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A Rube Goldberg machine comes to life — literally — in a new dance piece
(New York Jewish Week) — Are we humans all parts of a meticulously crafted machine? Or are we independent beings, chaotically disrupting one another’s trajectories through time and space? Is there a difference between intentional and unintentional impact? Does it matter whether our movements are prompted by internal or external forces?
These are just some of the questions that surfaced as I watched footage of “Rube G. — the Consequence of Action,” a new work by acclaimed New York-based choreographer and dancer Jody Oberfelder. The piece — at once whimsical and thoughtful — explores the mechanical motions inherent in a classic “Rube Goldberg machine” (a chain-reaction contraption that typically involves levers swinging, cogs twirling, bits and bobs knocking each other on predetermined courses) as expressed through the human form.
Over four years in the making, the piece will make its debut March 4 at the Agnes Varis Performing Arts Center in Lower Manhattan. It will be performed for three consecutive weekends, culminating in a gala event on March 19.
The genesis of this 50-minute piece began four years ago, when musician Frank London of The Klezmatics was organizing an event celebrating 15 Jewish thinkers and creators — from philosopher Hannah Arendt to composer Morton Feldman — at the New York Public Library. Oberfelder, a director, choreographer and filmmaker dedicated to site-specific works that “expand how one experiences dance,” was invited to create a piece inspired by the work of Rube Goldberg (1883-1970), the Jewish cartoonist who drew his eponymous machines starting with Collier’s Weekly magazine in 1929. According to the Rube Goldberg Institute for Innovation and Creativity, these machines “solve simple problems in the most ridiculously inefficient way possible.” A classic example is the “Self Operating Napkin,” which wipes an eater’s face by using a combination of strings, counterweights and even a scythe.
Oberfelder was intrigued and, initially, a bit surprised by the assignment. “[Frank] said, ‘God, you’re Rube Goldberg! This is perfect for you!’ But it wasn’t until I started going deeply into research that I realized [he was right],” Oberfelder told the New York Jewish Week.
Oberfeld has had a long and illustrious career: She’s danced with and for the likes of composer Meredith Monk and choreographer Sally Silvers, and has traveled the world as a performer, guest choreographer and lecturer, from the University of Hawaii to London’s Victoria and Albert Museum. Still, this new prompt captivated her. “I realized we’ve been living the Rube Goldberg life all along,” she said, referencing the ways in which people are all tied together, an intricate array of human cogs. Soon, she was hooked on the ideas behind Goldberg’s fanciful genius.
An iconic Rube Goldberg cartoon, the “Self Operating Napkin,” was featured on a U.S. postal stamp honoring the cartoonist. (Rube Goldberg Inc.)
The resulting piece for the NYPL event was, according to Oberfelder, “a four-minute blast” that explores this idea. “We were running through the audience,” she told me, remembering that first dive into the world of order and chaos that is Goldberg’s philosophy. “[It seems like] a whole lot of something for nothing. But it is something — the joy of the moment to moment, while a marble is rolling down a slide, knowing that it [was there] and it worked.”
After that initial performance, Oberfelder wanted to explore more but, of course, the pandemic soon swept away any performance plans. Inventive as ever, she took the ideas she’d workshopped for London and created a second iteration: a film that combined over 300 clips of dancers responding to prompts like “spin” and “pop up.” Dancers and laypeople the world over, despite the social isolation, came together into a global Rube Goldberg machine.
Eventually, as COVID-19 restrictions lifted and the world began to open up, she took her new understanding of the themes and translated the film into a site-specific work that showed at Roulette, a Brooklyn theater, in 2021. That work was really the proto version of this newest take. It had the playfulness, the fun, the tumbling, the twirling. It wasn’t quite there, though. Not yet.
The piece explores big questions, including, as Oberfeld said: “What would a Rube Goldberg machine look like if it was performed by humans?” (Courtesy)
With “Rube G. — the Consequence of Action,” Oberfelder digs even deeper into her big idea — that everything we do is both influenced by others and influences others in both predictable and unforeseeable ways. To her, this idea has a philosophical connection to Judaism: “Everything here on earth happens and [it’s our lot] to live it to the fullest,” she said, adding that “the way in which we help each other along” is part of a Jewish ethos.
