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‘An American Tail’ musical adaptation hopes its Jewish immigration story will resonate in 2023
(JTA) — Itamar Moses was 10 years old when he watched “An American Tail” at his Jewish day school in California. He was struck by the 1986 film, an animated musical about a family of Russian-Jewish mice who immigrate to America. Even though he was surrounded by Jewish classmates and teachers, he had never seen a cartoon with Jewish protagonists.
“Watching this mainstream hit American animated movie where the central character and the central family were specifically Jewish — it was unusual,” Moses told the Jewish Telegraphic Agency. “I think there was something that felt inclusive to us about that.”
Now a Tony Award-winning playwright, Moses has adapted the children’s classic for the stage. “An American Tail the Musical” will premiere at the Children’s Theatre Company in Minneapolis on April 25 and run through June 18. Along with writing by Moses, who won his Tony for a Broadway adaptation of the Israeli film “The Band’s Visit,” the new production features familiar songs such as “Somewhere Out There” and new music and lyrics by Michael Mahler and Alan Schmuckler (“Diary of a Wimpy Kid the Musical”). The team hopes to tour the show if it has success in Minneapolis.
The original film created by Don Bluth and Steven Spielberg follows the journey of a young, tenacious mouse named Fievel Mousekewitz. Fievel’s family lives below the human Moskowitz family in Shostka, a city in the Russian Empire, in 1885. Spielberg, who had yet to make “Schindler’s List” or widely address his Jewish family history, named the character after his maternal grandfather — Phillip or “Fievel” Posner — an immigrant from Russia.
The movie begins with the Mousekewitzes and the Moskowitzes celebrating Hanukkah when Cossacks tear through Shostka in an antisemitic pogrom, together with their animal counterparts — a battery of evil cats. The Mouskewitzes flee Europe and board a ship to America, where Papa Mouskewitz (voiced by Nehemiah Persoff) promises “there are no cats” and “the streets are paved with cheese.” But a thunderstorm at sea washes Fievel overboard, leaving his devastated parents and sister to arrive in New York City without him. Although they believe he did not survive, Fievel floats to shore in a bottle and sets out to find his family.
Of course, he quickly learns there are cats in America — along with corruption and exploitation. Fievel is sold to a sweatshop by Warren T. Rat, a cat disguised as a rat. A crooked mouse politician called Honest John (a caricature of the real Tammany Hall boss John Kelly) wanders Irish wakes, scribbling dead mice’s names in his list of “ghost votes.” But Fievel finds camaraderie with other immigrant mice rallying for freedom from the cats’ attacks and Warren T. Rat’s extortion. He befriends Italian mouse Tony and Irish mouse Bridget, who join the quest to reunite his family.
The film’s metaphors will be presented similarly in the stage version, which is also set in the 1880s, although Moses has expanded its lens on the immigrant groups that populated New York at the time. The musical will incorporate more “mice” communities, such as Chinese, Caribbean and Scandinavian mice, along with African Americans and former slaves.
A scene from rehearsal. (Kaitlin Randolph)
“An American Tail” was part of a shift in mainstream media toward Jewish representation, said Jennifer Caplan, an assistant professor of Judaic Studies at the University of Cincinnati who has studied this cultural change.
“It came out in 1986, and then ‘Seinfeld’ premiered in 1989,” Caplan told the JTA. “People point to 1989 as this moment when representations of Jews changed. There was this feeling in the late ‘80s that people were looking for new, different, possibly even more explicit representations of Jews.”
Yet despite the movie’s resonance with children like Moses, some film critics complained that it wasn’t Jewish enough. Critics Gene Siskel and Roger Ebert gave the film “two thumbs down” on a 1986 episode of their program “At The Movies,” calling it “way too depressing” for children and arguing that it “chickened out” of an explicitly Jewish story. Ebert noted that while most adults would understand the Mousekewitzes were Jewish, the word “Jewish” never appears in the film, potentially leaving young audiences in the dark.
“This seems to be a Jewish parable that doesn’t want to declare itself,” he said at the time.
