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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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Roald Dahl’s monstrous views have a seat at the table today
Roald Dahl’s house is falling down.
It’s 1983, and the children’s author’s Buckinghamshire estate is undergoing a gut renovation. Its exposed plumbing and naked beams bespeak an unseemly core behind the author’s facade of prickly charm, cracking after publication of his incendiary review of the book God Cried, about the 1982 Lebanon War. The article, which ran in the magazine Literary Review, crossed a then-clear line from legitimate critique of Israel into antisemitic tropes of the most noxious variety.
The play Giant, now on Broadway after an Olivier Award-winning run on the West End, imagines an afternoon in which Dahl’s publishers try to cajole him into an apology he’s determined not to make.
For the greater part of the first act in Mark Rosenblatt’s crackling script, the precise nature of Dahl’s comments remains obscure. We’re told that they were condemned in the press as “the most disgraceful thing to be written in the English language in a very long time.” They were so bad as to inspire a death threat credible enough to station a police constable outside Dahl’s home.
Finally, a Jewish-American sales director from Farrar, Straus and Giroux, who has arrived to do damage control, quotes Dahl’s remarks at length following a tense lunch of salad niçoise.
“Never before in the history of man has a race of people switched so rapidly from being much-pitied victims to barbarous murderers,” Dahl wrote of Israelis — or was it simply Jews? “Never before has a race of people generated so much sympathy around the world and then, in the space of a lifetime, succeeded in turning that sympathy into hatred and revulsion. It is as though a group of much-loved nuns in charge of an orphanage had suddenly turned around and started murdering all the children.”
Is it bad to say I’ve heard worse?
Were Dahl still with us, he would have an ideological home with certain members of Corbynite Labour and the Greens, to say nothing of Roger Waters. He would not run afoul of the “Zionists in Publishing” X account that tells consumers which authors are insufficiently critical of Israel; perhaps he would be marked on reading lists as an acceptable, pro-Palestinian alternative to J.K. Rowling.
Even the context of war in Lebanon that Dahl decried has currency, as Israel now trades fire with the remnants of Hezbollah and videos of demolished apartment blocks in Beirut proliferate online. More than 1,000 have died in airstrikes, more than 1 million are displaced and a possible ground invasion looms. (The play, written well before Oct. 7, and certainly before the latest offensive in Iran, suffers from a poignant prescience.)
Can a drama built around Dahl’s screed still work with the shift of the Overton Window toward a strident, existential questioning of Israel and its influence? Remarkably, it does.
The credit is shared. John Lithgow, playing his whole repertoire from Churchill and avuncular alien to Dexter’s Ice Truck Killer, is a rangy stick of dynamite. He pivots from boyish jokes to cruel barbs that catch on his victims like nettles.
Also in the cagey chess game are Aya Cash — as the invented American FSG envoy Jessie Stone — and Elliot Levey’s Tom Maschler, Dahl’s real-life British publisher, who was a Kindertransport child from Germany.
Maschler embodies a certain Jewish-English self-effacement, angling to keep the peace and resenting Israel as an impediment to his full acceptance as an Englishman — he thinks of the country as something he’s made to defend at parties.
Stone’s more forceful, American approach — calling out Dahl for lumping all Jews together as a “single organism” — rankles her host.
Dahl waxes Goebellsian, calling her “Stein,” and has her take dictation to a Holocaust survivor bookseller in the Hudson Valley who refuses to stock his work: “The kinder of his shtetl in upstate Noo Yoik will have to make do – no, survive on a strictly kosher diet of Laura Ingalls Wilder.”
Director Nicholas Hytner has staged a boxing match for today’s discourse, without changing a line from a pre-Oct. 7 script. What makes the work sing is its refusal to resort to caricature, humanizing Dahl through his fiancée Liccy Crossland (Rachael Stirling), the tragedies of his dead daughter and disabled son and, yes, his genuine concern and justified anguish for the Lebanese and Palestinians, particularly the children.
In a quieter moment, Dahl asks Stone if she read God Cried. She tells him she was moved by an image of a legless boy with crutches. (Dahl identifies him with ease, the victim of a penetration bomb near his school, and describes in typically gruesome fashion how “his arterial blood must have sprayed everywhere like a rogue garden hose.”)
“Why is that image not enough, on its own, for you to demand a halt?” he presses Stone. “And what’s wrong with insisting Jewish people, whose country it surely is, say ‘not in my name’? Surely it’s your voice we need above all?”
This cri de coeur is common now even in Jewish circles, but the sentiment is slippery when it hints at collective blame. After his encounter with Stone, Dahl clarifies his position in a verbatim interview, infamously opining that, when it comes to Jews, “even a stinker like Hitler didn’t just pick on them for no reason.”