In the current iteration, four performers (including, briefly, Oberfelder herself) move in the space with a curious mix of clumsy and graceful motions. They are the machine — pushing, pulling, whirling in tandem — but their gestures seem, at times, independently determined. Are we all simply reacting to the actions of our peers? I wondered, as I watched one dancer dribble another one across the space like a basketball. Or do we have a choice in the matter?
While the dancers on stage explore the relationship one human has with another, a wild card, in the form of improvised audience participation, is added to the mix. Viewers who attend a performance of “Rube G. — the Consequence of Action,” may, at times, be called to interact with and define the direction of the piece. This element of the unknown will be folded into a meticulously planned piece which, like a Goldberg Machine, has a zillion moving parts that all seem random but somehow fall perfectly into place.
“During COVID, I got to a point where I was really analyzing the nature of performance and what I missed about it,” Oberfelder said. “What I felt was lacking was the effervescence of people coming together with different ideas to present something new…. I’ve tried to create an environment where we’re all here.” To Oberfelder, “all of us” includes the audience — and maybe people everywhere, too.
“It’s sort of like singing in the shower,” she added. “It’s nice, and it’s a great release. But actually, I would like these vibrations to go past my bathroom walls.” To that end, she’s brought her work to a simple space (“it’s just a big white box studio with very simple lighting”) and is welcoming audience members into the dance. As a result, each performance will be one-of-a-kind.
“What would a Rube Goldberg machine look like if it was performed by humans?” Oberfelder wondered aloud when we spoke, mulling over the various possible iterations. Now is our chance to find out.
“Rube G. — the Consequence of Action,” will be performed at The Agnes Varis Performing Arts Center, inside the Gibney Dance Center, at 280 Broadway on March 4-5, March 11-12 and March 18 at 7:30 p.m. A gala performance will be held on March 19 at 6:30 p.m. and will include post-performance food, drinks and a live auction. For tickets (from $15) and info, click here.
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The post A Rube Goldberg machine comes to life — literally — in a new dance piece appeared first on Jewish Telegraphic Agency.
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Saul Rubinek plays a version of himself in ‘Playing Shylock’
דער מאָנטרעאַלער אַקטיאָר סאָל רובינעק האָט אַ סך װאָס צו דערציילן.
ער איז דערצו אויך אַ גרויסער מאמין אינעם כּוח פֿון דערציילן.
„דערציילן איז אַלץ,“ זאָגט ער.
טאַקע די פֿראַזע האָט רובינעק, בעת אַן אינטערװיו מיט מיר, אויסגעקליבן װי אַ פּרוּװ איבערצוזעצן דעם טיטל פֿון זײַן אויטאָביאָגראַפֿישן ראָמאַן, All in the Telling. אַרויס פֿון דרוק אין 2025, איז דער ראָמאַן אַ האַלב־פֿיקטיװע כראָניק פֿון זײַנע עטלערן, ביידע פֿון דער שארית־הפּליטה, און זײַנע פֿאַרװיקלטע באַציִונגען מיט זיי און מיט זייערע טראַװמאַטישע לעבנס־געשיכטעס.
דער טיטל װאָלט זיך אויך גוט צוגעפּאַסט צו זײַן אויפֿטריט אין דער מאָנאָדראַמע Playing Shylock („דאָס שפּילן שײַלאָק“), געשריבן פֿונעם קאַנאַדער דראַמאַטורג מאַרק לירין־יאָנג. די פּיעסע וועט מען שפּילן ביזן 7טן דעצעמבער אין פּאָלאָנסקי־שעקספּיר־צענטער אין ברוקלין.
במשך פֿון דער פּיעסע, דערציילט ער, פֿאַרציילט ער, רעדט ער זיך אַראָפּ פֿון האַרצן. און דער אינהאַלט פֿון זײַנע שפֿעדיקע רייד? אַ פֿיקטיװע, אַנולירטע אויפֿפֿירונג פֿון שעקספּירס „דער קויפֿמאַן פֿון װענעדיג“. במשך פֿון זײַנע צװיי שעה אויף דער בינע הערן מיר די צרות פֿון אַן אַקטיאָר, װאָס האָט געדאַרפֿט שפּילן די ראָלע פֿון שײַלאָק אין דער דאָזיקער פּראָדוקציע: צרות מיט די פּראָדוצענטן, מיטן הײַנטצײַטיקן אַנטיסעמיטיזם און שמאָלקעפּיקײט, און צרות מיט זיך אַליין — װײַל רובינעק שפּילט טאַקע אַ װערסיע פֿון זיך אַליין אין דער אויפֿפֿירונג.
