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Broadway’s Jews gather in response to neo-Nazi protest
(New York Jewish Week) – Twenty-four hours after neo-Nazi agitators heckled ticket-holders outside the first preview of “Parade,” a musical about a notorious antisemitic incident, Jewish members of New York’s theater community came together to share their emotions and reactions and look to the future.
The gathering, organized by producer and actor Ari Axelrod, was held on a rainy Wednesday afternoon in a rehearsal space at Open Jar Studios in Times Square. It was just three blocks north of the Bernard B. Jacobs Theatre, where “Parade” is currently in previews. About 50 people from all ranks of the theater industry — from Broadway producers and marquee stars to undergraduate students in college shows — joined the conversation.
Starring Jewish actor Ben Platt, “Parade” tells the story of Leo Frank, a Jewish factory manager accused and found guilty of murdering a girl who worked for him, despite little evidence. In 1915, Frank was kidnapped from jail and lynched by a mob, and the case led to the creation of the Anti-Defamation League and a resurgence of interest in the Ku Klux Klan.
At the show’s first preview on Feb. 21, protestors who identified with the National Socialist Movement, a neo-Nazi group headquartered in Florida, accused Frank of being a pedophile and condemned audience members for paying to support pedophiles and Jews.
“The story about Leo Frank is not a new one. They could be protesting anywhere. But there is a reason they knew that that play was happening and where it was happening,” said Axelrod, who told the New York Jewish Week that he has been thinking about holding a gathering in response to antisemitism for nearly two years. “It feels like they came into our home, not just our home as Jews, but our home as theater artists.”
Axelrod, 28, opened by leading the Shehechiyanu, a prayer of gratitude, and a round of deep breaths.
“The intention for today is not to find a solution to the rise in antisemitism or even the solution to what happened yesterday,” Axelrod told the crowd. “The intention is to be in a space and find community and gather as Jews, which is what we’ve been doing for thousands of years. To commiserate and talk and bear witness to how we’re feeling and how other people are feeling, to be seen and heard and held and valued and validated as an individual and as a member of a community.”
The room was full of Jewish and some non-Jewish people in the theater industry of all ages who wanted to express their thoughts and ideas about the protests. (Julia Gergely)
Many in the room felt fear, sadness, frustration and anger at the events. For an assistant on the production team of “Parade” — who asked to remain anonymous because he came to process his own feelings and not as a representative of the show — “it was emotional, especially because not everyone on the team is Jewish. So just being there as a Jewish person, hearing them say that to people going into the show was hard.”
However, he noted the importance of committing to see and work on the show. “Just being at the show last night was its own protest to what they were saying,” he said, adding that the team behind “Parade” is committed to ensuring a safe environment for everyone involved and that they don’t want to let the protests deter people from seeing the show, which is scheduled to run through Aug. 6.
Elliott Masie, a Broadway producer who was on the line with his wife when the threats and jeers began, said his initial reaction was surprise. “I couldn’t discern what they were about at first. They tried to pretend that they were against pedophiles, but then their rhetoric escalated and they started to go up to people in the line and say ‘You paid so much for this, to advocate for a Jew.’ The moment I heard them say the word ‘Jew,’ I realized what they were,” he told the New York Jewish Week.
“The hardest part was that it seemed like most people coming into the theater didn’t understand who they were,” Masie, 72, added.
Still, he said, the show was wonderful. “I’ve never been at a first preview that had as prolonged an ovation. In some ways, they stole the moment. We have to give the moment back and give the moment to all of us. The ultimate love and support we need to do is show the cast and the company that we’re here,” he said.
Over the last year, Jewish stories have been having a moment on Broadway and off, with “Funny Girl,” “Leopoldstadt” and “Fiddler on the Roof in Yiddish” all coming to the stage in 2022. Surrounding each show has been discussions of their relevance at time when watchdog groups have been reporting a rise in antisemitic incidents.
