this. It’s been a wild ride and we’re super excited for the show.”
(On Oct. 2, 2020, Stephen Barnes and his niece were killed in the crash of a private plane in upstate New York. Pochapin said there is “absolutely no comedy about the plane crash” and the show centers around the creation, success and break-up of the firm.)
Ahead of the show’s opening, the New York Jewish Week spoke to Koffman and Pochapin about why they love the show, how their synagogues and Jewish communities have supported them in this process and what changes they are most excited about.
This interview has been lightly edited for length and clarity.
New York Jewish Week: How did you get involved as producers with the show?
Cameron Koffman: We first saw the show in January of 2020. We had no involvement — we had just seen an article from the Buffalo News: “Show about Cellino and Barnes is an 8.8888 out of 10.” It sounded fun and it was playing in New York City for just a couple shows in January at the Bell House in Gowanus. It was the absolute funniest thing. Then COVID hit, obviously, six, seven weeks later, and life moved on.
I got an email from the venue that the show was back for two performances in August of 2021. David and I dragged more of our friends. It was a big group activity because we had been talking about the show for a year and a half at this point. I mean, it’s Cellino and Barnes, iconic New York names and a jingle that everybody recognizes. We saw it again and it was even funnier.
We had a mutual friend with one of the actors and pushed to get a drink because we just really wanted to tell them, “We thought the play was so funny. It was so great that someone wanted to tell this story.” When we met up with him, we asked if he ever had aspirations to make a permanent run out of it. He said yes, but COVID happened, he ended up having a kid and the other co-writer and actor moved out to the West Coast. Basically, life got in the way. When we talked to [Breen and Rafailedes], it really just sounded like more than anything they needed people to help initiate the process, which we thought we would be able to handle.
We certainly didn’t have experience in production, but we were so passionate about the story and we like to get our hands dirty with logistics. We just thought it was so fun that we wanted to take it to another level and really create a full run of this. We put our heads down, worked on a proposal and here we are.
How did your Jewish communities step in to help get the show back on its feet again?
DP: When we first got into this, which was over a year ago now, we talked to everyone we could, every person that would hear us out and offer an opinion. We reached out to people at my synagogue and they offered to provide chairs for the audience and books for the set, so now we have chairs and books. We’re both very involved in our synagogues — mine is Sutton Place Synagogue and Cameron’s is Temple Emanu-El. My first exposure to theater at a young age was not only in school, but during the Purim spiels at my synagogue. It is because of our communities and our upbringing there that we have the confidence that we’ll be able to do this.
CK: It really is. So many people that we know, that we rely on, that we talk to and the time that we spend with them have helped us put this show together. For example, I lead a couple of lay-led groups at Temple Emanu-El. Through that, I’ve become friendly with dozens of people, I’ve met other people through the young members circle, through becoming friendly with the rabbi and actually leading Shabbat once last year. So — for both of us — one of the main reasons we knew we could do this was because we’re deeply embedded in a large Jewish community and we knew that we could tap into people that would be able to sort of help and guide us with advice and knowledge along the way. Also, we knew we’d be able to blast out the show to a lot of people. David could tell you, one of the first people to buy a ticket for the play was the rabbi [Rachel Ain] from Sutton Place Synagogue, she and her whole family.
As producers you have a little more control than you did as audience members. What changes are you most excited about since the first production?
CK: Not much had to change about the story. Breen and Rafailedes had done the play and certainly the story of Cellino and Barnes is still ever present in the cultural milieu of today. For a large swath of people, millions of people in the New York area, and even in California, where Cellino and Barnes worked too, that jingle just rings a bell and it seared itself into our brains, so our vision didn’t have to be focused on making sure there was name recognition.
When we saw it at The Bell House, the show was very bare bones. The venue had a stage, but it’s a big hall with 200-250 seats and you don’t really feel like you’re at a theater venue — you certainly don’t feel like you’re at an experiential venue. The space that we got on West 23rd is a vacant commercial space that feels like you’re actually in a law office. That was one of the key things we brought — we thought, “if we’re going to really lean on the vibe and the aura of Cellino and Barnes, we want to make you feel like you’re stepping into a dingy personal injury attorney’s office, with plaques on the wall and all of it.”