די דראַמע איז אַ רעװידירטער נוסח פֿון אַ פּיעסע, „שײַלאָק“, װאָס לירין־יאָנג האָט צוערשט אָנגעשריבן אין 1996. (אַגבֿ, יוסף באָװשאָװערס באַקאַנטע ייִדישע איבערזעצונג פֿון דער פּיעסע, װאָס מען האָט אַ מאָל געשפּילט אויף דער צווייטער עװעניו, הייסט אויך „שײַלאָק“.) אינעם נײַעם נוסח פֿון לירין־יאָנגס װערק, שפּיגלט די פּיעסע אָפּ פֿאַרשיידענע פֿאַקטן פֿונעם הויפּט־אַקטיאָרס לעבן, און דער עולם װייסט קיין מאָל נישט װאָסער פּרט איז אַן אויסגעטראַכטער און װאָסערער איז טאַקע אַ טשיקאַװעס פֿון רובינעקס לעבן. אין דעם ליגט אַ סך פֿון דער פּיעסעס שפּאַנונג און אומזיכערקייט.
אין עטלעכע מאָמענטן, דעקלאַמירט רובינעק שײַלאָקס מאָנאָלאָגן אין דער שטים פֿונעם טאַטן — אַפֿילו אַ מאָל מיט אַ גמרא־ניגון („װער דען װאָלט געשפּילט שײַלאָק אַזוי?“ האָט ער מיך שפּעטער רעטאָריש געפֿרעגט). בײַם סוף פֿון דער פּיעסע, װאָס איז כּמעט אין גאַנצן אויף ענגליש, הערן מיר די באַרימטע רעדע „האָט דען אַ ייִד ניט קיין אויגן?“, דװקא אויף מאַמע־לשון.
„אין זײַן ספּעציפֿישקייט, װערט ייִדיש אוניװערסאַל,“ זאָגט רובינעק, װאָס האָט אויך געשפּילט אויף ייִדיש אינעם פֿילם Shttl („שטטל“, 2002) און די ראָלע פֿון הירש ראַסיינער (אויף ענגליש) אינעם פֿילם The Quarrel (די קריג, 1991), באַזירט אויף חיים גראַדעס דערציילונג. „אין זײַן ספּעציפֿישקייט װעגן אונדזערע איבערלעבונגען װי מענטשן, װי ייִדן, קענען מיר זיך ׳האַלטן בײַ די הענט׳ מיט דער גאַנצער װעלט.“
טיילװײַז האָט דער אַקטיאָר טאַקע דורכגעפֿירט דעם שמועס מיט מיר אויף ייִדיש, װאָס, ער איז מודה, קומט אים אָן שװערלעך, נאָר װאָס ער האָט בײַ זיך „נישט אין קאָפּ, נאָר אין האַרצן.“
איך האָב אים געפֿרעגט, צי ער פּרוּווט טאַקע פֿאַרגופֿן אין דער פּיעסע די אינטאָנאַציעס און זשעסטן פֿונעם טאַטן?
„איך האָב אַפֿילו ניט געדאַרפֿט פּרוּװן. אַלע קינדער קענען נאָכמאַכן זייערע טאַטע־מאַמעס,“ האָט ער געזאָגט. „דאָס גאַנצע לעבן האָב איך געזען װי דער טאַטע טרעט אויף פֿאַר משפּחה און פֿרײַנד. אַ נאַטירלעכער דערציילער איז ער געװען.“
מאַכט דער רמב״ן: „מעשׂה אָבֿות סימן לבנים“ — די טאַטן פֿון די עלטערן און די עלטערנס עלטערן זאָגן פֿאָרויס דאָס לעבן פֿון די קינדער.
רובינעקס טאַטע, ישׂראל רובינעק, אַ געבוירענער אין לאָדזש, האָט אָנגעפֿירט מיט אַ טעאַטער־טרופּע אין די־פּי־לאַגער פֿערנװאַלד, אין בײַערן. רובינעק איז טאַקע געבוירן געװאָרן אין דער זעלבער נאַכט, וואָס דער טאַטע איז דאָרט אויפֿגעטראָטן ווי דער גולם אין לייװיקס באַרימטער דראַמאַטישע פּאָעמע, אין 1948.