That draws a gasp from the audience and a gobsmacked expression from Dahl’s housekeeper Hallie (Stella Everett).
But just how different is this claim to Ana Kasparian saying the goyim are waking up, Candace Owens claiming Satanic pedophile “Frankists” control the world, Young Republicans praising Hitler in group chats, Tucker Carlson platforming Holocaust deniers who suggest Winston Churchill was the real villain of World War II or Joe Kent writing in his resignation letter that the U.S. is continually drawn into wars “manufactured by Israel”? At a point, the figleaf of anti-Zionism proves flimsy. Older innuendos peek out from behind.
In the literary world of today, an audiobook narrator’s call for Zionists to kill themselves is not a cancellable offense — a Zionist moderating a book talk is. (But then, being a Palestinian critic of Israel can lead to a disinvitation to a book festival or reading series — that may be cancelled when other authors withdraw in solidarity.)
Now that we are further from the Holocaust, the carnage in Gaza was broadcast to our phones and the monoculture has atomized into internet echo chambers, Dahl’s review seems pedestrian if not quite mainstream. A cause célèbre in 1983 is now a viral retweet or a chart-topping podcast. His claim that “ancient wounds” didn’t make Jews wiser, but gave them a “partial sight” of their own trespasses sounds a lot like the thesis of Peter Beinart’s last book.
With Giant’s move to Broadway, a local analogy may be in order.
Earlier this month, New York Mayor Zohran Mamdani’s wife, Rama Duwaji, was revealed to have contributed freelance illustrations to a book of stories by young people in Gaza compiled by the Palestinian-American writer Susan Abulhawa. Abulhawa’s social media posts, which called Israelis “vampires” and “cockroaches” and refused to distinguish between Jews and Zionists, prompted Mamdani to call her words “reprehensible,” earning him grief from pro-Palestinian quarters.
What would the response be, had the First Lady of New York provided artwork on a book of Dahl’s and his comments came to light? Abulhawa cuts a different figure: She is the daughter of Palestinian refugees and writes movingly of her people’s suffering. Yet I suspect, like her, Dahl, would have his defenders.
Just as Dahl doubled down when reached for comment on his review — the occasion of his “Hitler stinker” quote — Abulhawa responded to Mayor Mamdani’s censure in an interview by claiming American Jews were the “most privileged demographic in this country” and “the resentment that they are seeing now is stemming from the world watching the so-called Jewish State commit a genocide.”
In other words, the logic follows, the world isn’t picking on Jews for no reason. The sleeping giant of this rationale — a proverbial light sleeper — has been awakened. Dahl, it seems, was just too early to rouse it.
The play Giant is now playing at the Music Box Theatre on Broadway. Tickets and more information can be found here.
The post Roald Dahl’s monstrous views have a seat at the table today appeared first on The Forward.
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New Report Reveals Rampant Human Rights Abuses in Iran as Activists Warn of Another Wave of Mass Executions
People attend Eid al-Fitr prayers, marking the end of Muslim holy fasting month of Ramadan, amid the US-Israeli conflict with Iran, in Tehran, Iran, March 21, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
A new report reveals the widespread scale of human rights abuses in Iran over the past year, as activists warn the regime may carry out another wave of mass executions to suppress growing opposition amid deepening unrest.
The Human Rights Activists News Agency (HRANA), an independent group monitoring Iran, released a report last week, timed for Nowruz, the Persian New Year, outlining a deeply concerning human rights situation over the past 12 months, citing crackdowns on protesters, harassment of activists, threats to minorities, executions of children, violations of women’s rights, and dire prison conditions.
According to HRANA’s Statistics and Documentation Center, 78,907 people were arrested on ideological or political grounds from March 2025 to March 2026, highlighting a pervasive climate of repression across the country.
But the report warns that the number of arrests is likely much higher, given the difficulty of tracking such cases — especially earlier this year during recent nationwide anti-government protests, which security forces violently crushed, leaving thousands of demonstrators tortured or killed.
HRANA reports that at least 6,724 protesters, including 236 children, were killed during these protests, with an additional 11,744 cases still under verification. Multiple reports have put the death toll at over 30,000.
During the regime’s violent crackdown, the group also recorded 25,877 people sustaining serious injuries, with 53,777 arrests occurring on just Jan. 8 and 9 alone.
On women’s rights, HRANA reports that 105 women were murdered, including seven so-called “honor killings” — murders committed under the pretext of preserving family honor — and documents 68 cases of rape or sexual abuse.