Unlike in Art Spiegelman’s graphic novel “Maus,” where Jews are mice and Nazis are cats, the cat-and-mouse metaphor of “An American Tail” is expansive. The cats represent a universal force of oppression — Cossacks in Russia or capitalists in America — while the mice encompass all persecuted immigrants, regardless of their religion, ethnicity or national origin.
Caplan admitted that some might not have seen it as a Jewish story at the time.
“In 1986, we’re right at the birth of the multicultural push in American schools,” said Caplan. “You’ve got kids who are learning about the melting pot. I think if you are not looking for the coded Jewishness and you’re not familiar with it, then this just seems like a movie about immigrants.”
But Moses, who said the movie held a “mystical place” in his imagination, did not view the story’s broad allegory as a shortcoming. Instead, he saw an opportunity to pull its continuous thread for a message he hopes will feel relevant today: that while immigrants discover inequality and abuse in America, the forces of injustice are changeable, and that people can overcome life’s harsh realities through “grit and hard work and coming together.”
“That message is always timely, but definitely coming out of the last few years and the conversations that America is having about immigration,” said Moses. “I wanted to tell this story that’s really a fable, so you can get at these ideas indirectly as opposed to in a dry, didactic way.”
Jodi Eichler-Levine, a Jewish studies professor at Lehigh University, argued the tale’s success lies in being a “story of Jewish immigration that appeals to non-Jews as well” and called the movie a “fairytale about America.” It premiered 100 years after the Statue of Liberty’s dedication in 1886, amid centennial celebrations of the country’s immigration history. In the film, the statue comes alive, winking at Fievel and his sister once they find each other and look west at the vast expanse of the United States.
Itamar Moses won acclaim for adapting “The Band’s Visit” for Broadway. (Courtesy of Moses)
Whether viewers still buy into the optimistic crescendo of “An American Tail” remains to be seen. Do Americans still believe, as Moses hopes, that immigrants and oppressed peoples can unite to overthrow the tyrants of unfettered capitalism? A Gallup poll from February showed that Americans’ satisfaction with the country’s level of immigration has dropped to 28%, the lowest point in a decade.
Moses is betting that children’s theater has a way of refreshing themes adults have exhausted with political discourse. Children want to grapple with the ideas at the core of the show, he said, such as “the needs of the individual and the needs of the collective, the need to go out on your own but still remain connected to your family and your background.”
“The most successful material for kids tends to engage with real things that they’re thinking about and worrying about,” he said.
Today, another wave of families has fled Fievel’s hometown: though Shostka was part of the Russian Empire in the 19th century, it is now in the Sumy region of northeastern Ukraine. The Sumy Oblast was among the first regions stormed by Russian forces in February 2022 and continues to suffer daily shelling. Eichler-Levine expects that global refugee crises will only continue to broaden the appeal of a migration story.
“The ideas [in An American Tail] are sadly relevant for most of the planet right now, given that climate change and devastation from war are leading to another tremendous wave of global migration,” said Eichler-Levine.
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The post ‘An American Tail’ musical adaptation hopes its Jewish immigration story will resonate in 2023 appeared first on Jewish Telegraphic Agency.
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Waiting on line on Christmas is a time-honored New York tradition — was it ever thus?
At 6 a.m., the morning before Christmas, Charles Licata was waiting outside the door of Russ & Daughters, two hours before the century-old Manhattan appetizing store opened. Each Christmas Eve for the past 42 years, Licata, jones this time by a family member and a friend, has made the hour-long drive from central New Jersey. “I like to be first in line,” he told me.
Licata, who manufactures granite countertops, told me he was hosting 40 for a traditional Italian feast of seven fishes on Christmas Eve, and on Christmas Day, his family had plans to devour another seven fishes and then some. “We got sable, lox, caviar, the spreads, pickled herring, tuna fish salad, hot and cold smoked salmon,” he started to list, before adding, “we got everything.”
Nikki Russ Federman, the fourth-generation owner of Russ & Daughters, instantly greeted Licata who she recognized from years past. By 9 a.m., she was hustling off to the shop’s Brooklyn bakery because they were already running out of bagels.
