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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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Vance declines to endorse Netanyahu, a day after Trump backs prime minister
(JTA) — Vice President JD Vance has refused to endorse Prime Minister Benjamin Netanyahu, just a day after President Donald Trump announced his support for the incumbent Israeli leader.
“I’m not anti-endorsing. I’m not pro-endorsing,” Vance told journalist Mark Halperin in a Monday interview. “I’m not getting involved in the Israeli elections.”
“I endorse American candidates,” the vice president added, noting that he is focused on the U.S. midterms.
Trump declared his support for Netanyahu, who is running for reelection, in a Sunday Truth Social post in which he deemed the Israeli leader “a Great Warrior Prime Minister” and a vital partner in removing the Iranian threat. Recent polls show Netanyahu closely trailing former IDF chief-of-staff Gadi Eisenkot in the election, which will take place on Oct. 27.
Liberal Middle East policy advocates, including J Street, have blasted Trump’s decision to back Netanyahu, arguing that he’s acting against the interests of U.S. taxpayers.
While Vance declined to endorse the Israeli prime minister, he has previously involved himself in international elections. In April Vance joined Trump in backing then Prime Minister Viktor Orbán in Hungary, although that support did not end in victory.
Last year, the vice president also met with the leader of the far-right Alternative for German political party, AfD, in Munich but he did not issue an official endorsement for that candidate.
This article originally appeared on JTA.org.
The post Vance declines to endorse Netanyahu, a day after Trump backs prime minister appeared first on The Forward.
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Israeli President in Hungary for first high level talks since Orbán’s ouster
(JTA) — BUDAPEST, Hungary — Israeli President Isaac Herzog met with his Hungarian counterpart and the country’s prime minister on Tuesday in the first high-level Israeli visit since the election defeat of longtime Prime Minister Viktor Orbán.
Herzog held talks with Hungarian President András Baka at the Sándor Palace before meeting Prime Minister Péter Magyar, whose Tisza party ended Orbán’s 16 years in power in April.
Orbán’s tenure was marked by repeated confrontations with European Union institutions over democratic standards and the rule of law. He was among Israel’s staunchest supporters at the European body. The right-wing strongman also maintained close personal ties with Prime Minister Benjamin Netanyahu.
Speaking at a joint press briefing following their closed-door meeting, Herzog described Hungary as a “friend and an ally,” praised its role in promoting “balanced and constructive relations” between Israel and the European Union and expressed confidence that the relationship would continue to develop under the new government.
“Over the course of this past year, we’ve seen our strong bilateral alliance deepen considerably,” Herzog said. “By joining hands, we are harnessing the best of our creativity, resourcefulness and determination towards shaping secure economic [and] technological futures.”
Baka offered a more restrained assessment, describing relations as “cordial and stable” and saying the two countries had no “outstanding bilateral issues” and that Israel remained an “important economic partner.”
The Hungarian president also pointed to the fighting in Gaza, which has continued for more than three years, calling for unhindered deliveries of humanitarian aid to the civilian population.
“International humanitarian law must be fully respected, and aid must reach those in need safely and without interruption,” Baka said. “Any lasting peace must offer families on both sides a reason to believe that their children can grow up free from fear and insecurity that have shaped so many lives.”
Herzog said Israel does not “choose war,” and raised the threat posed by Iran and its regional proxies, including Hamas, Hezbollah and the Houthis, warning that the danger extended beyond the Middle East and required cooperation among “freedom-loving nations” to confront it.
“In recent years, we’ve contended with a clear, present and ongoing threat of terror and extremism emanating from Iran and spread through its network of radical proxies,” he said. “They may sit in the Middle East, but they threaten the entire world, and the alliance of freedom-loving nations is critical to confronting it.”
Herzog congratulated Magyar on his election victory, describing it as “an expression of Hungarian democracy” and of the “vitality and energy” of the Hungarian people.
Magyar, who took office in May, has pledged to maintain strong relations with Israel. But he reversed one of Orbán’s most consequential policies soon after he took office with a vote to remain in the International Criminal Court, overturning Orbán’s decision to withdraw after the court issued an arrest warrant against Netanyahu over alleged war crimes in Gaza.
Baka, a former Supreme Court chief justice who assumed the presidency in August, has a history with the former government. His judicial tenure was cut short under Orbán in 2012, a move the European Court of Human Rights subsequently ruled had violated his rights.
Herzog also addressed Israel’s upcoming parliamentary elections on October 27, telling his Hungarian counterpart that the country’s next government would face considerable diplomatic and security challenges.
“The next Israeli government, whatever its form, will have to contend with big challenges that go to the heart of our security and our position in the international arena,” Herzog said, expressing confidence that Israel would “continue to find an ally and friend in Hungary.”
Both presidents addressed Hungary’s Jewish community and the legacy of the Holocaust. Baka reaffirmed Hungary’s “zero tolerance” policy toward antisemitism, while Herzog recalled the destruction of Hungarian Jewish life during the Holocaust, describing its legacy as a “moral memory” guiding the present.