Why should people see it?
CK: I’m deeply passionate about my love for New York. A couple years ago, right out of college, I actually ran for the New York State Legislature. I love the city. It’s just such an amazing place. Cellino and Barnes is very much a part of New York’s cultural fabric. There are just certain things that resonate with all New Yorkers. It’s Roscoe the bedbug dog from Bell Environmental, it’s Sandy Kenyon from the Eyewitness News “movie minute” in the back of the taxi cab. All those sorts of things that people who grew up in New York or who have spent significant time here will know and recognize.
So many people come from different backgrounds, but there are still these unifiers — everybody’s seen the billboards and subway ads. And although it is a very New York production, we do think that it can resonate with everybody. Every city seems to have their own version of Cellino and Barnes — the mysterious personal injury lawyer who’s on every billboard, on every bus, and who has their slogan.
DP: When you’re in the theater and you’re laughing at these two people that are so nostalgic and are two of the easiest people to laugh and make jokes about, it’s just an unforgettable night. It’s hilarious, and even though it’s a comedy it also makes you think. Cameron and I have had several discussions about who’s right or wrong and Team Cellino or Team Barnes.
“Cellino v. Barnes: The Play” opens on April 13 at 320 W 23rd St. Tickets start at $40.
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The post A jingle inspired a show about dueling lawyers. Two synagogues helped bring it back to the stage. appeared first on Jewish Telegraphic Agency.
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Australia’s Jewish History Might Have Unfolded Differently
People attend the ‘Light Over Darkness’ vigil honoring victims and survivors of a deadly mass shooting during a Jewish Hanukkah celebration at Bondi Beach on Dec. 14, in Sydney, Australia, Dec. 21, 2025. Photo: REUTERS/Hollie Adams
The deadly pogrom that took place in Australia at a Hanukkah event on Bondi Beach was the culmination of more than two years of hate and violence directed at Jews following the October 7 Hamas terror attack on Israel.
Australian Jews have learned that what they once considered to be one of the safest and most comfortable places in the world to be a Jew, is anything but. Yet the Jewish experience in Australia might have been very different.
The idea of a Jewish refuge somewhere other than Israel predates the modern Zionist movement. In the 20th century, two possible havens for Jewish refugees were considered during the lead up to World War II; both were rejected.
The more widely known effort involved a proposal for a refuge in Alaska. It was the initiative of Harold Ickes, US Secretary of the Interior, who was concerned that Alaska’s sparse population (only 70,000) would make it a tempting target for attack. (This story is the historical basis for Michael Chabon’s 2007 novel The Yiddish Policemen’s Union.) The proposal received only lukewarm support from President Roosevelt and after three days of presentations to the US Senate Committee on Territories and Insular Affairs in May 1940, it died.
The second effort, less widely known, involved a proposed Jewish sanctuary in Australia, a possibility I learned about only recently when I was going through some Yiddish literature left by my parents.
I grew up in Montreal, the son of Yiddish-speaking Jewish immigrants from Eastern Europe.
For the first half of the 20th century, Montreal, the home of writers such as the poet J. I. Segal, was a major center of North American Yiddish culture. My parents would often mention Melech Ravitch, pen name for Zecharia-Chune Bergner, a well- known Yiddish poet and essayist, who was a leading figure in Montreal Yiddish circles.
I discovered that Ravitch, originally from Poland, spent several years during the 1930s in Australia, before ending up in Montreal. While there, he investigated the feasibility of establishing a haven for Jewish refugees in a sparsely inhabited region of northwestern Australia known as the Kimberley.
The proposal, backed by a European group, the Freeland League, would involve the purchase of land (a little over 10,000 square miles) in Western and Northern Australia. An advance contingent of 500 Jewish refugees from Europe would begin the process of creating a settlement, followed by 75,000 to 100,000 people to follow. Ravich envisioned an eventual population of one million, this at a time when the population of Australia as a whole was less than seven million.
The company that owned the land agreed to sell the desired tract, and leading religious and public figures, including the Premier of Western Australia, were in favor. But opposition at the federal level prevented the plan from moving forward. The League was informed that the Australian Government, led by Prime Minister John Curtin, was not in favor of “alien settlement in Australia.”