אָט דער צופֿאַל, דאָס געשעעניש, שמעקט מיט באַשערטקייט, מיט הייליקייט אַפֿילו. די אָ הייליקייט באַמערקט רובינעק אין משך פֿון „דאָס שפּילן שײַלאָק“, אין איינער פֿון דער פּיעסעס שטאַרקסטע רעפּליקן:
„איך האָב קיין מאָל ניט געגלייבט אין גאָט. איך גלייב אין דעם, אין טעאַטער. דאָס איז הייליק.“
אָבער אויך אין ייִדיש גלייבט ער. „ייִדיש, װי טעאַטער, איז קאָמונאַל — און איז הייליק,“ האָט ער מיר געזאָגט. „װי לאַנג האָט מען געזאָגט אַז טעאַטער איז טויט? אַזוי אויך מיט ייִדיש.“
דער אַקטיאָר זאָגט אַז עס גלוסט זיך אים איצט שפּילן אין ייִדישן טעאַטער, און ער האַלט אין אַרומרעדן מעגלעכע פּראָיעקטן.
אויך מיר, סײַ צוקוקער סײַ מיט־אַרטיסטן, קוקן אַרויס אויף דעם — אויף נאָך אַזאַ קאָמונאַלער, עקסטרע־הייליקער איבערלעבונג אין טונקעלן טעאַטער־זאַל, װוּ גאָר ניט איז ניט קאָנקרעט און קלאָר.
װי רובינעק זאָגט אין דער נײַער אויפֿפֿירונג, מיט פֿאַררייטלטע באַקן און שטאַרק אַקטיװירטע ברוגז־מוסקלען: „דער טעאַטער איז ניט קיין safe space (געזיכערט אָרט).“
דאָס הייסט, דער טעאַטער איז פֿאָרט אַ פֿאָרום פֿאַר פֿראַגעס, חילוקי־דעות, און גײַסטיקן געראַנגל.
זאָל זײַן אַזוי.
די פּיעסע וועט מען שפּילן ביזן 7טן דעצעמבער אין פּאָלאָנסקי־שעקספּיר־צענטער אין ברוקלין. צו קויפֿן בילעטן גיט אַ קוועטש דאָ.
The post Saul Rubinek plays a version of himself in ‘Playing Shylock’ appeared first on The Forward.
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Hasidic leader defends support for Mamdani. ‘I’m taking beatings to save you’
Zohran Mamdani’s election as New York City mayor is further deepening divisions within the Jewish community, with some mainstream organizations now adopting a wait-and-see approach while others denounce him as an “enemy.” At the same time, support for Mamdani among certain Hasidic groups is drawing growing attention.
In a recent tense interview with Mishpacha magazine, a weekly conservative publication widely read in the Haredi community, Rabbi Moshe Indig, a political leader of the sect known as the Ahronim, was pressed to defend his public embrace of Mamdani in the final days of the mayoral race. (The Ahronim is led by Rabbi Aaron Teitelbaum from Kiryas Joel.)
“People call me a kapo,” Indig told the magazine, using a term that originally referred to Jewish inmates at Nazi concentration camps who were assigned to assist the SS. “Anyone who knows what a kapo is can see that I am the exact opposite — a kapo beat you up to save himself. I’m taking beatings to save you.”
Indig’s endorsement of Mamdani set off a firestorm within the community, exposing sharp internal divides over whether the candidate deserved the trust of many Jews. Criticism of Mamdani intensified after the election, following his mixed response to the protest outside the Park East Synagogue, which featured anti-Israel and antisemitic slogans. Mamdani, through a spokesperson, questioned the use of a sacred place for an event promoting migration to Israel, while also discouraging the language that was used at the protest.
“I’m taking missiles over this, not just bullets,” Indig said in the interview. He explained that his support stemmed from Mamdani’s quiet, sustained outreach to Haredi leaders and his clear status as the race’s frontrunner, saying Mamdani had simply earned the endorsement.
“I didn’t promise him votes,” Indig said. “I explained that because the community was so convinced of his antisemitism, I wouldn’t be able to get the majority of people to vote for him.”
Mamdani, he said, replied that he wasn’t seeking votes so much as an opportunity to show he could earn the community’s trust and disprove their perceptions of him. “I saw that as a beautiful invitation to our community,” Indig said.