During Herzog’s subsequent meeting with Magyar, veteran Israeli journalist Ariel Kahana called out a question about the state of Israeli-Hungarian relations, despite questions not being part of the protocol.
“Excellent,” Magyar replied.
“I’m not responsible for the Israeli journalists,” Herzog quipped.
Herzog’s visit also includes an address to Voice of the People, an international initiative he established to bring together Jewish leaders from Israel and the Diaspora to discuss challenges facing Jewish communities, as well as a meeting with representatives of Hungarian Jewry.
The trip also carries personal significance for Herzog, whose father, former Israeli President Chaim Herzog, made the first state visit to Hungary by a sitting Israeli president in June 1991, less than two years after the restoration of diplomatic relations between the countries.
Recalling his father’s hope that relations between Israel and Hungary would continue to deepen, Herzog said he was proud to see how the relationship had developed over the intervening 35 years.
“Today, as president of the State of Israel, and as his son, I’m immensely proud to see how much that hope has become a reality,” he said.
This article originally appeared on JTA.org.
The post Israeli President in Hungary for first high level talks since Orbán’s ouster appeared first on The Forward.
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Cantorial music movingly sung by women, at this event in Indiana
אויף איין טאָג איז דאָס שטעטל בלומינגטאָן — אַן אוניווערסיטעט־שטאָט אין ווײַטער אינדיאַנע — געוואָרן אַ צענטער פֿון נײַער און טראַדיציאָנעלער ייִדישער מוזיק.
דעם 11טן אָקטאָבער איז פֿאָרגעקומען אַ גאַנצע ריי פּראָגראַמען געווידמעט דער מיזרח־אייראָפּעיִשער ייִדישער קולטור. די פּראָגראַם, „זכּרון פֿאַרוואַנדלט“ (Memory Transformed), האָט אַרײַנגענומען אַן אַקאַדעמישן סימפּאָזיום, אַ קונסט־אויסשטעלונג און אַ קאָנצערט פֿון הײַנטצײַטיקער ייִדישער מוזיק. ס׳איז געקומען אַ גרויסער עולם: סײַ סטודענטן און פּראָפֿעסאָרן פֿון אוניווערסיטעט, סײַ ייִדן און נישט־ייִדן פֿון דער געגנט.
די רײַכע פּראָגראַם איז פֿאָרגעקומען אין בלומינגטאָן, דער עיקר, אַ דאַנק ירמיהו לאָקוווּד, דעם באַקאַנטן מוזיקער, היסטאָריקער און מוזיקאָלאָג, וואָס איז אויך אַ גאַסט־פּראָפֿעסאָר פֿון ייִדישע לימודים אין אינדיאַנער אוניווערסיטעט. לאָקוווּד האָט זיך באַטייליקט סײַ אינעם סימפּאָזיום סײַ אין דעם קאָנצערט. ער איז אויפֿגעטראָטן מיט זײַן קאַפּעליע, The Sway Machinery, מיט וועמען ער שפּילט שוין די לעצטע צוואָנציק יאָר.
כאָטש לאָקוווּדס אייגענע מוזיק איז מאָדערן, פֿאָרשט ער דווקא אַ מער טראַדיציאָנעלן ייִדישן זשאַנער: דאָס חזנות. בעת אַ שמועס מיט מיר האָט ער געזאָגט, אַז ער האַלט דאָס חזנות פֿאַרן עיקר און נשמה פֿון דער ייִדישער מוזיק. זײַן ערשט בוך, „גאָלדענע עפּאָכעס“ (2024) באַהאַנדלט די הײַנטיקע חסידישע זינגער, וואָס באַנײַען דעם סטיל חזנות פֿון אַלטע צײַטן. איצט אַרבעט ער אויף אַ צווייט בוך, וואָס זאָל דערציילן די געשיכטע פֿון חזנות ביזן הײַנטיקן טאָג.
לאָקוווּד פֿאָרשט ספּעציעל די אַלטע פּלאַטעס פֿון אָנהייב 20סטן יאָרהונדערט. חזנות איז אַ מאָל געווען געוואַלדיק פּאָפּולער, ווײַל דער פֿאָנאָגראַף האָט אַרײַנגעברענגט די הייליקע מוזיק אַפֿילו אין וועלטלעכע ייִדישע היימען.
אויפֿן סימפּאָזיום האָט אויך גערעדט אַן אַנדער מומחה פֿון חזנות, ד״ר יהודית בערקסאָן, אַ פֿאָרשערין און פּראָפֿעסיאָנעלע חזנטע אין לאָס־אַנדזשעלעס. זי האָט גערעדט וועגן דעם אימפּראָוויזירטן אַספּעקט פֿון חזנות, וואָס איז אַ מאָל געווען גאָר וויכטיק. הײַנט זינגען חזנים געוויינטלעך לויט די נאָטן, ווײַל זיי זענען גוט טרענירט אין דער קלאַסישער מערבֿדיקער מוזיק־טראַדיציע. אָבער דאָס אַמאָליקע חזנות איז געווען אַ געמיש פֿון מערבֿדיק און מיזרחדיק, מיט אַ סך אימפּראָוויזאַציע — אַ ביסל ווי דזשעז־מוזיק. דער חזן האָט קיין מאָל נישט געזונגען דאָס זעלבע שטיקל אויף פּונקט דעם זעלביקן אופֿן. יעדע זאַך איז געווען אָריגינעל.