Recent media reports indicate that Iranian security forces raped and tortured medical staff who treated wounded anti-regime protesters during the country’s nationwide uprising in January, targeting them in a campaign of intimidation against those aiding demonstrators.
As in past years, executions remain one of the starkest manifestations of human rights abuses in Iran, with at least 2,488 people executed last year, including 63 women and two children, 13 of them carried out publicly.
According to a report by Harm Reduction International (HRI), a global organization tracking drug policy and human rights, 955 people were executed for drug-related offenses in 2025 — an average of roughly three per day — with over 1,000 more currently on death row.
Nearly one in four of those executed were from ethnic minority groups, more than one in five were foreign nationals, and the majority were poor, accused of minor drug offenses, and denied proper legal protections, the report notes.
As the regime continues its campaign of executions, the report says at least 222 children have been left without parents.
United Nations Special Rapporteur on human rights in Iran Mai Sato denounced the regime’s brutal treatment of individuals accused of drug crimes, highlighting the disproportionate impact on vulnerable families.
“Many of the drugs-related cases in Iran involve young fathers from minority ethnic backgrounds experiencing economic hardship who face not only execution but also confiscation of their limited assets – including family homes and farmland – devastating their families long after their execution,” Sato said in a statement.
According to HRI’s latest report, at least 65 executions were carried out in secret without prior notice, denying families the chance to say goodbye, and some occurred despite ongoing legal proceedings.
Iranian security forces also systematically used coercion and torture, while denying prisoners access to legal counsel, to force illegitimate confessions.
HRI also reports that under Iran’s Islamic Penal Code, the principle of elm‑e‑qazi — which allows judges to determine guilt based solely on circumstantial evidence without confessions or witnesses — is frequently applied arbitrarily.
With an increasing number of reports exposing the scale of systematic abuses across the country, human rights groups are warning that the death toll may climb sharply, with over 100 detainees at risk of execution.
Last week, three young Iranian men, including 19-year-old wrestling champion Saleh Mohammadi, were executed as the regime intensifies its crackdown on dissent, The Associated Press reported.
Mahmood Amiry-Moghaddam, head of Oslo-based Iran Human Rights, told the AP the executions are “intended to instill fear in society and deter new protests” amid deepening unrest.
On Monday, Iran’s judiciary confirmed that cases tied to the January protests have reached final verdicts and warned that those convicted would face no leniency.
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‘Verbal sparring’ at a conference for religious Jews breaking from Israel orthodoxy? That’s not what I experienced
To the editors:
The Forward‘s article about the recent Smol Emuni conference seems to describe a different event than the one that I attended. There were certainly different viewpoints among the people assembled at the gathering for religious Jews who, per the organization’s mission, seek “justice, equality, and dignity for Jews and Palestinians.” And there were views and perspectives shared that felt challenging or even difficult to hear.
But to assert, as the Forward‘s article did, that the conference was riven by strife and anger is simply not true.
The basis of the article’s claim, and the focus of a flurry of subsequent op-eds and blog posts, was Rabbi Saul Berman’s address to open the afternoon session. Berman used his remarks to criticize the Palestinian activist who had spoken in the morning; in doing so, he invoked a broad, monochromatic description of Islamic theology that felt out of place to some of us, including me.
Berman argued that Islamic Law prohibits any territorial concession, suggesting that Islamic law, but not Jewish law, continues to make peace impossible. The implication that Jewish theology has not blocked work toward peace is quite problematic, given the central role of religious leaders and communities in building settlements and in right-wing politics in Israel.
It is precisely this line of argument that many came to this conference to escape. In too many Jewish communities, it feels impossible to acknowledge the ways in which Judaism has contributed to Palestinian suffering and injustice. Smol Emuni was created in part to end that silence. That is why Berman’s words felt jarring.
But reading the Forward‘s article, one might think that Berman spoke with anger or that the audience actively derided him.
In fact, Berman spoke for close to 20 minutes. As far as I could see, everyone listened to him attentively. Most of the audience applauded when he concluded; I heard no boos. While a few people came and went during his remarks, as is the case at any such event, I saw no evidence that anyone “walked out in protest.”
One of the organizers did feel the need to note, after Berman concluded, that the conference organizers specifically did not share all of his views. She did so gracefully, while thanking him warmly for speaking and affirming her deep respect for him. I do not know how Berman felt, but he was not visibly angered and he stayed for the remainder of the program.
It was an awkward moment, to be sure, but not one of rancor or disrespect. It certainly did not define the conference, which elevated a range of important voices and viewpoints that I found both thoughtful and thought-provoking.
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