“The entire cast of our show and company was scared last night that we were going to walk out to something similar,” said David Krumhotlz, who is in the final weeks of his role as patriarch Hermann Merz in “Leopoldstadt,” Tom Stoppard’s play about the Holocaust. “Thank God it didn’t. We stand in solidarity not only with ‘Parade,’ but with the entire Jewish Broadway community.”
Yael Chanukov, a cast member of “Fiddler on the Roof in Yiddish,” spoke about the safety and security discussions the cast and crew had during the show’s run and the fear and anxiety she felt at times doing such a proudly Jewish show that otherwise was one of the most fulfilling experiences of her life.
The Bernard B. Jacobs Theatre, where “Parade” is in previews, Feb. 22, 2023. (Julia Gergely)
For many, it was an exhalation of years of frustration and confusion over minor and major antisemitism they said they experienced in the theater industry and beyond.
While Axelrod said the goal of Wednesday’s gathering wasn’t to find solutions, by the end of the evening, he had cemented an idea for a Jewish advocacy coalition within the theater industry. He said it might offer resources and tools for how to speak up and show up to support the Jewish theater community.
Representatives from the Anti-Defamation League and Jews for Racial & Economic Justice who were at the meeting offered to help get contacts and funding if the idea were to get off the ground.
“The general tenor that I’m getting is that no one is asking the theater community to make the fight against antisemitism the top priority. Just make it a priority,” Axelrod said.
Actor and writer Mike Haber, 31, had tickets for Wednesday night’s performance of “Parade.”
“Last night, I literally couldn’t even sleep because of what happened,” he said. “This is so beautiful to see so many theater people and we’re all coping with the same emotions and feelings.”
Ninety minutes before the Wednesday evening performance began, the rain had stopped and all was calm in front of the theater. Haber took pictures and burst out singing the show’s tunes. “I love this,” he said. “I can’t wait to see it.”
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The post Broadway’s Jews gather in response to neo-Nazi protest appeared first on Jewish Telegraphic Agency.
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How a young woman smuggled weapons into the Warsaw Ghetto
This is a revised version of the original article in Yiddish which you can read here.
On Both Sides of the Wall
Vladka Meed and Steven D. Meed
Citadel Press, 448 pages, $29.00.
“But surely by this morning we will learn something.” It was a sentiment that was going around the Warsaw Ghetto, overheard among the groups of Jews huddled on street corners. On occasion someone would muster up some hopeful words: “Jews, have no fear! You will all see. With God’s help, once more we shall survive the evil decree!” It was July 22, 1942: the first day of the Great Deportation. Any optimism was unfounded: On that day, the Germans led roughly 250,000 Jews to the death camps.
Thus begins the opening scene of On Both Sides of the Wall, Vladka Meed’s memoir of her life in Warsaw during World War II. Her story originally appeared in installments in the Forward shortly after her arrival in America, in 1946, under her real name, Feygele Peytel Miedzyrecki. A book-length edition was published by the educational committee of the Workers Circle in 1948.
In 1977, an English translation came out, with an introduction by Elie Wiesel. Now Meed’s memoir is available in an expanded edition, complete with an introduction from the historian Samuel Kassow and a foreword by the translator, Steven (Shloyme) Meed, Vladka’s son.
Vladka Meed takes the reader into the heart of the Warsaw Ghetto, with its charged atmosphere of hope, terror and despair. She summons the cacophony of those last ten, tragic months of the Ghetto; we hear the voices of Jews, Germans and their Ukrainian accomplices.
Fortunately, Vladka managed to avoid the daily aktsyes (deportation campaigns) when the mundir forces (“Jewish police,” in the ghetto vernacular) would capture Jews for deportation. Vladka soon found herself alone: “My mother, brother, and sister have all been taken from me to some unimaginable fate,” she writes. Vladka was lucky to find a job in one of the workshops that served the Germans.
Following the second selektsye (separation of fit and unfit Jewish laborers) in September 1942, the Jews that remained in the ghetto began preparing for an uprising. Vladka remembers their calls: “If we are to die, anyway, let us die with dignity!” “The enemy must pay a heavy price for our lives!”