The Christmas Eve crowds rival Erev Yom Kippur and they grow throughout the day.
“Christmas is a Jewish holiday,” Russ Federman quipped.
For Licata, the line itself, with its banter and camaraderie is part of the ritual, except queuing at Russ & Daughters isn’t traditional. Lower East Side Jews didn’t wait in line; they jostled at deli counters and mobbed pushcarts.
“When I arrived on the scene in 1978 to take over the business,” third-generation owner Mark Russ Federman recounted in his 2013 book Russ & Daughters, “I discovered that there had never been a real attempt to implement a method to maintain crowd control and customer flow.”
First, the lox slicers behind the counter would pick out their regulars from the crowd, and then call “Who’s next?” To which, according to Mark Russ Federman, several elderly women would yell in their Yiddish-inflected English, “My next.” Mayhem would ensue.
“Grandpa Russ, my parents, and my uncles and aunts,” wrote Mark Russ Federman, “felt that having customers take a number from a machine and wait their turn was insulting, impersonal, and too ‘uptown.’”
It was during the Yom Kippur rush of 1978 that Russ Federman established a numbered ticketing system, turning the huddled mass of customers into an orderly line — something he saw as both more efficient for business and fairer for the customers. Since then, the appetizing store’s line has only grown, as have lines throughout the city.
Weathering the wait for Russ & Daughters seems more legit than camping out for the latest TikTok trend. Since the pandemic, lines in New York have become ubiquitous — for oversized pastries, for stunt croissants, for hype pizza. This past spring, a Saturday Night Live skit joked that a New Yorker’s favorite pastime is to “wait in a big dumb line.”
Waiting on line for West Village brunch often feels performative, but for Licata at Russ & Daughters, it isn’t about clout, it’s about continuity. It was a Jewish friend who first brought bagels and lox over for Christmas breakfast at Licata’s home decades ago. “I’m just carrying the tradition forward,” he said.
Down the block, most every year, Jeremy Kahn and his family make a pilgrimage from Washington, D.C. to Katz’s Deli. This past week, he was shocked to find that, even at the off-time of 4 p.m., the line still stretched to the corner. He speculated that there were more tourists. “I thought we’d be able to just walk right in,” he said.
After the 30 minute-plus wait at Katz’s, customers hungry for pastrami take a ticket at the door; they must sort into new lines to wait their turn with a cutter at the counter. And before leaving, customers must again wait their turn at the cashier’s line.
For Kahn, the wait is worth it. “This is where my grandfather would come to eat,” he said, and now he was taking his two young children and his father. “It means something that there is a line to get in. People are willing to wait in the cold.”
Katz’s with its shared cafeteria tables is known for its hustle and bustle, but things feel orderly compared to how it once was. In 1966, the iconic cheap eats guide, Underground Gourmet, deemed Katz’s “the largest, nosiest, busiest, and sloppiest delicatessen in Manhattan.” The guide’s authors, the illustrators and graphic designers Milton Glaser and Jerome Snyder, described ordering as a “struggle” that involved having to “muscle your way up to the endless serving counter and try to make yourself heard.”
Standing on line was foreign enough to Jewish immigrants that the Forverts mostly referred to queues, not by the Yiddish word “rey” (meaning row), but with the English “line,” spelled out in Hebrew letters. In 1930, the Forverts reported that boxing fans were waiting on long lines in the cold and rain to watch a Jackie Kid Berg lightweight championship bout at Madison Square Garden, but Jews at the time mostly seemed to be lining up at Depression-era soup kitchens and unemployment lines in the U.S. or, worse, for handouts at refugee centers in Europe.
It’s not just Jews who were late to line up; lines are actually a fairly modern phenomenon. Often cited as containing the first description of a queue in English is Thomas Carlyle’s 1837 book The French Revolution, which described Parisians lining up at bakers’ shops during a famine. By World War II, queuing had become commonplace in rationing-era Britain.
Lines were then associated with shortages and bureaucracy; now they represent wealth and leisure. There are still long waits at the DMV and over-burdened food pantries, but today, many lines are fueled by social media. A long line at a bakery signals that their $8.50 pistachio rose croissant is popular; joining the line gives you online bragging rights, not joining risks FOMO.