The Australian government was consistent. The Évian Conference, held in July 1938 at the French resort city of Évian les Bains, was initiated by President Roosevelt to find a solution to the plight of hundreds of thousands of stateless European Jews. Thirty-two nations, including Australia, participated. The conference achieved very little. The Australian chief delegate, Colonel T. W. White, declared “as we have no real racial problem, we are not desirous of importing one by encouraging any scheme of large-scale foreign migration.”
The Jews murdered in the Holocaust were doomed by worldwide indifference to their fate, but also by the fact that there was no independent Jewish state that could have served as a refuge when they needed one. That’s why Israel is needed now — and why an Australian refuge would have made such a huge difference nearly 100 years ago.
Jacob Sivak, a Fellow of the Royal Society of Canada, is a retired professor, University of Waterloo.
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Debunked Hamas Casualty Figures and Their Impact on Reporting
Palestinian gunmen stand guard on the day that hostages held in Gaza since the deadly Oct. 7, 2023, attack, are handed over to the International Committee of the Red Cross (ICRC), as part of a ceasefire and hostages-prisoners swap deal between Hamas and Israel, in Khan Younis, southern Gaza Strip, Oct. 13, 2025. Photo: REUTERS/Ramadan Abed
Since October 7, 2023, Hamas has shaped global public opinion through its propaganda warfare. The terrorist organization excitedly recorded and uploaded the atrocities committed against Israelis that day to social media platforms, and those who saw any trace of it were rightfully horrified.
But shortly after, when the images weren’t as fresh and no longer front-page news, Hamas turned to a new strategy — playing victim to the Israeli army. And since then, the media has run with it.
For instance, on October 17, 2023, reports claimed an explosion occurred inside the Al-Ahli Hospital. The media rushed to re-print Hamas’ claim that more than 500 people had been killed.
Evidence then came out that displayed it was a parking lot adjacent to the hospital that had been hit by a misfired Palestinian Islamic Jihad rocket, and the casualties were fewer than reported.
The media has continued this pattern since. Any death toll that the Hamas-run Ministry of Health (MoH) publishes is immediately reported on by Western media, oftentimes without any attribution to Hamas.
This has resulted in blood libels being printed on the front pages of newspapers, blaming Israel for targeting non-combatants, including women and children.
But the vast majority of the casualty numbers that have been used throughout the war have been purposefully misrepresented by Hamas.
As of December 2025, the Hamas-run MoH has claimed that over 70,000 people have died in Gaza since the start of the war.
But further analysis done by Salo Aizenberg, a board member of HonestReporting, displays that this includes the casualties of Hamas fighters, natural deaths, and internal fighting amongst Gazans.
While the analysis is based on informed estimates, and the precise toll may take years to verify, it nonetheless highlights the extent to which Gaza casualty figures have been misrepresented in media coverage over the past two years.
Although it is difficult to determine the exact number of terrorists killed by the IDF since the beginning of the war, estimates suggest the number to be more than 22,000 as of October 2025, not including those who were killed during the terrorist attacks on October 7. President Donald Trump has confirmed the number to be greater than 25,000, the number used in Aizenberg’s analysis.
Beyond combatants, throughout the war, there were likely to be around 11,000 natural deaths, based on pre-war patterns. Another 4,000 deaths were caused by internal fighting within Gaza from different factions, including firing on civilians at aid sites or executions of individuals Hamas deemed to be collaborating with Israel. An additional 1,000 estimated deaths can be attributed to errors in reporting.
After removing these casualty numbers from the total of 70,000, there are a remaining 54,000 deaths. Of the 54,000, one can reasonably assume that around 25,000 were terrorists, leaving 36,000 civilian casualties. While every innocent civilian casualty is a tragedy, this is nonetheless a remarkably low civilian-to-combatant ratio of 1.45:1, especially given the circumstances of urban warfare.
Visualization based on data by Salo Aizenberg.
These numbers entirely dispute the claims that the majority of deaths are civilians — a claim the media has previously made. One “investigative” piece done by The Guardian and +972 Magazine, published in the summer of 2025, claimed that 83% of casualties were civilians.