As a young girl, Vladka was active in the Jewish Labor Bund, an affiliation that helped keep her alive during the Holocaust. She spoke Polish well without a trace of a Yiddish accent, and had “good Aryan looks.” The leadership of the ghetto’s Bundist underground suggested that she become a courier between the ghetto and the Aryan side. That’s how the young Jewish girl, Feygele Peltel, was transformed into a Polish woman by the name of Wladislawa Kowalska, or simply — Vladka.
Step by step, she integrated into “normal life” among Christian Poles. At first she had high hopes. “I had expected to encounter a strong interest among our Polish neighbors about life within the ghetto,” she writes. But she soon realized that her neighbors preferred very much not to know what was happening on the other side of the ghetto wall.
Vladka and her comrades on the Aryan side were charged with obtaining weapons for the ghetto. But their relations with members of the Polish underground army were poor, and little came of their interactions: “As we travel about the city, trying and failing to get arms…we beg them: ‘Help us to obtain weapons. We are willing to pay well for them!’”
Most of their requests fell on deaf ears. Often they’d hand over payment and receive nothing in return — or worse, their Polish contacts would betray them to the Germans. Even when the Jewish ghetto fighters managed to get their hands on a revolver, another challenge remained: smuggling it into the ghetto.
The book is a gripping read. Vladka Meed is a skillful narrator, and she gives a detailed accounting of her dangerous missions. Any day could have been her last: she never knew if she’d live to see the evening. Vladka had many more failures than successes, and in many cases she was saved by a fateful coincidence.
Kassow’s introduction describes the greater historical context of that period, while Steven Meed provides personal details about his mother’s life before the Holocaust, based on her interviews in the American press.
In his translation, Meed includes bracketed phrases that provide brief, helpful contextual notes. He has also chosen to preserve Yiddish words from the so-called “ghetto language”, like aktsye (action), mundirn (police forces), and blokade (blockade). The choice to keep such vocabulary gives the text an authentic feel, even as Meed’s strategy occasionally raises questions. Why, for example, did he ‘translate’ the word kristin (Christian woman) in the Yiddish as “shikse” (an often pejorative term for a gentile girl) in the English? In general, his translations in the book occasionally veer far from the original.
In the United States, Vladka Meed dedicated her life to Holocaust education. This newest edition of her book carries this mission forward, and constitutes a significant addition to the ever-growing library of documents and research on the Warsaw Ghetto.
Unfortunately, the history of Jewish resistance to German occupation still hasn’t been properly integrated into American Holocaust education, even in Jewish day schools. At the University of Michigan, when I discuss the Warsaw Ghetto uprising with students in my course on the history of the Jews in Eastern Europe, I often get this response: “Why didn’t anyone tell us about this in our Holocaust education classes? It’s so important!”
To this day we often view the history of the Holocaust with a focus on mass murder. Vladka Meed’s book, writes Kassow, “demonstrates [that] this battle to stay alive, against all odds, refuted the oft-made claim that Jews went passively to their deaths.”
The post How a young woman smuggled weapons into the Warsaw Ghetto appeared first on The Forward.
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US Senate Vote to Block Arms Sales to Israel Fails — but Raises Questions About Future Democratic Support
US Sen. Bernie Sanders (I-VT) speaks to the media following a meeting with US President Joe Biden at the White House in Washington, US, July 17, 2023. Photo: REUTERS/Evelyn Hockstein
A failed Senate vote to block US arms sales to Israel has further exposed a deepening divide within the Democratic Party, one increasingly defined by younger voters and liberals whose views on Israel are shifting rapidly.
The Senate on Wednesday rejected two resolutions led by Sen. Bernie Sanders (I-VT) that would have halted roughly $450 million in weapons transfers to Israel, including bombs and bulldozers. The measures failed, ensuring the sales will move forward. But the margin, and who supported the effort, marked a significant political inflection point.
Of the 47 Senate Democrats, 40 voted in favor of blocking sales of bulldozers and 36 voted in favor of blocking transfers of so-called “dumb” bombs. The failed vote represents the largest show of opposition to military aid for Israel within the party in recent memory. While previous efforts spearheaded by Sanders drew support from a smaller bloc, this vote saw roughly 80 percent of Senate Democrats vote against transferring aid to the Jewish state, signaling a seismic shift in the dynamic between the Democratic Party and Israel.
