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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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French Jewish Girl Assaulted Near Paris, Adolescents Arrested for Antisemitic Attack
Sign reading “+1000% of Antisemitic Acts: These Are Not Just Numbers” during a march against antisemitism, in Lyon, France, June 25, 2024. Photo: Romain Costaseca / Hans Lucas via Reuters Connect
Three teenage boys assaulted a 14-year-old Jewish girl and threatened to kill her in the Parisian suburb of Sarcelles on Friday, police said, resulting in a trip to the hospital for the victim and arrests for two of the 12-year-old suspects.
The incident began when three younger boys approached an older teenage girl to ask why she failed to observe Ramadan, according to local media reports. After she disclosed her Jewish identity, the three reportedly began calling her a “dirty Jew” and one threatened, “I’ll kill you on the Koran.” They then allegedly beat her, especially on her face.
The assault required a trip to the emergency room, where hospital staff described her as in a state of shock.
Paris law enforcement arrested two suspects that evening and seek to identify the third.
Another suburb of Paris also saw an antisemitic incident on Sunday when vandals hit a Kosher restaurant in Levallois-Perret, spray-painting “dirty Jew” in red across the building’s windows.
A kosher restaurant in Levallois-Perret, near Paris vandalized with antisemitic graffiti reading “Dirty Jew.” Photo: Screenshot
Antisemitic vandals hit Kokoriko, another Kosher restaurant in Paris, just two weeks earlier. Investigators say the criminals sprayed acid on tables, walls, and the floor, rendering silverware and plates unusable.
That attack came just days after the French Interior Ministry last month released its annual report on anti-religious acts, revealing a troubling rise in antisemitic incidents documented in a joint dataset compiled with the Jewish Community Protection Service.
Antisemitism in France remained at alarmingly high levels last year, with 1,320 incidents recorded nationwide, as Jews and Israelis faced several targeted attacks, according to the data.
Although the total number of antisemitic outrages in 2025 fell by 16 percent compared to 2024’s second highest ever total of 1,570 cases, the newly released report warned that antisemitism remained “historically high,” with more than 3.5 attacks occurring every day.
Even though Jews make up less than 1 percent of France’s population, they accounted for 53 percent of all religiously motivated crimes last year.
Between 2022 and 2025, antisemitic attacks across France quadrupled.
The most recent figure of total antisemitic incidents represents a 21 percent decline from 2023’s record high of 1,676 incidents, but a 203 percent increase from the 436 antisemitic acts recorded in 2022, before the Palestinian terrorist group Hamas’s Oct. 7, 2023, massacre across southern Israel.
The surge in antisemitism appears to have carried into this year. Last month, a 13-year-old boy on his way to synagogue in Paris was brutally beaten by a knife-wielding assailant.
“How do you find the words to explain to a 13-year-old child that he is being attacked because he is Jewish? Who will be able to restore his confidence in the future tomorrow?” Yonathan Arfi, president of the Representative Council of French Jewish Institutions (CRIF), said of the incident.
One-third of last year’s antisemitic incidents in France explicitly referencing Palestine or the war in Gaza, indicting that anti-Israel rhetoric is fueling antisemitism.
The prominence of anti-Zionist forms of antisemitism has prompted French leaders to propose legislation combating this type of hate, as announced by French Prime Minister Sébastien Lecornu last month at CRIF’s annual gathering,
“To define oneself as anti-Zionist is to question Israel’s right to exist. It’s a call for the destruction of an entire people under the guise of ideology,” Lecornu said, announcing that the government would introduce a bill to criminalize anti-Zionism. “There is a difference between legitimate criticism of the Israeli government and rejecting the very existence of the Jewish state. This ‘blurring’ must stop.”
Lecornu declared that “hatred of Jews is hatred of the Republic and a stain on France.”
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Belgian Synagogue Damaged in Blast Considered Antisemitic Attack
Police secure the site of a synagogue damaged by an explosion early on Monday, in Liege, Belgium, March 9, 2026. Photo: REUTERS/Yves Herman
An explosion hit a synagogue in the Belgian city of Liege early on Monday in what authorities said was an antisemitic attack that caused damage but no injuries.
The explosion, which happened around 4 am (0300 GMT), blew out the windows of the synagogue, as well as those of a building on the opposite side of the road, public broadcaster RTBF said.
The cause was not clear, but prosecutors said the case had been passed to federal authorities, which normally investigate incidents linked to terrorism or organized crime.
Belgian Interior Minister Bernard Quintin called the explosion “a despicable antisemitic act that directly targeted the Jewish community of Belgium.”
He said security measures around similar sites will continue to be reinforced.
Eitan Bergman, Vice-President of the Coordinating Committee of Jewish Organizations in Belgium (CCOJB), said the targeting of the synagogue was deeply shocking.
“Liege is home to a very small but vibrant Jewish community where I personally grew up. Today, the feelings among our community members are a mixture of sadness, worry and profound shock,” he told Reuters.
Police have cordoned off the largely residential street on the bank of the river Meuse opposite Liege city center.
Federal prosecutors declined to give further details of the incident.
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Much of Iran’s Near-Bomb-Grade Uranium Likely to Be in Isfahan, IAEA’s Grossi Says
A satellite image shows a closer view of the destroyed tunnel entrances at Isfahan missile complex after reported airstrikes, amid the US-Israeli conflict with Iran, in Isfahan, Isfahan Province, Iran, March 8, 2026. Photo: Vantor/Handout via REUTERS
Almost half of Iran’s uranium enriched to up to 60% purity, a short step from weapons-grade, was stored in a tunnel complex at Isfahan and is probably still there, UN nuclear watchdog chief Rafael Grossi said on Monday.
The tunnel complex is the only target that appears not to have been badly damaged in attacks last June by Israel and the US on Iran’s nuclear facilities.
Diplomats have long said Isfahan has been used to store 60% uranium, which the International Atomic Energy Agency confirmed in a report to member states last month, without saying how much was there.
IRAN STILL HAS HIGHLY ENRICHED URANIUM STOCKS
The IAEA estimates that when Israel launched its first attacks in June, Iran had 440.9 kg of 60% uranium. If enriched further, that would provide the explosive needed for 10 nuclear weapons, according to an IAEA yardstick.
“What we believe is that Isfahan had until our last inspection a bit more than 200 kg, maybe a little bit more than that, of 60% uranium,” IAEA chief Rafael Grossi told reporters in Paris.
He said the stock was “mainly” at Isfahan, and some held elsewhere may have been destroyed.
“The widespread assumption is that the material is still there. So, we haven’t seen – and not only us, I think in general all those observing the facility through satellite imagery and other means to see what’s going on there – movement indicating that the material could have been transferred,” Grossi said.
Iran has not informed the IAEA of the status or whereabouts of its highly enriched uranium since the June attacks, nor has it let IAEA inspectors return to its bombed facilities.
Iran’s nuclear program is one reason Israel and the US have given for their current attacks on Iran, arguing that it was getting too close to being able to produce a bomb, despite Trump saying in June that US strikes had obliterated the program. The IAEA has said it has no credible indication of a coordinated nuclear weapons program.
All three Iranian uranium-enrichment plants known to have been operating – two at Natanz and one at Fordow – were destroyed or badly damaged in June.
“There is an amount [of 60% uranium] in Natanz also, which we believe is still there,” Grossi said.