My friend Miriam Berger, a 91-year-old Manhattanite, says she has no memory of these types of lines in the 20th century. “I have no patience to stand on a line for anything,” she told me, “probably because such behavior didn’t exist in my growing-up environment.”
We still manage to do much without lines. We squeeze into rush hour subway cars, flag down bartenders at crowded pubs, and hail cabs. At times, it feels cut-throat, but there’s an unspoken etiquette — someone waves you into a lane, a stranger holds the door.
Lines promise efficiency and equity, but the first-come-first-serve system easily breaks down. There are cutters, professional line waiters, and ways to pay your way to the front of the line with priority passes and VIP options for most anything.
And very often, there are ways to avoid lines altogether. At the end of his book, Mark Russ Federman writes that when his daughter Nikki and his nephew Josh entered the business in 2001, they started online ordering. “This wasn’t the way the Russ family did business,” he initially thought before he accepted the idea. “If you wanted to buy our fish, you came to the store. If you wanted to place an order over the phone, we had to recognize your voice or know your family.”
Now, Russ & Daughters ships nationwide, and with delivery apps, lox and herring can be ferried almost instantly to your door on an electric moped.
That’s too uptown for my tastes. I’d rather take a number.
The post Waiting on line on Christmas is a time-honored New York tradition — was it ever thus? appeared first on The Forward.
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The data is in: For many in the Northeast, Christmas isn’t Christmas without Chinese food
It’s not just a myth that Jews head to Chinese restaurants on Christmas. It’s science!
Sort of. A new report from the financial services company Coventry Direct claims to have quantified the trend. The report analyzed search data for “Chinese food near me” during the week of Christmas from 2020 to 2024, and found that the Northeast dominated the results.
The top five states included Delaware, Rhode Island, Connecticut, New Jersey and New Hampshire, while New York, which is home to the largest Jewish population in the country, came in seventh place. Under the assumption that Jews are overrepresented in the Northeast, the study confirms that Coventry Direct is not peer-reviewed.
The study also analyzed Google search trends over the past year to find the top-searched Chinese food dish in each state. While Szechuan chicken was the most popular dish, taking first place in eight states, New York’s most searched item was Buddha’s Delight, a — IYKYK — vegetarian stew.
The Jewish Christmas tradition was famously referenced during Elena Kagan’s United States Supreme Court confirmation hearings in 2010 when she was asked where she was on Christmas day:
“You know, like all Jews, I was probably at a Chinese restaurant,” replied Kagan.
In recent years around Christmas, social media has also been flooded with images of a sign where the seemingly fictional “Chinese Restaurant Association” of America thanks its Jewish diners for their patronage.
“The Chinese Restaurant Association of the United States would like to extend our thanks to the Jewish people,” the sign reads. “We do not completely understand your dietary customs … but we are proud and grateful that your GOD insist you eat our food on Christmas.”
Two men enjoy Chinese cuisine prepared by Chinese chefs within the guidelines of kosher food preparation at a restaurant. (Getty Images)
But the now-ubiquitous tradition of Jews eating Chinese food on Christmas traces back to the early 20th century, when Jewish immigrants began carving out distinctly American rituals of their own. If for no other reasons, Chinese restaurants were more likely to be open on Christmas.
A classic 1993 study on the tradition, “New York Jews and Chinese Food: The Social Construction of an Ethnic Pattern,” by Gaye Tuchman and Harry Levine, traced the Jewish affinity for Chinese food to a few factors: Chinese restaurants at the time “welcomed everyone,” offered flavors familiar to an Eastern European Jewish palate and were considered a “sophisticated” dining experience for new-ish, Jewish Americans stepping outside their comfort zones.
While Chinese restaurants do not typically offer kosher fare, Tuchman and Levine also argued that Chinese restaurants were viewed as “safe treyf” because Chinese cuisine rarely mixes milk and meat and ingredients like pork and shrimp are chopped into hard-to-identify pieces.