Further, many traditionally stalwart supporters of Israel, such as Democratic Sens. Elissa Slotkin (MI) and Cory Booker (NJ), voted in favor of Sanders’s resolution, signaling that anti-Israel sentiment has migrated from the far-left fringes of the party into the mainstream.
That change is closely tied to evolving public opinion, especially among younger Americans.
Recent polling, including newly released data from the Yale Youth Poll, shows that younger voters are far more critical of Israel than older generations. Large shares of voters under 30 now support restricting or even ending US military aid, a position that departs sharply from the long-standing bipartisan consensus in Washington. Polls show that a supermajority of Democrats believe that Israel has committed a so-called “genocide” in Gaza, an assertion which lacks little evidence and has been boosted by foreign entities tied to Iran.
Data also suggests that increased social media consumption aligns with more skeptical attitudes toward foreign policy regarding Israel. Those who receive their news from social media, especially youth-centric platforms such as TikTok and Instagram, are far more likely to exhibit anti-Israel animus than those who consume traditional broadcast news media.
The Senate vote reflects the increasing pressure of Democratic lawmakers to stake an aggressive stance against Israel. Several lawmakers who backed the resolutions argued that continued arms transfers should be reconsidered amid the expanding regional conflict involving Iran and mounting humanitarian concerns. They argued that the Trump White House has not sought out appropriate congressional approval for the ongoing war in Iran. Many also criticized Israeli Prime Minister Benjamin Netanyahu’s conduct, suggesting that he has escalated hostilities in the region rather than acted in self-defense from existential threats. These same voices expressed dismay at civilian casualties in Iran, Lebanon, and Gaza.
The lawmakers largely framed their votes not as opposition to Israel’s existence, but as a challenge to current policies and the use of US-supplied weapons.
Opponents, including most Republicans, maintained that US military support remains essential to Israel’s security, particularly as tensions with Iran escalate. They warned that blocking arms sales could weaken a key ally in a volatile region.
The Republican Jewish Coalition (RJC), an organization dedicated to increasing support for the GOP among Jews, framed the vote as reflective of a broader anti-Israel sentiment within the Democratic Party.
“There is only ONE pro-Israel party, and it is the Republican Party,” RJC wrote on X.
Meanwhile, Jeremy Ben-Ami, president of the group J Street, endorsed the vote as an “encouraging” sign of progress.
“It’s encouraging to see a growing number of senators recognize that unconditional US military support for Israel is no longer tenable in light of the Netanyahu government’s policies. The work now is to translate that shift into action: alleviating the humanitarian crisis in Gaza, stopping violence on the West Bank and pursuing paths to end the ongoing fighting across the region,” Ben-Ami wrote.
A self-proclaimed “pro-peace, pro-Israel” lobbying organization, J Street has come under fire for allegedly not doing enough to combat antisemitism or anti-Israel narratives within liberal political circles.
Rep. Jared Moskowitz (D-FL), one of the most strident defenders of Israel in Congress, criticized his party’s turn against Israel, saying in a new CNN interview that they have “boxed themselves in” by supporting Sanders’s resolution. He dismissed the notion that Democrats would become more likely to support Israel with a change in Israeli leadership.
“When Netanyahu goes, and you’re now on record with this, you’re going to revert back and say that now that he’s gone, I can now start sending offensive weapons?” Moskowitz pondered.
Despite the failure of the resolutions, the size of the Democratic vote in favor underscores how quickly the political landscape is changing ahead of the 2028 presidential election.
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Duke University Suspends Students for Justice in Palestine Over Antisemitic Political Cartoon
Aerial view of Duke University on Jan. 6, 2026. Photo: ZUMA Press Wire via Reuters Connect
Duke University has suspended its Students for Justice in Palestine (SJP) chapter and impounded its money for posting an antisemitic political cartoon on social media, The Duke Chronicle reported on Tuesday.
