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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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Iran Opposes Grossi’s UN Secretary-General Candidacy, Accuses Him of Failing to Uphold International Law
UN nuclear watchdog chief Rafael Grossi holds a press conference on the opening day of the International Atomic Energy Agency’s (IAEA) quarterly Board of Governors meeting in Vienna, Austria, Sept. 8, 2025. Photo: REUTERS/Elisabeth Mandl
Iran has publicly opposed International Atomic Energy Agency (IAEA) Director-General Rafael Grossi’s potential appointment as UN Secretary-General next year, accusing him of failing to uphold international law by not condemning US and Israeli strikes on Iranian nuclear sites during the 12-day war between Iran and Israel in June.
During a UN Security Council meeting on Monday, Iran’s Ambassador to the UN, Amir Saeid Iravani, sharply criticized Grossi, calling him unfit” to serve as UN Secretary-General next year, Iranian media reported.
“A candidate who has deliberately failed to uphold the UN Charter — or to condemn unlawful military attacks against safeguarded, peaceful nuclear facilities … undermines confidence in his ability to serve as a faithful guardian of the charter and to discharge his duties independently, impartially, and without political bias or fear of powerful states,” the Iranian diplomat said.
With UN Secretary-General Antonio Guterres’ term ending in December next year, member states have already begun nominating candidates to take over the role ahead of the expected 2026 election.
Since the start of the war in Gaza, Israel’s relationship with Guterres has spiraled downward, reaching a low point last year when then-Foreign Minister Israel Katz labeled the UN “antisemitic and anti-Israeli” and declared Guterres persona non grata after the top UN official failed to condemn Tehran for its ballistic missile attack against the Jewish state.
Last week, Argentina officially nominated Grossi to succeed Guterres as the next UN Secretary-General.
To be elected, a nominee must first secure the support of at least nine members of the UN Security Council and avoid a veto from any of its five permanent members — the United States, China, Russia, the United Kingdom, and France.
Afterward, the UN General Assembly votes, with a simple majority needed to confirm the organization’s next leader.
As head of the UN’s nuclear watchdog since 2019, Grossi has consistently urged Iran to provide transparency on its nuclear program and cooperate with the agency, efforts the Islamist regime has repeatedly rejected and obstructed.
Despite Iran’s claims that its nuclear program is solely for civilian purposes rather than weapons development, Western powers have said there is no “credible civilian justification” for the country’s nuclear activity, arguing it “gives Iran the capability to rapidly produce sufficient fissile material for multiple nuclear weapons.”
With prospects for renewed negotiations or nuclear cooperation dwindling, Iran has been intensifying efforts to rebuild its air and defense capabilities decimated during the 12-day war with Israel.
On Monday, Mohammad Eslami, head of the Atomic Energy Organization of Iran (AEOI), declared that the IAEA has no authority to inspect sites targeted during the June war, following Grossi’s renewed calls for Tehran to allow inspections of its nuclear sites and expand cooperation with the agency.
Iran has also announced plans to expand its nuclear cooperation with Russia and advance the construction of new nuclear power plants, as both countries continue to deepen their bilateral relations.
According to AEOI spokesperson Behrouz Kamalvandi, one nuclear power plant is currently operational, while other two are under construction, with new contracts signed during a recent high-level meeting in Moscow.
Kamalvandi also said Iran plans to build four nuclear power plants in the country’s southern region as part of its long-term partnership with Russia.
During a joint press conference in Moscow on Tuesday, Iranian Foreign Minister Abbas Araghchi reiterated Iran’s commitment to defending the country’s “legal nuclear rights” under the now-defunct 2015 nuclear deal, noting that Tehran’s nuclear policies have remained within the international legal framework.
Iran’s growing ties with Russia, particularly in nuclear cooperation, have deepened in recent years as both countries face mounting Western sanctions and seek to expand their influence in opposition to Western powers.
Russia has not only helped Iran build its nuclear program but also consistently defended the country’s “nuclear rights” on the global stage, while opposing the imposition of renewed economic sanctions.
Russian Foreign Minister Sergey Lavrov has described the reinstatement of UN sanctions against Iran as a “disgrace to diplomacy.”
In an interview with the Islamic Republic of Iran News Network (IRINN), Lavrov accused European powers of attempting to blame Tehran for the collapse of the 2015 nuclear deal, despite what he described as Iran’s compliance with the agreement.
Prior to the 12-day war, the IAEA flagged a series of Iranian violations of the deal.
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Eurovision Host Says It Will Not Drown Out Any Boos During Israel’s Performance
ORF executive producer Michael Kroen attends a press conference about the Eurovision Song Contest in Vienna, Austria, Dec. 16, 2025. Photo: REUTERS/Lisa Leutner
The host broadcaster of the next Eurovision Song Contest, Austria’s ORF, will not ban the Palestinian flag from the audience or drown out booing during Israel’s performance as has happened at previous shows, organizers said on Tuesday.