To celebrate the longstanding tradition, a comedy club in New York’s East Village is set to host “Kosher Chinese: The Comedy Show,” with patrons enjoying kosher dumplings and an “unapologetically alternative holiday spirit we all secretly love.” In San Francisco, the 33rd Annual Kung Pao Kosher Comedy show kicks off tonight, and runs through Friday, Dec. 26.
From Massachusetts to Ohio, Jewish delis have also planned their own Chinese-inspired menus to mark the tradition.
This article originally appeared on JTA.org.
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StopAntisemitism names Tucker Carlson ‘Antisemite of the Year’ as 2024 winner Candace Owens ramps up anti-Jewish rhetoric
(JTA) — The activist group StopAntisemitism has awarded the conservative personality Tucker Carlson its ignominious honor of “Antisemite of the Year,” citing his frequent invocation of classic antisemitic stereotypes.
The announcement comes as Carlson sits at the center of controversy on the American right about whether extremists should be welcomed in the Republican Party. It also marks the second year in a row that StopAntisemitism has selected a right-wing figure for its accolade, after years of awarding the mantle to mostly left-wing figures.
“Carlson mainstreams antisemitism by platforming and praising Holocaust revisionists and Nazi apologists, while hiding behind irony and plausible deniability,” the group said in a statement. “By legitimizing extremist voices and weaponizing conspiratorial imagery at massive scale, he has helped drag antisemitic ideas back into the mainstream.”
A watchdog presence with more than 300,000 followers on X, StopAntisemitism regularly mobilizes against activists and social media posts. The group has faced criticism for what some perceive as an inordinate focus on Muslim personalities, pro-Palestinian actions and non-prominent individuals. Its defenders deny that, pointing out that StopAntisemitism also regularly spotlights neo-Nazis and Holocaust deniers on the right.
Its finalists for Antisemite of the Year included pro-Palestinian celebrities Ms. Rachel, Cynthia Nixon and Marcia Cross; mixed-martial-arts athlete and Holocaust denier Bryce Mitchell; two personalities associated with left-wing network The Young Turks; and social media personalities on both the far left (Guy Christensen) and far right (Stew Peters).
Carlson received the accolade on Sunday night, at the end of a weekend in which he was a keynote speaker at the convention of Turning Point USA, the young-conservatives group founded by Charlie Kirk, who was assassinated this fall. In its announcement, StopAntisemitism noted Carlson’s speech at Kirk’s memorial service, in which he described the murder of Jesus in a way that both his critics and fans interpreted as implying that Jews or Israelis had been behind Kirk’s assassination.
At the convention, the Jewish pundit Ben Shapiro continued his campaign against Carlson and Carlson declared himself to free of the anti-Jewish animus that he has long been criticized as propagating.
“Let me just affirm one final time. Not only am I not an antisemite — and I would say so if I was — I’m not an antisemite for a very specific reason,” Carlson said in his speech. “Not because it’s unpopular or my donors don’t like it. I don’t have any donors. I’m not an antisemite because anti-semitism is immoral in my religion. It is immoral to hate people for how they were born.”
It was the same explanation that Vice President JD Vance offered earlier this month when he said in an NBC News interview that he believed antisemitism is wrong.
In his own speech to Turning Point USA’s AmericaFest, Vance again refrained from criticizing extremists in the Republican Party, saying that he opposes “purity tests” for inclusion in the conservative movement. He also said he believed that antisemitism in the United States was being fueled by “a real backlash” against U.S. aid to Israel..
As the convention was underway, last year’s “Antisemite of the Year,” the right-wing streamer Candace Owens, embarked on a four-hour broadcast eviscerating Shapiro; amplifying antisemitic theories, including that Jews controlled the slave trade; and promoting a classic work of antisemitism by August Rohling, a German Catholic who believed in the blood libel and argued that the Talmud is a secret guide used by Jews for nefarious purposes. Rohling died in 1931.
The post StopAntisemitism names Tucker Carlson ‘Antisemite of the Year’ as 2024 winner Candace Owens ramps up anti-Jewish rhetoric appeared first on The Forward.