According to the student paper, the illustration depicts a pig labeled “Zionism” hoisting a Star of David as its arm interlocks with another pig, labeled “US Imperialism,” hoisting the Torch of Liberty. The image was created in 1970 by political cartoonist Emory Douglas, a Black Panther party official who harbored hostility toward the US and Israel.
The Chronicle said the image elicited no fewer than 10 formal complaints from Jewish students for showing a blatant antisemitic trope. Historically, depicting Jews as pigs has been done to reduce them to the status of animals and mock the fact that dietary restrictions forbid Jews to eat pork. The Nazis notoriously did so, but the practice reaches back further into history, when medieval Germans proliferated the Judensau drawings which portrayed Jews drinking pig’s milk and excrement.
In a statement to the Chronicle, SJP denied that it intended to endorse the cartoon’s antisemitic messaging, saying it “was never intended to be antisemitic” and that anti-Zionist activism is “not the same as targeting Jewish people.”
This was not the first time that the anti-Zionist group posted antisemitic imagery. In 2024, the Harvard chapter of its faculty spinoff, Faculty and Staff for Justice in Palestine (FJSP), posted a political cartoon of a Jew lynching an African American and an Arab. In the illustration, a left-hand tattooed with a Star of David and containing a dollar sign at its center dangles a Black man and an Arab man from a noose. In its posterior, an arm belonging to an unknown person of color wields a machete that says, “Liberation Movement.”
Such activity is an integral part of the playbook of anti-Zionist and antisemitic messaging on social media, scholars have found.
From 2013 to 2024, the Institute for the Study of Contemporary Antisemitism (ISCA) at Indiana University studied over 76,000 posts created by Students for Justice in Palestine and its affiliates, finding that over half, 54.9 percent, included only a single, evocative image.
“In contrast, Reels (5.3%) and Videos (4.9%) are used far less frequently,” the institute said in a report based on its research. “Based on these descriptions, we see a strong preference among campus-based anti-Israel groups for static visual formats, suggesting that this type of bimodal content represents the highest form of shareability within activists networks.”
To boost their audience and reach, pro-Hamas groups also post together in what ISCA described as “co-authored posts,” of which there were over 20,000 between 2013 and 2024. Their content set off strong emotions in the individual users exposed to them, inciting incidents of antisemitic discrimination, harassment, and violence. Such outrages, it added, increased in proportion to the concentration of anti-Israel groups on a single campus, evidence of “particularly strong” correlation.
ISCAP’s conclusions can be found in the real world, as SJP and its network of student groups have helped fuel a historic wave of antisemitic incidents on college campuses over the past two and a half years — from spitting on Jewish students at the University of California, Berkeley while calling them “Jew” to gang assaulting Jews at Columbia University’s Butler Library.
SJP has also expressed its hope of inciting insurrection in the US and amassing a jihadist army.
In 2024, the national SJP organization proclaimed on X that the anti-Zionist student movement is a weapon for destroying the US, saying that “divestment [from Israel] is not an incrementalist goal” but enacted with the later goal of initiating “the total collapse of the university structure and American empire itself.” On the same day the group issued the statement, Columbia University’s most strident SJP spinoff, created after SJP was suspended, was reported to have distributed literature which called for “popular support for the Palestinian war of national liberation, a war which is waged through armed struggle.”
Sections of the pamphlet were explicitly Islamist, invoking the name of “Allah, the most gracious” and referring to Hamas as the “Islamic Resistance Movement.” Proclaiming, “Glory to Gaza that gave hope to the oppressed, that humiliated the ‘invincible’ Zionist army,” it said its purpose is to build an army of Muslims worldwide.
“We call upon the masses of our Arab and Islamic nations, its scholars, men, institutions, and active forces to come out in roaring crowds tomorrow,” it added, referring to a previous event. “We also renew our invitation to the free people and those with living consciences around the world to continue and escalate their global public movement, rejecting the occupation’s crimes, in solidarity with our people and their just cause and legitimate struggle.”
Follow Dion J. Pierre @DionJPierre.