The 70th edition of the contest in May will have just 35 entries, the smallest number of participants since 2003, after five national broadcasters including those of Spain, Ireland, and the Netherlands said they would boycott the show in protest at Israel’s participation.
What is usually a celebration of national diversity, pop music, and high camp has become embroiled in diplomatic strife, with those boycotting saying it would be unconscionable to take part given the number of civilians killed in Gaza during Israel’s military campaign following the Palestinian terrorist group Hamas’s Oct. 7, 2023, invasion of and massacre across southern Israel.
“We will allow all official flags that exist in the world, if they comply with the law and are in a certain form – size, security risks, etc.,” the show’s executive producer, Michael Kroen, told a news conference organized by ORF.
“We will not sugarcoat anything or avoid showing what is happening, because our task is to show things as they are,” Kroen said.
AUSTRIA SUPPORTED ISRAEL PARTICIPATING
The broadcaster will not drown out the sound of any booing from the crowd, as happened this year during Israel’s performance, ORF’s director of programming Stefanie Groiss-Horowitz said.
“We won’t play artificial applause over it at any point,” she said.
Israel’s 2025 entrant, Yuval Raphael, was at the Nova music festival that was a target of the Hamas-led attack. The CEO of Israeli broadcaster KAN had likened the efforts to exclude Israel in 2026 to a form of “cultural boycott.”
ORF and the Austrian government were among the biggest supporters of Israel participating over the objections of countries including Iceland and Slovenia, which will also boycott the next contest in protest. ORF Director General Roland Weissmann visited Israel in November to show his support.
This year’s show drew around 166 million viewers, according to the European Broadcasting Union, more than the roughly 128 million who Nielsen estimates watched the Super Bowl.
The war in Gaza began after Hamas-led terrorists killed 1,200 people, most of them civilians, and seized 251 hostages in an attack on southern Israel.
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Antisemitism Allowed to Fester in Australia, Says Daughter of Wounded Holocaust Survivor
Victoria Teplitsky, daughter of a Holocaust survivor who was wounded at the Bondi shootings, stands at a floral memorial in honor of the victims of the mass shooting targeting a Hanukkah celebration on Sunday, at Bondi Beach, in Sydney, Australia, Dec. 16, 2025. Photo: REUTERS/Jeremy Piper
Government authorities have not done enough to stamp out hatred of Jews in Australia, which has allowed it to fester in the aftermath of Oct. 7, said the daughter of a Holocaust survivor who was wounded at the Bondi shootings on Sunday.
Victoria Teplitsky, 53, a retired childcare center owner, said that the father and son who allegedly went on a 10-minute shooting spree that killed 15 people had been “taught to hate,” which was a bigger factor in the attack than access to guns.
“It’s not the fact that those two people had a gun. It’s the fact that hatred has been allowed to fester against the Jewish minority in Australia,” she told Reuters in an interview.
“We are angry at our government because it comes from the top, and they should have stood up for our community with strength. And they should have squashed the hatred rather than kind of letting it slide,” she said.
“We’ve been ignored. We feel like, are we not Australian enough? Do we not matter to our government?”
The attackers fired upon hundreds of people at a Jewish festival during a roughly 10-minute killing spree, forcing people to flee and take shelter before both were shot by police.
RISING ANTISEMITIC ATTACKS
Antisemitic incidents have been rising in Australia since the war in Gaza erupted after Palestinian terrorist group Hamas killed 1,200 Israelis in an attack on Oct. 7, 2023.
A rise in such incidents in the past sixteen months prompted the head of the nation’s main intelligence agency to declare that antisemitism was his top priority in terms of threat.
“This was not a surprise to the Jewish community. We warned the government of this many, many times over,” Teplitsky said.
“We’ve had synagogues that have been graffitied, graffiti everywhere, and we’ve had synagogues that have been bombed,” she added, referring to a 2024 arson attack in Melbourne in which no one was killed.
Teplitsky’s father Semyon, 86, bled heavily after being shot in the leg, and now is facing several operations as doctors piece bone back together with cement, then remove the cement from the leg, which he still may lose, she said.
“He’s in good spirits, but he’s also very angry. Angry that this happened, that this was allowed to happen in Australia, the country that he took his children to, to be safe, to be away from antisemitism, to be away from Jew hatred.”
Israel’s Prime Minister Benjamin Netanyahu said on Monday that Australian Prime Minister Anthony Albanese “did nothing” to curb antisemitism.
Albanese repeated on Tuesday Australia‘s support for a two-state solution. Anti-Israel, pro-Hamas protests have been common in Australia since Israel launched its offensive in Gaza.
At a press briefing on Monday, Albanese read through a list of actions his government had taken, including criminalizing hate speech and incitement to violence and a ban on the Nazi salute. He also pledged to extend funding for physical security for Jewish community groups.