What the outlets willfully omitted, however, was that this figure counted only terrorists whom the IDF had identified before the war and could conclusively confirm as eliminated, excluding thousands of combatants who could not be identified during the fighting. By presenting this partial dataset as comprehensive, the article created a misleading impression that was then cited as authoritative.
This information is not necessarily new either.
A December 2024 report by the Henry Jackson Society found that 84% of the publications analyzed failed to make the critical distinction in total numbers between combatant deaths and civilian deaths, further illustrating the extent to which misleading casualty narratives have been allowed to take hold. The report also found that men of combat age were disproportionally represented, and natural deaths were included in casualty statistics.
Perhaps even more telling is the ratio between male and female casualties. Males of combat age (18-59) died at 3x the rate of women the same age, resulting in a 3:1 ratio. The 32,690 deaths of men of combat age account for 46.7% of total casualties.
Visualization based on data by Salo Aizenberg.
Outlets, including the Associated Press, BBC, and Washington Post, have all previously parroted the claim that 70% of the casualties in the war were women and children. Naturally, it was based on falsified data, and the new casualty analysis once again disproves this claim.
Even after the UN walked back this percentage due to incomplete information, news outlets have continued to print that more than half of the casualties are women and children.
Throughout the two years of war, the media have repeatedly reprinted Hamas’ libels and casualty figures with little skepticism, allowing a terrorist organization to shape the narrative without rigorous analysis or verification.
Inflated civilian casualty claims will continue to distort public understanding of the war by obscuring the true civilian-to-combatant and male-to-female casualty ratios.
It is therefore only responsible journalism for every outlet that published Hamas’ casualty figures without questioning them to issue corrections and acknowledge that not every casualty during the war has been the result of IDF action.
The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.
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Fatah’s Gender Equality Terror: ‘Since the Start, Women Have Been Partners in the Struggle’
Palestinian demonstrators display a poster showing terrorist Dalal Mughrabi alongside the late PLO leader Yasser Arafat. Photo: File.
In two recent videos, Palestinian Authority (PA) leader Mahmoud Abbas’ Fatah Movement highlights its message to youth: Female terrorist murderers are heroes, and should be emulated.
Fatah’s university student group for women, “Sisters of Dalal,” is named after terrorist Dalal Mughrabi, who led the murder of 37 people, 12 of them children.
Introducing one of the videos, Fatah presented “Sisters of Dalal” as a continuation of terrorist murderer Dalal Mughrabi:
Posted text: “The Sisters of Dalal Mughrabi
Not only yesterday, but today on every front; symbols of sacrifice and creators of pride and self-sacrifice.“
Fatah’s video showed various images of Mughrabi. At the end of the video, young female students are seen standing in formation while wearing vests with the text: “Al-Asifa Forces (i.e., Fatah terror unit) — Sisters of Dalal.” The video included a song with the following lyrics:
Lyrics of song: “O lady of the girls, O noble and brave one, O women wrapped in keffiyehs
O lady of the girls, O daughter of the Shabiba. Pride and firmness. She is equal to a brigade”
[Fatah Commission of Information and Culture, Facebook page, Nov. 26, 2025]
In a second video, a Fatah official praised murderer Mughrabi as the woman “who led a group of men” to carry out “a self-sacrificing operation” — i.e., the hijacking of a bus and taking Israeli passengers hostage, eventually murdering 37 of them, 12 of them children.
The Fatah official presented as an achievement that women have always been “partners in the struggle,” and that the student group for women is named after a murderer:
Fatah intellectual academy leadership council member Ala’ Mleitat: “Since the start of Fatah, women have been partners in the struggle.
‘The Sisters of Dalal’ in the Fatah Shabiba [Student Movement] are named after our sister Dalal Mughrabi, the great Martyr who led a group of men to the Palestinian [i.e., Israeli] coast to carry out a self-sacrificing operation.” [emphasis added]
[Fatah-run Awdah TV Live, Facebook page, Nov. 25, 2025]
Palestinian Media Watch has previously documented the status of role model given to Dalal Mughrabi by the PA.
The author is a contributor to Palestinian Media Watch, where a version of this story first appeared.