Part of Mamdani’s outreach included a visit to Hasidic leaders in South Williamsburg during Sukkot and an open letter in Hasidic Yiddish that outlined his plans to combat antisemitism and advance his affordability agenda.
Andrew Cuomo, who won a majority of the Jewish vote and dominated Hasidic areas in Brooklyn on Election Day, failed to do that sort of politicking, Indig said. “Cuomo, who was supposed to be the favorite of the Jews, didn’t ask to go to any sukkah. Not one,” he said.
Indig’s endorsement of Mamdani marks the third consecutive mayoral race in which the Ahronim has demonstrated its political influence by backing the eventual winner, while other Hasidic blocs supported rival candidates. In 2021, they endorsed Eric Adams over Andrew Yang, who was favored by most leading Hasidic sects. And in 2013, they backed Bill de Blasio, who narrowly avoided a runoff in the Democratic primary by just 5,000 votes, while the Zalonim and other groups supported Bill Thompson, then seen as the frontrunner.
“We are currently the only Yidden with access to the future City Hall,” he boasted, using the Yiddish word for Jews. He hopes that changes, he said.
Last month, Mamdani named more than a dozen diverse Jewish leaders and activists to his transition team. Monica Klein, the Mamdani transition’s communications director, said the subcommittees are preparing to implement his “agenda of safety and security for Jewish New Yorkers and everyone else who calls this city home, including his pledge for an 800% increase in anti-hate crime prevention.”
Perceptions of Mamdani have yet to change. A recent poll of 745 American Jews found that 67% believed Mamdani’s election would make New York City’s Jews less safe, while 6% believed they would be safer. The Anti-Defamation League, which clashed with Mamdani during the election, launched a monitor to track Mamdani’s appointments and policies. The ADL also criticized the inclusion of Tamika Mallory as a member of the transition committee on community safety. Mallory co-founded the 2017 Women’s March, then stepped down from the organization after criticism over her ties to Nation of Islam leader Louis Farrakhan and her refusal to affirm Israel’s right to exist.
Indiq affirmed that he’s comfortable with his decision. “Getting guarantees from him before the election gives me critical leverage afterward — if he fails to be a friend, I can call him on his promise to be there for us,” he said.
The post Hasidic leader defends support for Mamdani. ‘I’m taking beatings to save you’ appeared first on The Forward.
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Israel’s Netanyahu Says Syria Deal Possible, Expects Buffer Zone
Israeli Prime Minister Benjamin Netanyahu participates in the state memorial ceremony for the fallen of the Iron Swords War on Mount Herzl, in Jerusalem, Oct. 16, 2025. Photo: Alex Kolomoisky/Pool via REUTERS
Israeli Prime Minister Benjamin Netanyahu said on Tuesday a deal with Syria is possible and he expects Syrian authorities to establish a demilitarized buffer zone from Damascus to Mount Hermon and other areas.
Netanyahu spoke a day after US President Donald Trump, whose administration has been trying to broker a non-aggression pact between the two countries, said it was very important that Israel maintained a “strong and true dialogue” with Damascus.
Syria does not formally recognize Israel, which following the fall of longtime Syrian leader Bashar al-Assad in December moved troops into a buffer zone along the Syrian border to secure a military position to prevent terrorists from launching attacks against the Jewish state.
The previously demilitarized zone in the Golan Heights, a strategic region on Israel’s northern border previously controlled by Syria and later annexed by Israel, was established under the 1974 Disengagement of Forces Agreement between Damascus and Jerusalem that ended the Yom Kippur War. However, Israel considered the agreement void after the collapse of Assad’s regime.
“What we expect Syria to do is, of course, to establish a demilitarized buffer zone from Damascus to the buffer area, including the approaches to Mount Hermon and the Hermon peak,” Netanyahu said while visiting wounded soldiers in central Israel. “We hold these areas in order to ensure the security of Israel’s citizens, and that is what obligates us.”
He added: “With goodwill and an understanding of these principles, it is possible to reach an agreement with the Syrians, but we will stand by our principles in any case.”
Trump has backed Syria‘s new leader, Ahmed al-Sharaa, while Israel has voiced wariness over Sharaa’s past links to Islamist militancy, but has engaged in efforts to broker a deal.
An Israeli raid in southern Syria on Friday killed 13 Syrians, Syrian state media reported. The Israeli military said it had targeted a Lebanese Islamist militant group there. Netanyahu on Tuesday was visiting soldiers wounded in the clash.