בערקסאָן האָט אויך גערעדט וועגן די פּריוואַטע, קאָנטראַבאַנדישע רעקאָרדירונגען, וואָס געוויסע ליבהאָבערס פֿון חזנות פֿלעגן מאַכן בסוד. זיי האָבן אַרײַנגעשמוגלט אַ רעקאָרדיר־אַפּאַראַט אין אַ תּלית־בײַטל אָדער אונטערן מאַנטל און רעקאָרדירט דעם חזן, אַפֿילו ווען מע טאָר נישט, שבת אָדער יום־טובֿ. די אָ ייִדן זענען געווען גרייט צו ריזיקירן מיט דער אייגענער נשמה, אַבי צו פֿאַרמאָגן דאָס געזאַנג פֿון זייער באַליבטן חזן. אויף אַזעלכע רעקאָרדירונגען הערט מען אָפֿט אַ סך אימפּראָוויזאַציעס.
אויפֿן סימפּאָזיום האָט אויך גערעדט דער היגער ייִדיש־פּראָפֿעסאָר, דובֿ־בער קערלער. ער האָט דערציילט וועגן ייִדישע לידער, וואָס דער עולם האַלט זיי אָפֿט פֿאַר אַלטע פֿאָלקסלידער, כאָטש אין דער אמתן זענען די מחברים גוט באַקאַנט. למשל, „דער רבי אלימלך“ האָט געשריבן און קאָמפּאָנירט דער פּאָעט משה נאַדיר (יצחק רײַז), וואָס האָט געוווינט אין ניו־יאָרק. אַ סך פֿון די פּאָפּולערסטע לידער אונדזערע שטאַמען באמת פֿון אַמעריקע, נישט פֿון מיזרח־אייראָפּע.
לאָקוווּדס מוזיק מיט זײַן קאַפּעליע איז אַ יחיד־במינו, אַ געמיש פֿון עטלעכע מוזיקאַלישע זשאַנערס און סטילן: חזנות, ראָק, פֿאָנק, בלוז. באמת זענען זיי אַ מאָדערנע „אינדי“־ראָק־קאַפּעליע, וואָס זינגט תּפֿילות אויף לשון־קודש. עס איז טשיקאַווע צו הערן פֿאַרכאַפּנדיקע לידער מיט אַזאַ ריטעם און קלאַנג, אַז עס ווילט זיך טאַנצן, און זען, אַז די ווערטער האָבן אָנגעשריבן רבנים מיט הונדערטער יאָרן צוריק. אויפֿן קאָנצערט, למשל, האָבן זיי געשפּילט „אָדם יסודו“, אַ טייל פֿונעם פּיוט „ונתנה תּוקף“, וואָס ייִדן זאָגן ראָש־השנה. דאָס שטאַמט לויט דער מסורה פֿון הרבֿ אַמנון פֿון מײַנץ אין 11טן י״ה.
נאָך דעם איז אויפֿגעטראָטן אַ צווייטע גרופּע: „די אומשטאַרביקע חזנטעס“, וואָס באַשטייט פֿון עטלעכע פֿון די בעסטע חזנטעס פֿון אונדזער דור: יהודית בערקסאָן אַליין, רחל וועסטאָן, שאַהאַנאַ מעקיני־באַלדאָן און ריקי רויז. זיי האָבן געזונגען קלאַסישע תּפֿילות פֿונעם אַלטן רעפּערטואַר פֿון די גרויסע חזנים און חזנטעס פֿון אַ מאָל: „אַחינו“, „רצה במנוחתינו“, און „שׂים שלום“. די ווירטואָזקייט פֿון די חזנטעס האָט געמאַכט אַ געוואַלדיקן רושם אויף מיר און איך בין זיכער אויך אויף די אַנדערע.
איין ליד איו געווען טיילווײַז אויף ייִדיש: „איך בענק אַהיים“, געזונגען פֿון רחל וועסטאָן, וואָס איז באַקאַנט פֿון אַן אַלטער רעקאָרדירונג פֿון דער משפּחה מאַלאַווסקי, מיט דער באַקאַנטער חזנטע גאָלדי מאַלאַווסקי. הערנדיק דאָס ליד האָט דער עולם מסתּמא דערפֿילט, ווי איך אַליין, אַ בענקשאַפֿט נאָך דער אַלטער היים אין מיזרח־אייראָפּע, און נאָך דער אַמאָליקער ניו־יאָרק, וווּ חזנות און ייִדיש האָבן געלעבט אויף אַ ברייטן פֿאַרנעם.
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